Letting players step into the Star Wars galaxy and truly live the scoundrel fantasy was the main goal of Star Wars Outlaws’ Narrative Director Navid Khavari and team. “Whether it’s walking into a bustling cantina, taking off on a speeder bike, or blasting into hyperspace in your starship, the Trailblazer, we wanted to honor the rich legacy of Star Wars while bringing new experiences to the table.” From developing cohesive narratives through multidisciplinary story rooms to balancing fan-favourite elements with fresh storytelling, Navid shares a look behind the scenes at bringing the world and characters of Star Wars Outlaws to life.
Hey Navid, tell us more about what you do as a Narrative Director? And what do you enjoy most about your role?
As a Narrative Director, I’m responsible for shaping the story’s vision—its themes, tone, and context—and working with our talented writers and narrative designers to bring it to life in the game. I also ensure that all aspects of the project—art, gameplay, quest design, and more—are consistent with the story the player experiences. My favourite thing about the role is that my day-to-day is always shifting. One day I might be running story rooms with our amazingly talented team, the next I’m at performance capture stepping through scripts with actors, and then after that I’m holed up with my PC working on scripts while blasting the score into my headphones… or I’m in meetings. Lots of them.
Star Wars Outlaws
Speaking of shaping a narrative, your latest project is an interesting one set in a galaxy far, far away. What’s it been like creating the world of Star Wars Outlaws in collaboration with Lucasfilm Games and lead studio Massive Entertainment? What were the main goals and considerations?
This has been a dream project in so many ways. My earliest experience with Star Wars was playing with my older brother’s Kenner figurines, making up little stories with them, and wearing out the original trilogy VHS with thousands of rewinds. When I first found out I was going to be working on the project, I think my brain first exploded from pure excitement, and then came the realization that we had an incredible opportunity to bring something new to this iconic franchise.
The collaboration with talented teams here and at Lucasfilm Games and Massive Entertainment has been life-changing. It all started with the idea of playing as a scoundrel—a resourceful underdog in the Star Wars galaxy. During a pitch meeting with Lucasfilm Games, it was them who suggested exploring the period between Star Wars: The Empire Strikes Back and Star Wars: Return of the Jedi, a time when the underworld thrived amidst the chaos of the Rebellion’s fight against the Empire.
Our main goal was to create the first-ever Star Wars open-world action-adventure game, where players could truly live the scoundrel fantasy. Whether it’s walking into a bustling cantina, taking off on a speeder bike, or blasting into hyperspace in your starship, the Trailblazer, we wanted to honor the rich legacy of Star Wars while bringing new experiences to the table. The collaboration has been a journey of balancing respect for the franchise’s history with the excitement of innovation, and I wouldn’t trade it for anything.
That sounds like a tricky balance. How do you stay true to Star Wars lore while crafting new characters and stories that resonate with both longtime fans and new audiences?
While the game is set in an era filled with rich history and iconic characters, we wanted to be intentional with our approach to bringing something new. And what really opened the creative floodgates was the opportunity to bring a fresh perspective to a familiar era through Kay Vess.
Kay wants no part in the epic conflict between the rebellion and the Empire, she’s simply trying to survive in a galaxy that feels stacked against her. Her journey takes players through the underworld as they navigate relationships with syndicates like the Hutt Cartel or Crimson Dawn, offering a new lens through which to experience this iconic period.
So everything feels a bit familiar but you’re experiencing something new. This approach also extends to locations. Fans will recognize planets like Tatooine and Kijimi (briefly seen in Star Wars: The Rise of Skywalker), which we expanded upon to introduce a new Star Wars syndicate, the Ashiga Clan. On the other hand, we also crafted an entirely new moon, Toshara, featuring vast savannahs and the bustling underworld city of Mirogana in the Outer Rim.
Can you share the narrative team’s process in developing the rich world of Star Wars Outlaws?
When we started, my goal was to create writer’s rooms similar to those in television, bringing together writers, narrative designers, and eventually other disciplines like quest designers and artists into what we now call story rooms. In an open-world game, collaboration across these various fields is crucial. The story room isn’t just a one-time thing; it’s an ongoing space where different narrative elements—quests, dialogue, cinematics, bios—continuously come together. It was also vital that we created a safe space for sharing, where anyone can present their ideas and receive constructive feedback. This process ensures a cohesive narrative that’s consistent in tone and purpose throughout the entire game.
