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El. knyga: Storytelling for Interactive Digital Media and Video Games

2.33/5 (5 ratings by Goodreads)
(Northern Kentucky University, Highland Heights, USA)
  • Formatas: 296 pages
  • Išleidimo metai: 07-Apr-2017
  • Leidėjas: Productivity Press
  • Kalba: eng
  • ISBN-13: 9781315354477
Kitos knygos pagal šią temą:
Storytelling for Interactive Digital Media and Video GamesDidesnis paveikslėlis
  • Formatas: 296 pages
  • Išleidimo metai: 07-Apr-2017
  • Leidėjas: Productivity Press
  • Kalba: eng
  • ISBN-13: 9781315354477
Kitos knygos pagal šią temą:

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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
Author xv
Section I: Story Fundamentals
Chapter 1 What Is a Story? Fundamental Components of the Story
3(26)
1.1 Becoming The Storyteller
5(1)
1.2 What Is A Story? Fundamental Components
6(1)
1.3 Primary Components
7(16)
1.3.1 Characters
7(7)
1.3.1.1 Has Emotions and Feelings
9(1)
1.3.1.2 Has a Method of Communication
10(1)
1.3.1.3 Limbs/Method of Locomotion
10(1)
1.3.1.4 Clothes, Accessories, Hair, Facial Features
10(3)
1.3.1.5 The Voodoo Principle
13(1)
1.3.2 Narrative
14(1)
1.3.3 Perspective
15(5)
1.3.3.1 First-Person and Third-Person Singular Perspectives
16(1)
1.3.3.2 Multiple Perspectives
17(1)
1.3.3.3 Revolving Multiple Perspective
17(1)
1.3.3.4 Convergent Multiple Perspective
17(1)
1.3.3.5 Divergent Multiple Perspective
17(2)
1.3.3.6 Parallel Multiple Perspective
19(1)
1.3.3.7 Relay Multiple Perspective
19(1)
1.3.4 Sequence
20(3)
1.4 Secondary Components Of A Story
23(2)
1.4.1 Setting
23(1)
1.4.2 Tone
24(1)
1.5 Tertiary Components
25(3)
1.5.1 Intended Audience
25(3)
Reference
28(1)
Chapter 2 Who's Telling the Story? Teller/Audience Relationship and the Told
29(6)
2.1 Direction Of Input
30(1)
2.2 Height Of Teller
31(2)
2.3 Distance Of Teller
33(2)
Chapter 3 How Do We Tell Stories? Formats of Storytelling
35(16)
3.1 Archaic Forms Of Storytelling
35(6)
3.1.1 Oral Traditions
36(1)
3.1.2 Stage Plays
37(3)
3.1.3 Books and Literature
40(1)
3.2 Postindustrial Formats Of Storytelling
41(3)
3.2.1 Radio
41(1)
3.2.2 Television
42(2)
3.2.2.1 Reality Television
42(2)
3.3 The Information Age Of Storytelling
44(7)
3.3.1 Contest Television
44(3)
3.3.2 Social Fiction
47(1)
3.3.3 Game-Based Storytelling
48(3)
Chapter 4 What Are Stories About? The Content of Stories
51(14)
4.1 The Human Experience
52(5)
4.1.1 Birth
53(1)
4.1.2 Childhood
54(1)
4.1.3 Transformation
54(1)
4.1.4 Strife/War/Journey
55(1)
4.1.5 Love/Sexual Passion
56(1)
4.1.6 Parenthood
56(1)
4.1.7 Death
56(1)
4.2 The Mystical Experience
57(5)
4.2.1 Creation
58(1)
4.2.2 Nature
58(1)
4.2.3 Fate/Influence
59(1)
4.2.4 Purpose and Origin
60(1)
4.2.5 Mystery
60(1)
4.2.6 Explanation of Death
61(1)
