Dramatic storytelling & narrative design: a writer's guide to video games and transmedia
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Boca Raton
CRC Press, Taylor and Francis Group
2025
|
| Ausgabe: | 2nd edition |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035229432&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | xxviii, 232 Seiten |
| ISBN: | 9781032571621 9781032571614 |
Internformat
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Datensatz im Suchindex
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Contents Preface, xv Acknowledgments, xvii Author Biography, xix Introduction xxi xxiii Glossary TERMS xxiii DISTINCTIONS xxvi Chapter 1 ■ Orientation 1 COMING OUT OF OBSCURITY 1 WHO THIS BOOK IS FOR 4 The Student 5 The Writer from Another Field 5 The Entertainment Executive 6 Game Designer 6 Game Producer 7 Technologist in Media 7 Content Designer for Artificial Intelligence 8 Warning for Career Changers 8 WHAT THIS BOOK IS NOT REFERENCES 9 10 vii
viii ■ Contents Chapter 2 Definitions and Distinctions ■ 12 WHAT IS NARRATIVE DESIGN? 12 WRITING FOR GAMES VS. TRADITIONAL MEDIA: WHAT'S THE DIFFERENCE? 14 Prime Objective: Addiction 15 NARRATIVE DESIGNER VS. GAME WRITER: WHAT'S THE 17 DIFFERENCE? Barks 17 What’s in a Name? 19 Chapter 3 Roles and Responsibilities ■ 20 ID THE IP 20 HELP DESIGN THE GOLDEN PATH 22 ESTABLISH STRUCTURE 22 ESTABLISH CHARACTERS AND WORLDS 23 IDENTIFY STORY MECHANISMS AND DEVISE THEIR RULESETS 23 PLAN AND MANAGE THE CONTENT 28 REINFORCE THE THEME 30 WRITE, REVISE, AND POLISH THE CONTENT 31 ASSIST IN THE LOCALIZATION OF THE WRITTEN AND SPOKEN CONTENT · 32 DIRECT VOICE-OVER SESSIONS AND FILMED CONTENT 33 Voice-Over 33 Filmed Content 34 OTHER 36 REFERENCES 37 Chapter 4 « Game Writing at the Ground Level 38 EXAMPLE SPREADSHEET FOR NARRATIVE CONTENT 38 ASSET ID 40
Contents ■ ix CATEGORY 41 CHARACTER 41 LINE 41 CHARACTER COUNT 42 NOTES 43 PIPELINE 43 Chapter 5 ■ Conflict THE ENGINE OF A STORY 45 45 Conflict in the Home World 46 Conflict in the New World 47 Conflict vs. Evil Atmosphere 50 Conflict and Tragic Mistake 51 The Lurking Menace 52 IN CONCLUSION 54 REFERENCES 55 Chapter 6 ■ Character and World THE PROTAGONIST 56 56 MAKING A PROTAGONIST WHOM PEOPLE WANT TO PLAYAS 58 Professional Goal vs. Personal Goal 58 Personal Priorities 61 Avoiding Swappable Protagonists 62 Collision of Priorities 67 PROTAGONIST SURVEY 67 THE ANTAGONIST 68 Unity of Opposites 71 A Note about Hannibal Lecter 71 ARCHETYPES AND STOCK CHARACTERS 72 DIALOGUE 75 WORLD AS CHARACTER 79
X ■ Contents CHARACTER AND WORLD RULESETS 82 REFERENCES 86 Chapter 7 ■ Structure 87 WHAT IS STRUCTURE AND WHY IS IT IMPORTANT? 87 WHERE GAMES FAIL 87 MAIN STRUCTURAL BEATS 88 Act 1 88 Act 2 89 Act 3 92 DRAMATIC ESCALATION WARNINGS 95 Premature Character Introduction 95 Long Missions with No Narrative Interspersed 96 Arbitrary Bells and Whistles 96 DIFFERENT LENGTHS OF THE ACTS 97 REFERENCES 99 CHAPTER 8 ■ Other Storytelling Methods for Games OTHER STORYTELLING METHODS 100 100 Episodic Storytelling 100 Open World Incentivizing 101 Lore Discovery 101 Kishotenketsu 102 Pixar Storytelling Method 103 FRICTION LESS NARRATIVE 105 REFERENCES 109 Chapter 9 ■ Meaningful Choice, Branching Narrative, and Downstream Effects 110 BREAKING IT ALL DOWN 110
Contents ■ xi ■ Chapter 10 Analysis of Narrative in Contemporary Games 121 WHAT ARE THE CRITERIA OF WELL-TOLD NARRATIVE IN GAMES? AM I EMOTIONALLY INVESTED? 121 122 WHY DO GAMES STRUGGLE AT TELLING EMOTIONAL STORIES? 123 GAME NARRATIVE BREAKDOWN EXAMPLES 124 NBA2K16 124 Premise 125 In a Nutshell 125 Main Characters 125 Key Story Beats 126 Act 1 126 Act 2 127 Act3 129 Positives of the Narrative 131 Negatives of the Narrative 131 In Conclusion 133 THE LAST OF US (2013) 133 Premise 133 In a Nutshell 134 Main Characters 134 Key Story Beats 135 Act 1 135 Act 2 136 Act 3 140 Positives of the Narrative 142 Negatives of the Narrative 143 In Conclusion 143
