Acknowledgments |
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xv | |
Glossary |
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xvii | |
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Chapter 1 in Less Than 10 Years |
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1 | (2) |
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3 | (4) |
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Section I Visual Novels and the VN Audience |
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Chapter 2 Choice-Based Games and Visual Novels |
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7 | (8) |
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What Are Choice-Based Games? |
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7 | (1) |
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8 | (2) |
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The Rise Of Visual Novels |
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10 | (1) |
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A Brief History Of Visual Novels |
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11 | (1) |
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11 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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The Versatility Of Visual Novels |
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12 | (1) |
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13 | (2) |
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Chapter 3 Visual Novel Genres and Platforms |
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15 | (10) |
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15 | (1) |
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Hybrid/Games With Vn Elements |
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16 | (1) |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (1) |
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19 | (1) |
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19 | (1) |
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20 | (1) |
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21 | (1) |
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22 | (3) |
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Chapter 4 The Visual Novel Audience |
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25 | (12) |
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25 | (1) |
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The Role Of Metagaming In The Player's Experience |
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26 | (1) |
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Getting All of the Endings |
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27 | (3) |
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Figuring Out Who the Lis Are |
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30 | (2) |
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Perceptions Of The Writing And Writer |
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32 | (1) |
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Nontraditional Ways Players Interact With Vns |
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33 | (1) |
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34 | (1) |
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34 | (3) |
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Section II Designing and Writing Visual Novels |
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Chapter 5 The Story Delivery of Visual Novels |
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37 | (8) |
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37 | (2) |
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39 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (1) |
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41 | (1) |
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Background Art (Environmental Art) |
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42 | (1) |
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42 | (1) |
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Sound Design And Soundtrack |
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43 | (1) |
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43 | (1) |
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43 | (2) |
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Chapter 6 The "Novel" Part of "Visual Novel" |
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45 | (1) |
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Prose Fiction Conventions |
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45 | (1) |
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46 | (1) |
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The Role Of Character-As-Narrator |
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47 | (1) |
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48 | (1) |
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Scene Setting And Atmosphere |
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48 | (4) |
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52 | (2) |
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Sensory Details, Subtext, And Engaging The Player's Imagination |
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54 | (1) |
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Characteristics Of "Okay" Writing |
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54 | (2) |
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56 | (1) |
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Invite Players To Use Their Imaginations |
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57 | (1) |
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Sensory Details In Interactive Stories |
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58 | (1) |
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Sensory Details Engage The Player's Imagination |
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59 | (1) |
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Beyond Sight: All Five Senses |
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60 | (1) |
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Beyond Adjectives And Nouns: Sensory Parts Of Speech |
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60 | (2) |
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The Importance Of Word Choice |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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64 | (1) |
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Chapter 7 Designing Branching Narratives: Choices, Variables, And Relationships |
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65 | (24) |
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Branching Narrative Structures |
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66 | (1) |
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Branching Structures With Fewer Endings |
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66 | (4) |
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70 | (2) |
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72 | (2) |
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74 | (1) |
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Keeping Track Of Variables And Branching |
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75 | (2) |
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Designing Multiple Endings |
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77 | (3) |
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"True `V' Good" And "Bad" Endings |
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80 | (1) |
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81 | (1) |
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Hatoful boyfriends Hidden Lore |
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82 | (1) |
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LIs' And Other Characters' Endings |
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83 | (1) |
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Outlining The Story: Some Techniques |
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84 | (2) |
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86 | (1) |
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86 | (3) |
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Chapter 8 Choice And Consequence Design: Actions And Reactions |
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89 | (14) |
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89 | (1) |
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Types Of Choices To Avoid Or To Use Sparingly |
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90 | (2) |
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92 | (2) |
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Branching Narrative And Consequences |
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94 | (1) |
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95 | (1) |
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Why Consequences Are Important |
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95 | (1) |
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Consequences And The World |
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95 | (1) |
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Major Vs. Minor Consequences |
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96 | (1) |
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Npc Reactions To Consequences |
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97 | (1) |
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97 | (1) |
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98 | (1) |
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99 | (1) |
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How Will The Player Experience Consequences? |
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99 | (1) |
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100 | (1) |
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101 | (2) |
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Chapter 9 Character Development And Routes: Writing Mcs And Npcs |
