Taking a hit cable series about a likable serial killer and turning it into a game seems impossible. But taking a hit cable series about a likable serial killer and turning it into a mobile game seems downright unfathomable.

Well, take that, pessimists, because Dexter is on its way to iPhones near you, courtesy of Showtime, Icarus Studios, and Marc Ecko Entertainment. Early hands-on reports have been positive, and the recent trailer from San Diego Comic Con is great (see below).

Behind the scenes is Writing for Film & Television grad Andrew Kemp, who’s on the team at Icarus tasked with bringing Dexter Morgan to portable devices.

We asked him recently just what he’s been doing on the Dexter game and how his writing background factors in.

Could you give us an idea of what it is that you do? Both writing and game design, is that right? To the layperson, what does that mean?

I’m a Game Designer at Icarus Studios, which covers all the different roles I take on each day. I work under the game’s Lead Designer as part of a team responsible for every story and game element a player will see in Dexter, from big picture gameplay, to mini-game designs, to the stories and individual conversations that the player experiences through Dexter’s eyes.

My primary focus is the game’s plot, characters, and dialogue, but I have a voice in just about every design decision involved with the project.

What first drew you to screenwriting? Did you know, coming to VFS, that you’d ultimately be working in games one day?

I became interested in screenwriting somewhere around the 8th grade. I loved movies and telling stories, and I just decided one day that the two were a natural fit. I came to VFS leaning toward feature and television writing, but one thing my teachers impressed on me was the importance of exploring every available medium to make a living as a working writer.

That reality led me to investigate the video game industry while I was still in school, and I began pursuing game work as soon as I was back in the real world.

I really love what I do. There are always new challenges to overcome, and I get to work on a great game alongside great people every single day. It’s a dream job.

Could you describe your journey, post-VFS, to where you are today?

When I left school, I wasn’t sure how best to begin. I started looking at writing contests, submitting scripts to a number of national competitions, and collecting a few successes to put on my resume. I made a number of no-budget short films, a few of which performed well at festivals – including one called After, which had started as a class project at VFS.

I also shopped a couple of scripts in LA. I got some interest, but no magical big-dollar movie deals. I wasn’t sure where my career was going until I got a call from a friend who worked at Icarus Studios.

Some people say that getting into the video game industry can be mostly about who you know, not necessarily what you can do, but I had a different experience. Having a contact in the company helped to get me an interview, but it was the work I put into my writing, as well as my VFS background, that got me the job. Bottom line: an employer wants to know that you can do the work.

How does a background in screenwriting – or a familiarity with traditional Story – come into play in video games?

Like the movies, video games are a visual medium and being able to tell a story using only what the player can see or hear is a valuable skill. Also, as in screenwriting, a game designer must be able to write good, solid dialogue from the point of view of multiple characters with very different personalities… and on a tight deadline.

Most importantly, VFS put me into a collaborative environment with other writers, which is a major part of my job. If you can’t work effectively as part of a writing team, you won’t go very far in this – or any – creative field.

Having said all that, movies and TV are mostly passive for the viewer, while video games are completely interactive. The player brings his or her own experiences and expectations to any game they play, and I’m learning new things every day about how to make that dynamic relationship between the player and the game as exciting as possible.

It’s been a fun experience, and I’m just getting started.

Thanks, Andrew! Hope you’re riding high on the SDCC buzz! Readers should check out the trailer below. It’s just a tease, but it gives you an idea of just how far the game could push the boundaries.