What are you most excited for fans and news players to experience?
I’m most excited for players to truly step into the Star Wars galaxy, which was our guiding mantra throughout production. That’s the dream! For players to follow their curiosity in whatever direction they choose, be it Kay’s main journey or venturing off the beaten path. Maybe you walk into Mos Eisley, land a contract with the Hutts, take off on your speeder but decide to switch allegiance to the Pykes after a blaster fight, then soar into space on the Trailblazer to finish the job. We’ve put so much love into crafting these stories and the open world has been built with intention and narrative to support that.
Career development
What did you do before you were leading writer’s rooms and crafting epic intergalactic stories? How did you break into the games industry?
Oh, don’t get me started! I had quite the journey before joining Ubisoft Toronto.
I’ve been writing and drawing since I could pick up a pencil. When I moved to Toronto at 19, I was juggling writing music and playing with a band while pursuing a degree in History and Political Science at the University of Toronto. After graduating, I was hungry to land any creative work that could earn me a living. I eventually landed a job producing a motion comic for an indie studio, which led to a writing gig on an Xbox Live Arcade game.
Then, Ubisoft Toronto opened its doors and I took a big swing at writing for Splinter Cell: Blacklist and was hired! I’ve loved it ever since.
What’s so great about games is everyone has a unique path. I truly believe your past experiences feed into your future in surprising ways. If you had told me that studying poli-sci would help me write for Splinter Cell, I wouldn’t have believed you in the slightest!
You’ve been with the studio for over 13 years! What first drew you to Ubisoft Toronto and what’s kept you here?
I actually was employee… I want to say 57? 60? Back then, it was just a small group of us sitting in the middle of an empty floor in a massive building in the Junction area of Toronto. Today, those floors are filled with hundreds of creative minds. And I think what inspired me most about joining Ubisoft Toronto was the diversity. Toronto is a melting pot of cultures full of unique individuals with their own skill sets and crafts, and that same diversity is reflected in our studio. Every day, I learn something new from my colleagues, whether in meetings or over a coffee at our studio’s coffee shop Wallace Espresso. There’s always a fresh perspective and a new story around every corner.
What’s the biggest takeaway or lesson you’ve learnt in your career?
Remember to take a breath and recognize that some things are beyond your control, especially in a creative field like games. When working on a script or character, or finetuning a crucial bit in a story, it’s easy to feel overwhelmed or that the stakes are impossibly high, and imposter syndrome can creep into your mind. It’s crucial to remember that you are not alone, and that making games is about collaboration. You don’t have to carry the weight alone. And it’s not up to you to fix everything. The goal is to make progress, even if it’s tiny, and create something you’re proud of alongside people you trust.
What are some tips you’d give to someone hoping to land a narrative role in games?
I would say five things are incredibly important:
- Play games: Enjoy, dissect, and debate them. Passion is key.
- Hone your craft: Try to produce something interactive. It can be a twine game, or getting a few friends together in a game jam to make a small demo. However big or small, you can experience the process of creating and finishing something that can be added to your portfolio.
- Start anywhere: You don’t have to begin as a writer. We’ve had folks from QC who supported the narrative team and eventually moved into writing roles.
- Consider education: Game dev schools or programs may not be a surefire path, but it can offer structure and help you meet like-minded creators.
- Expand your references: Engaging with other media can be invaluable. Whether it’s an old film or a free play in the park, diverse experiences can enrich your creative process.
Just for fun
What do you do to relax?
I’ve realized over the years how critical it is to unplug, and I’m learning to get better at it. It’s important for relaxation but also so my brain can work on its own in the background without my thoughts getting in the way. For me, relaxing is the simple things — playing games on the couch while taking multiple breaks to pet our cats Yuki and Cinder. There is immense cuteness in Cinder attempting to bunt the controller out of my hands with her head for attention. Bonus points if both cats end up napping on either side of me, lovingly tolerating each other from a distance.