4.3 The Learning Experience
62(3)
Chapter 5 Why Do We Tell Stories? Functional Storytelling
65(14)
5.1 Behavior Modification
65(8)
5.1.1 Choosing Something
66(2)
5.1.2 Buy Something
68(2)
5.1.3 Do Something
70(1)
5.1.4 Preventing Something
70(2)
5.1.5 Change Opinion
72(1)
5.2 Entertainment
73(3)
5.2.1 Reward Systems
74(1)
5.2.2 Catharsis
74(2)
5.3 Learning/Education
76(3)
Chapter 6 Activities for Storytellers
79(6)
6.1 Activity 1: Functional Storytelling
79(2)
6.1.1 Behavior Modification Task 1: Choosing a Product
80(1)
6.1.2 Behavior Modification Task 2: Changing Opinion
81(1)
6.1.3 Behavior Modification Task 3: Negative Influence
81(1)
6.2 Activity 2: Episodic Digital Storytelling
81(2)
6.3 Activity 3: Interactive Educational Storytelling
83(8)
6.3.1 Lesson 1: Prudence
83(1)
6.3.2 Lesson 2: Honesty
83(2)
Chapter 7 Conclusion
85(6)
Section II: Media
Chapter 8 The Still Image
91(34)
8.1 Defining The Image
95(11)
8.1.1 History of Images
96(3)
8.1.2 Portability
99(1)
8.1.3 Accessibility
99(3)
8.1.4 Subject Matter
102(1)
8.1.5 Medium
102(1)
8.1.6 Level of Realism
102(4)
8.2 Image Forms Through The Ages
106(7)
8.2.1 Cave Paintings
106(1)
8.2.2 Portable Sculpture
107(1)
8.2.2.1 Pottery
107(1)
8.2.2.2 Coins
107(1)
8.2.2.3 Rock Carvings
108(1)
8.2.3 Statues
108(1)
8.2.4 Paintings
108(2)
8.2.5 Tapestries
110(1)
8.2.6 Reliefs/Frescoes
111(1)
8.2.7 Printing Press/Woodcuts
111(1)
8.2.8 Photographs
112(1)
8.2.9 Digital Media
113(1)
8.3 Components Of The Still Image (Breaking Down The Still Image)
113(8)
8.3.1 Subject
114(1)
8.3.2 Shading
114(1)
8.3.3 Color
114(4)
8.3.3.1 Common Color Combinations
117(1)
8.3.3.2 Unnatural/Emissive Color Tones
118(1)
8.3.4 Composition
118(3)
8.4 Targeted Image Analysis
121(4)
Chapter 9 The Moving Image
125(18)
9.1 Animation
125(9)
9.1.1 Exaggeration
127(1)
9.1.2 Squash and Stretch
128(1)
9.1.3 Anticipation
129(1)
9.1.4 Constant Movement
130(1)
9.1.5 Three-Dimensional Animation
131(3)
9.2 Digital Media Devices
134(6)
9.2.1 Film
135(2)
9.2.2 Television
137(2)
9.2.3 Streaming Content
139(1)
9.3 Movement, Time, And Effect
140(3)
Chapter 10 Memes and Symbols
143(8)
10.1 Memes
148(2)
Reference
150(1)
Chapter 11 Audio
151(16)
11.1 To Sound Or Not To Sound
152(1)
11.2 Podcasts
153(2)
11.3 Types Of Audio
155(11)
11.3.1 The Human Voice
155(4)
11.3.2 Sound Effects
159(2)
11.3.2.1 Ambient Sound
160(1)
11.3.3 Music
161(15)
11.3.3.1 Rhythm/Tempo
163(1)
11.3.3.2 Melody
164(1)
11.3.3.3 Voicing
165(1)
11.3.3.4 Key
166(1)
References
166(1)
Chapter 12 Exercises
167(4)
12.1 Exercise 1: Telling Stories Through Drawings
167(1)
12.2 Exercise 2: Telling Stories With Audio
168(3)
Chapter 13 Conclusion
171(4)
Section III: Interactivity
Chapter 14 Interaction Basics
175(8)
14.1 Introduction
175(1)
14.2 Attributes Of Interactivity
176(7)
14.2.1 Level of Control
