Games writing seems to be in the spotlight at the moment with complaints that it falls foul of sexism and genre tropes.
Let me say, at the outset, that I think people wanting a better quality of writing in their games is a good thing. Only by people questioning the current norms can the issues be highlighted and hopefully resolved.
However, I do want to say a little in the games industries defense. Games writing is still in its infancy. It took comics over 40 years to create Watchmen, yet it’s only been a few years since games writing became more than a cut scene to link two levels together.

Games writing, just like writing for theatre or film comes with its own set of constraints. But unlike theatre these constraints differ from game to game. Some cut scenes rendered with the in-game engine maybe can’t handle more than a couple of character models on screen at the same time, some animations just don’t exist.
It’s probably due to the myriad of technical limitations that a lot of games writers have been the designers. Don’t get me wrong some of these are great writers but a great designer doesn’t guarantee a great writer and vice versa. There ‘s a danger that a writer, either thinking the job is easy money or playing it safe writes something that’s lazy. Or that a games designer, placing little importance on the writing, writes something that’s a bit hackneyed but neatly links the desert level to the snow level.
And even if, as some production houses are now doing, you hire a writer, they’re still having to learn a completely new skill set. A 20 minute cut scene could be the greatest piece of games writing out there but no-one is going to sit through it every time they die on a boss. There are options as well. A novelist plots a track and decides on the protagonist’s reaction at every stage but in games like Mass Effect and Star Wars: The Old Republic it’s the player that decides. The writer has to make every option believable and feel like there is more consequence than just pressing a button for the sake of interactivity. In fact, if I have one criticism of The Old Republic it’s that some story options seemed forced.
But even if you write the options and branch the story, you can’t do this repeatedly, at some point the story strands need to come together. This is a game after all, with a finite budget and a plot that the players needs to be guided along.
There are some people trying to do interesting things with story in games but they tend to be small games like Bastion and Dear Esther. A lot of it is still experimental.
In short, maybe in 10 years we’ll see some superstar games writers (as opposed to games designers), but the industry still has a long way to go and will make many mistakes along the way. The important thing is to encourage innovation in storytelling and this is why I think the recent discussion is good. Just don’t expect miracles overnight.