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1 Introduction: Stories Across Media |
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1 | (10) |
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1.1 From There to Here: The Beginning of Interactive Stories |
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1 | (1) |
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1.2 Stories and Communicating |
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2 | (2) |
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4 | (3) |
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7 | (4) |
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Part I From Gags to Stories |
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2 Early Animation: Gags and Situations |
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11 | (12) |
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2.1 Life Experience, Joy of Entertainment, Love of Drawing |
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11 | (2) |
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13 | (1) |
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2.3 Getting into the Business of Animation |
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13 | (3) |
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16 | (1) |
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2.5 Production and Story Techniques |
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17 | (3) |
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20 | (3) |
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3 From Gags to Characters |
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23 | (10) |
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3.1 A New Animated Experience for the Audience |
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23 | (3) |
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3.2 Renewed Focus on Animation |
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26 | (3) |
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3.3 Creating a Character with Personality |
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29 | (2) |
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3.4 Progress: 1923 to 1928: 57 Alice's Adventures Shorts Followed by 26 Oswald Shorts |
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31 | (2) |
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4 Synchronizing Sound and Character |
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33 | (10) |
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4.1 From Silent to Talkie |
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33 | (2) |
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4.2 Inventing Sound Production |
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35 | (2) |
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4.3 Strategies to Build Character |
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37 | (3) |
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4.4 Silly Symphonies: Setting Animation to Music |
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40 | (1) |
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4.5 Commitment to Improvement |
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41 | (1) |
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42 | (1) |
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5 Drawing and Color: The Language of Realism |
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43 | (10) |
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5.1 Pencil Tests and Overlapping Action |
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43 | (2) |
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45 | (2) |
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47 | (1) |
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5.4 The Language of Color |
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48 | (4) |
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5.5 Drawing, Color, and Story |
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52 | (1) |
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6 Capturing Life in Animated Film |
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53 | (10) |
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6.1 Creating Believable Personalities |
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53 | (2) |
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6.2 The Challenge of Snow White |
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55 | (3) |
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58 | (1) |
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59 | (2) |
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61 | (2) |
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7 Learning to Navigate Features |
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63 | (10) |
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64 | (2) |
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7.2 From The Concert Feature to Fantasia |
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66 | (2) |
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68 | (2) |
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70 | (1) |
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71 | (2) |
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8 Live Action and Animation Hybrids |
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73 | (12) |
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8.1 Live Action Animation |
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73 | (1) |
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8.2 Package Films: Silly Symphonies' Successors |
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74 | (1) |
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75 | (2) |
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77 | (2) |
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79 | (1) |
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80 | (3) |
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8.7 Who Framed Roger Rabbit |
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83 | (2) |
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9 CAPS, CGI and the Movies |
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85 | (26) |
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9.1 From Hand-Painted Cels and Multi-plane Cameras to CAPS |
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85 | (1) |
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9.2 The Road to CAPS and CGI |
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86 | (1) |
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87 | (3) |
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90 | (3) |
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93 | (2) |
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9.6 Computers Are People Too |
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95 | (1) |
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9.7 Where the Wild Things Are |
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96 | (1) |
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9.8 Black Cauldron and The Great Mouse Detective |
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96 | (2) |
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98 | (1) |
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99 | (1) |
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9.11 Connecting with Pixar |
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100 | (2) |
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9.12 Toy Story, Disney's Digital Leap |
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102 | (3) |
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9.13 After Toy Story: New Lighting Technology |
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105 | (1) |
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106 | (1) |
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9.15 Live Action, Photorealistic Remakes |
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107 | (1) |
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9.16 Going On to Walt's Master Narrative |
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108 | (3) |
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Part II From Watching to Experiencing Across Media |
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10 Creating the Disney Master Narrative |
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111 | (12) |
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10.1 Establishing a Cultural Icon Within Popular Culture |
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111 | (2) |
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10.2 The Disney Master Narrative and Popular Culture |
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113 | (3) |
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113 | (1) |
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114 | (2) |
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10.3 The Original Mickey Mouse Club |
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116 | (7) |
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10.3.1 Radio? An Advertising But Not Story Medium for Mickey |
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120 | (1) |
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121 | (2) |
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11 Engaging Audiences Across Media |
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123 | (16) |
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123 | (1) |
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124 | (1) |
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125 | (3) |
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11.4 A Little Pop-Up History |
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128 | (2) |
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130 | (1) |
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11.6 The Disneyland Stories |
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131 | (1) |
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11.7 Preliminary Story Planning |
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132 | (1) |
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133 | (6) |
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Part III From Interacting to Creating and Sharing |
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12 Animated Storybooks and Activity Centers |
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139 | (8) |
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12.1 Arcade Game to Story Game |
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139 | (2) |
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12.2 "A Story Waiting for You to Make it Happen": The Synergy of Story and Game Technology |
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141 | (1) |
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142 | (5) |
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13 Going Online: A Personal Theme Park |
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147 | (8) |
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13.1 Taking Disney's World Online |
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147 | (3) |
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13.2 A Range of Engaging Activities Within a Disney World |
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150 | (4) |
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13.3 Reaching Wider Audiences with New Forms |
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154 | (1) |
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14 Development Cycle: Games |
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155 | (18) |
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14.1 The Disney Online Development Process |
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155 | (3) |
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14.2 Prototyping: A Narrative Game |
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158 | (1) |
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14.3 Story Supports Game Activities |
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158 | (2) |
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14.3.1 P.I. Mickey Storyboards 1--8 |
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159 | (1) |
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160 | (1) |
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160 | (3) |
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163 | (1) |
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163 | (4) |
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14.7 Squeak: An Interview with Alan Kay |
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167 | (1) |
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168 | (2) |
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170 | (3) |
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15 Development Cycle: Quality and Feedback |
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173 | (10) |
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15.1 Developing a Community-Based Musical Activity |
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173 | (2) |
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15.2 Quality Assurance and Software Testing |
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175 | (4) |
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15.3 Focus Groups and Guest Feedback |
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179 | (3) |
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182 | (1) |
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16 MMORPGs: Player-to-Player Interaction |
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183 | (16) |
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183 | (1) |
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16.2 Chat Studio: The First Disney Virtual Community |
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184 | (1) |
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16.3 Multiplayer Jabber Flash Games |
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185 | (2) |
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16.4 Massive Multiplayer Online Games (MMOGs) |
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187 | (4) |
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190 | (1) |
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16.5 Toontown's Backstory |
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191 | (1) |
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192 | (1) |
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16.7 Safe and Friendly Socializing |
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192 | (2) |
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16.8 Collecting and Cooperating to Save Toontown |
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194 | (1) |
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16.9 Panda: The Little Engine that Could |
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194 | (1) |
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16.10 Toontown Online: A Work in Progress |
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195 | (4) |
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17 Online Worlds and Cross-Media Engagement |
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199 | (1) |
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17.1 Online Theme Park: Pirates of the Caribbean |
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199 | (3) |
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17.2 Pirates Story and Gameplay |
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202 | (1) |
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17.3 Making the Story "Their Own" |
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203 | (3) |
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17.4 Star Wars Cross-Media |
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206 | (2) |
Correction to: Disney Stories |
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1 | (208) |
Addendum I |
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209 | (4) |
Addendum II |
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213 | (8) |
Bibliography |
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221 | (10) |
Index |
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231 | |