xii ■ Contents ADDENDUM: THE LAST OF US HBO SERIES (2023) 144 Visual Limitations of the Game Medium 145 Ingredients for a Successful Adaptation 146 148 REFERENCES Chapter 11 Breaking In ■ ENTRY POINTS 149 149 Attitude 151 Familiarity 152 Larger Perspective than Games 153 IF YOU COME FROM ANOTHER MEDIUM, WHAT SHOULD YOU EXPECT? 156 REFERENCE Chapter 12 ■ 154 Rules and Tools for Success 157 FLEXIBILITY 158 BRAINSTORMING SESSIONS 159 ROBUST DOCUMENTATION 160 Story Bible 160 Crucial Component to Story Bible: Visual Structure 161 Other Components to a Story Bible 163 Tone Document 163 One-Pager 164 Elevator Pitch 164 Character Bios and Sample Dialogue 165 Genre and Platform 166 Backstory of the World 166 THE SOFTWARE TOOLS 166 For the Basics 166 For Productivity and Visibility 167 For Brainstorming and Presenting 168 REFERENCE 169
Contents ■ xiii Chapter 13 ■ The Future of Interactive Storytelling THE FUTURE PLAYER Player as a Disruptive Force 1 70 170 172 Seeing through the Smoke and Mirrors of Silicon Valley Players Have More Power than Ever Before The Future of Story 172 173 174 Story Redefined by TikTok? 175 Lore Discovery 176 OTHER DISRUPTIVE FORCES TO GAME NARRATIVE 1 77 Interactive Television as Games? 177 The Rise of eSports 178 Artificial Intelligence 179 Narrative Game Development 180 Taking a Stand 181 FUTURE JOB REQUIREMENTS OF A NARRATIVE DESIGNER 182 Adopting Technical Skills 182 Creating a Narrative Tool-Set 183 IN SUM 185 REFERENCES 186 Chapter 14 ■ Transmedia 190 THE CHANGING MEDIA LANDSCAPE 190 TRANSMEDIA AT ITS MOST BASIC LEVEL 192 Relationship with New Technology 193 When Bigger Budgets Prevail 195 Why Are Video Games a Natural Fit for Transmedia? 196 Competitive Edge 198 Early Adopters 201 Greatest Transmedia Campaign Ever? 202
xiv ■ Contents THE BASICS 203 THE PURPOSE 206 TWO KINDS OF TRANSMEDIA EXPERIENCES 208 A Pure, Singular Story Experience aka Unified Story Experience 209 Fractured Story Experience 210 Sacrificial Lambs 212 MEDIA RELEASE STRATEGIES 212 FINAL THOUGHTS ON TRANSMEDIA 215 REFERENCES 217 Chapter 15 ■ College and University Programs LIST OF UNIVERSITIES FOR GAME DEVELOPMENT INDEX, 225 219 219 |
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| spelling | Berger, Ross Verfasser (DE-588)1211042863 aut Dramatic storytelling & narrative design a writer's guide to video games and transmedia by Ross Berger 2nd edition Boca Raton CRC Press, Taylor and Francis Group 2025 xxviii, 232 Seiten txt rdacontent n rdamedia nc rdacarrier Erzählen (DE-588)4132307-5 gnd rswk-swf Computerspiel (DE-588)4010457-6 gnd rswk-swf Narrativ Grammatik (DE-588)4348885-7 gnd rswk-swf Computerspiel (DE-588)4010457-6 s Narrativ Grammatik (DE-588)4348885-7 s Erzählen (DE-588)4132307-5 s DE-604 Erscheint auch als Online-Ausgabe 978-1-003-43811-3 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035229432&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Dramatic storytelling & narrative design a writer's guide to video games and transmedia |
| title_auth | Dramatic storytelling & narrative design a writer's guide to video games and transmedia |
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| title_sort | dramatic storytelling narrative design a writer s guide to video games and transmedia |
| title_sub | a writer's guide to video games and transmedia |
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