UNLOCK YOUR GAME'S NARRATIVE POTENTIAL! With increasingly sophisticated video games being consumed by an enthusiastic and expanding audience, the pressure is on game developers like never before to deliver exciting stories and engaging characters. With Video Game Storytelling, game writer and producer Evan Skolnick provides a comprehensive yet easy-to-follow guide to storytelling basics and how they can be applied at every stage of the development process—by all members of the team. This clear, concise reference pairs relevant examples from top games and other media with a breakdown of the key roles in game development, showing how a team’s shared understanding and application of core storytelling principles can deepen the player experience. Understanding story and why it matters is no longer just for writers or narrative designers. From team leadership to game design and beyond, Skolnick reveals how each member of the development team can do his or her part to help produce gripping, truly memorable narratives that will enhance gameplay and bring today’s savvy gamers back time and time again.
Beginning with the structural features of design and play, this book explores video games as both compelling examples of story-telling and important cultural artifacts. The author analyzes fundamentals like immersion, world building and player agency and their role in crafting narratives in the Mass Effect series, BioShock, The Last of Us, Fallout 4 and many more. The text-focused "visual novel" genre is discussed as a form of interactive fiction.
What really makes a video game story interactive? What's the best way to create an interactive story? How much control should players be given? Do they really want that control in the first place? Do they even know what they want-or are their stated desires at odds with the unconscious preferences? All of these questions and more are examined in this definitive book on interactive storytelling for video games. You'll get detailed descriptions of all major types of interactive stories, case studies of popular games (including Bioshock, Fallout 3, Final Fantasy XIII, Heavy Rain, and Metal Gear Solid), and how players interact with them, and an in-depth analysis of the results of a national survey on player storytelling preferences in games. You'll get the expert advice you need to generate compelling and original game concepts and narratives.With Interactive Storytelling for Video Games, you'll:
The potential of video games as storytelling media and the deep involvement that players feel when they are part of the story needs to be analysed vis-à-vis other narrative media. This book underscores the importance of video games as narratives and offers a framework for analysing the many-ended stories that often redefine real and virtual lives.
A complete, illustrated history of video games--highlighting the machines, games, and people who have made gaming a worldwide, billion-dollar industry/artform--told in a graphic novel format. Author Jonathan Hennessey and illustrator Jack McGowan present the first full-color, chronological origin story for this hugely successful, omnipresent artform and business. Hennessey provides readers with everything they need to know about video games--from their early beginnings during World War II to the emergence of arcade games in the 1970s to the rise of Nintendo to today's app-based games like Angry Birds and Pokemon Go. Hennessey and McGowan also analyze the evolution of gaming as an artform and its impact on society. Each chapter features spotlights on major players in the development of games and gaming that contains everything that gamers and non-gamers alike need to understand and appreciate this incredible phenomenon.
Beginning with the structural features of design and play, this book explores video games as both compelling examples of story-telling and important cultural artifacts. The author analyzes fundamentals like immersion, world building and player agency and their role in crafting narratives in the Mass Effect series, BioShock, The Last of Us, Fallout 4 and many more. The text-focused "visual novel" genre is discussed as a form of interactive fiction.
UNLOCK YOUR GAME'S NARRATIVE POTENTIAL! With increasingly sophisticated video games being consumed by an enthusiastic and expanding audience, the pressure is on game developers like never before to deliver exciting stories and engaging characters. With Video Game Storytelling, game writer and producer Evan Skolnick provides a comprehensive yet easy-to-follow guide to storytelling basics and how they can be applied at every stage of the development process—by all members of the team. This clear, concise reference pairs relevant examples from top games and other media with a breakdown of the key roles in game development, showing how a team’s shared understanding and application of core storytelling principles can deepen the player experience. Understanding story and why it matters is no longer just for writers or narrative designers. From team leadership to game design and beyond, Skolnick reveals how each member of the development team can do his or her part to help produce gripping, truly memorable narratives that will enhance gameplay and bring today’s savvy gamers back time and time again.