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103 | (34) |
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103 | (1) |
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104 | (1) |
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105 | (1) |
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The Main Character And Types Of Mcs |
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106 | (1) |
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106 | (2) |
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108 | (1) |
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What Is Each Mc's Relationship To The Player? |
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109 | (2) |
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Switching Mcs And Changing Perspectives |
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111 | (1) |
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How Do The Mcs' Stories Come Together? |
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111 | (1) |
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112 | (1) |
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The Mc's Relationships With Npcs |
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112 | (1) |
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Npc Relationships With Each Other |
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113 | (3) |
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Character Development And Character Routes |
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116 | (1) |
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117 | (2) |
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Npcs And Character Development |
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119 | (1) |
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119 | (2) |
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Locking Into Character Routes |
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121 | (4) |
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Character Development Along Multiple Branches |
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125 | (3) |
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128 | (2) |
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130 | (1) |
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"Hard To Get" And Difficult Lis |
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130 | (3) |
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Keeping Your Writing Unbiased |
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133 | (2) |
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135 | (1) |
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136 | (1) |
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Chapter 10 Dialogue In Visual Novels And Choice-Based Games: Choose Your Words Carefully |
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137 | (22) |
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Dialogue Is Always Functional |
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138 | (1) |
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Dialogue Choices And Dialogue Trees |
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139 | (1) |
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Dialogue Choices And The Mc's Personality |
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139 | (2) |
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Mc Character Development And Characterization |
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141 | (2) |
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Npc Character Development |
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143 | (2) |
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145 | (3) |
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Writing And Presenting Dialogue |
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148 | (1) |
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148 | (1) |
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149 | (2) |
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151 | (2) |
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153 | (1) |
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Dialogue and Emphasizing Information |
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153 | (1) |
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154 | (3) |
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157 | (1) |
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157 | (2) |
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Chapter 11 Writing for VN and Other Choice-Based Apps |
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159 | (18) |
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When You Write The Outline |
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160 | (1) |
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Working From An Existing Outline |
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161 | (1) |
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Fleshing Out An Existing Outline |
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162 | (1) |
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Designing Characters And Locations |
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163 | (1) |
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Designing Premium Content |
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163 | (1) |
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163 | (8) |
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171 | (1) |
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172 | (1) |
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172 | (2) |
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174 | (1) |
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175 | (1) |
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176 | (1) |
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Chapter 12 Developing Your Own Visual Novels And Choice-Based Games: A Quick Guide |
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177 | (32) |
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Sources Of Inspiration And Communicating Your Vision |
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178 | (1) |
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178 | (1) |
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178 | (1) |
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179 | (1) |
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179 | (1) |
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179 | (1) |
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180 | (2) |
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Camera Angles And Character Positions |
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182 | (2) |
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184 | (2) |
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186 | (1) |
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186 | (1) |
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Locations And Background Art |
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187 | (1) |
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187 | (3) |
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Associating Characters and Scenarios with Locations |
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190 | (1) |
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191 | (3) |
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194 | (2) |
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196 | (2) |
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198 | (2) |
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200 | (3) |
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203 | (2) |
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205 | (1) |
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205 | (1) |
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Limited Assets Aren't A Limitation |
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206 | (1) |
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207 | (1) |
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207 | (2) |
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Chapter 13 Resources, Planning, and Processes |
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209 | (16) |
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210 | (1) |
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210 | (1) |
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210 | (1) |
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211 | (1) |
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Scripting Languages And Story Engines |
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212 | (1) |
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212 | (1) |
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213 | (1) |
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214 | (1) |
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215 | (1) |
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Brainstorming and Outlining |
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215 | (3) |
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Designing When Players Unlock Content |
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218 | (1) |
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219 | (1) |
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219 | (1) |
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Sticky Notes and Paper Connected by String |
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220 | (1) |
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220 | (2) |
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Designing Flowcharts and Wireframes |
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222 | (1) |
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222 | (1) |
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222 | (1) |
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Some Final Words Of Encouragement |
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222 | (1) |
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223 | (2) |
Index |
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225 | |