176(3)
14.2.2 Synchronicity
179(2)
14.2.3 Collectivity
181(2)
Chapter 15 Interactive Media Types
183(14)
15.1 Kiosks
183(2)
15.2 Web
185(12)
15.2.1 Second-Screen Content
186(1)
15.2.2 Comics
187(1)
15.2.3 Tube Episodes
187(2)
15.2.4 Social Fiction
189(11)
15.2.4.1 Adver-Content
191(2)
15.2.4.2 Podcasts
193(1)
15.2.4.3 Wearable Tech
194(3)
Chapter 16 Games
197(22)
16.1 Objective
198(1)
16.2 Rules
199(1)
16.3 Reward Systems
200(8)
16.3.1 Extrinsic vs Intrinsic
201(1)
16.3.2 Collection
202(1)
16.3.3 Achievement
202(1)
16.3.4 Catharsis
202(2)
16.3.5 Competition
204(1)
16.3.6 Role-Playing
205(1)
16.3.7 Discovery
206(1)
16.3.8 Social Interaction
207(1)
16.4 Characters
208(5)
16.4.1 Archetypes
208(1)
16.4.2 Hero
209(1)
16.4.3 Villain
209(1)
16.4.4 Victim
210(2)
16.4.5 Mercenary
212(1)
16.4.6 Reluctant Hero
213(1)
16.4.7 Tortured Villain
213(1)
16.5 Obstacles
213(3)
16.5.1 Puzzle Obstacles
214(1)
16.5.2 Nonplayer Character Obstacles
214(1)
16.5.3 Human Player Obstacles
215(1)
16.5.4 Environmental Obstacles
215(1)
16.5.5 Dependency Obstacles
216(1)
16.6 Environments
216(1)
16.7 Objects/Vehicles/Weapons
217(2)
Chapter 17 Stories and Games
219(38)
17.1 Designing Stories For Games
221(1)
17.2 Genres Of Gameplay
222(6)
17.2.1 First-Person Shooters
222(1)
17.2.2 Third-Person Action
223(1)
17.2.3 Head-to-Head Fighting
224(1)
17.2.4 Sports/Racing
224(2)
17.2.5 Platformer
226(1)
17.2.6 Sandbox
227(1)
17.2.7 MMORPG
227(1)
17.3 Gamestory Interaction Modes
228(8)
17.3.1 Parallel
229(1)
17.3.2 Branching
229(3)
17.3.3 Open
232(1)
17.3.4 Scattered
233(1)
17.3.5 Threaded
234(1)
17.3.6 Converging
235(1)
17.4 Story Modes For Games
236(4)
17.4.1 Big Story/Little Story
236(1)
17.4.2 The War Narrative
236(1)
17.4.3 The Quest Narrative
237(1)
17.4.4 Survival Narrative
237(1)
17.4.5 Mystery Narrative
238(1)
17.4.6 Cop/Criminal Narrative
238(1)
17.4.7 The Hunting Narrative
239(1)
17.5 Writing The Gamestory
240(4)
17.5.1 Character Cards
240(1)
17.5.2 Narrative Cards
241(1)
17.5.3 Objective Cards
242(1)
17.5.4 Obstacles Cards
243(1)
17.5.5 Environment Cards
244(1)
17.6 Designing The Player Experience
244(3)
17.7 Essential Gamestory Player Experience Elements
247(10)
17.7.1 Entry
247(1)
17.7.2 Objectives
247(1)
17.7.3 Dependencies
247(1)
17.7.4 Narrative Interaction
248(1)
17.7.5 Non-player Characters
248(1)
17.7.6 Maps
249(1)
17.7.7 Objects/Weapons/Vehicles
249(3)
17.7.8 Time Flow
252(2)
17.7.9 AI
254(2)
17.7.10 Persistence
256(1)
Chapter 18 Activities
257(6)
18.1 Writing The Synopsis
257(1)
18.1.1 Synopsis: Tomar's Quest
258(1)
18.2 Building The Elements
258(3)
18.3 Gamestory Design Flowchart
261(2)
Chapter 19 Conclusion
263(4)
Index 267
Nicholas B. Zeman is an assistant professor in media informatics at Northern Kentucky University.
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