The evolution of story-telling is as old as the human race; from the beginning, when our ancestors first gathered around a campfire to share wondrous tales through oral traditions, to today, with information and stories being shared through waves and filling screens with words and images. Stories have always surrounded us, and united us in ways other disciplines can't. Storytelling for Interactive Digital Media and Video Games lays out the construct of the story, and how it can be manipulated by the storyteller through sound, video, lighting, graphics, and color. This book is the perfect guide to aspiring storytellers as it illustrates the different manner of how and why stories are told, and how to make them "interactive." Storytelling features heavy game development as a method of storytelling and delivery, and how to develop compelling plots, characters, settings, and actions inside a game. The concept of digital storytelling will be explored, and how this differs from previous incarnations of mediums for stories Key Features: Explores the necessary elements of a story (setting, character, events, sequence, and perspective) and how they affect the viewer of the story Discusses media and its role in storytelling, including images, art, sound, video, and animation Explores the effect of interactivity on the story, such as contest TV, web-based storytelling, kiosks, and games Shows the different types of story themes in gaming and how they are interwoven Describes how to make games engaging and rewarding intrinsically and extrinsically
The rich programme of ICIDS 2009, comprising invited talks, technical pres- tations and posters, demonstrations, and co-located post-conference workshops clearly underscores the event’s status as premier international meeting in the domain. It thereby con?rms the decision taken by the Constituting Committee of the conference series to take the step forward: out of the national cocoons of its precursors, ICVS and TIDSE, and towards an itinerant platform re?ecting its global constituency. This move re?ects the desire and the will to take on the challenge to stay on the lookout, critically re?ect upon and integrate views and ideas,?ndingsandexperiences,andtopromoteinterdisciplinaryexchange,while ensuring overall coherence and maintaining a sense of direction. This is a signi?cant enterprise: The challenges sought are multifarious and must be addressed consistently at all levels. The desire to involve all research communitiesandstakeholdersmustbematchedbyacknowledgingthedi?erences in established practises and by providing suitable means of guidance and int- duction, exposition and direct interaction at the event itself and of lasting (and increasingly:living) documentation, of which the present proceedings are but an important part.
From their inception, video games quickly became a major new arena of popular entertainment. Beginning with very primitive games, they quickly evolved into interactive animated works, many of which now approach film in terms of their visual excitement. But there are important differences, as Arthur Asa Berger makes clear in this important new work. Films are purely to be viewed, but video involves the player, moving from empathy to immersion, from being spectators to being actively involved in texts. Berger, a renowned scholar of popular culture, explores the cultural significance of the expanding popularity and sophistication of video games and considers the biological and psychoanalytic aspects of this phenomenon. Berger begins by tracing the evolution of video games from simple games like Pong to new, powerfully involving and complex ones like Myst and Half-Life. He notes how this evolution has built the video industry, which includes the hardware (game-playing consoles) and the software (the games themselves), to revenues comparable to the American film industry. Building on this comparison, Berger focuses on action-adventure games which, like film and fiction, tell stories but which also involve culturally important departures in the conventions of narrative. After defining a set of bipolar oppositions between print and electronic narratives, Berger considers the question of whether video games are truly interactive or only superficially so, and whether they have the potential to replace print narratives in the culture at large. A unique dimension of the book is its bio-psycho-social analysis of the video game phenomenon. Berger considers the impact of these games on their players, from physical changes (everything from neurological problems to obesity) to psychological consequences, with reference to violence and sexual attitudes. He takes these questions further by examining three enormously popular games-Myst/Riven, Tomb Raider, and Half-Life-for their attitudes toward power, gender, violence, and guilt. In his conclusion, Berger concentrates on the role of violence in video games and whether they generate a sense of alienation in certain addicted players who become estranged from family and friends. Accessibly written and broad-ranging in approach, Video Games offers a way to interpret a major popular phenomenon. Arthur Asa Berger is professor of broadcast and electronic communication arts at San Francisco State University, where he has taught since 1965. He is the author of more than one hundred articles and forty books on media, popular culture, humor, and everyday life.
