Game writing: narrative skills for videogames
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Boston, Mass.
Charles River Media
2007
|
| Ausgabe: | 1. ed. |
| Schriftenreihe: | Game development series
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XXVII, 308 S. graph. Darst. |
| ISBN: | 1584504900 9781584504900 |
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTRIBUTORS
♦
Ernest Adams
♦
Chris Bateman
♦
Richard Boon
♦
Richard
Dansky
♦
Mary DeMarle
♦
Matt Entin
♦
Stephen Jacobs
♦
Ed Kuehnel
♦
Tim
Langdell
♦
Rhianna Pratchett
♦
Coray
Seifert
♦
James Swallow
♦
Andrew S.Walsh
SUB EDITORS
♦
Neil
Bundy
♦ Sande
Chen
♦
Wendy Despain
♦
Beth A. Dillion
♦
Ahmad Saad
♦
Ben Serviss
GAME WRITING
NARRATIVE SKILLS for VIDEOGAMES
Edited by Chris Bateman
As computer games become more and more like Hollywood productions, the need for
good story lines increases. Research shows that stories are highly valued by game players,
so todays studios and developers need good writers. Creating narrative
—
a traditionally
static form
—
for games is a major challenge. Games are at their heart dynamic, interactive
systems, so they don t follow the guidelines and rules of film or T. V. writing. Game Writing:
Narrative
Skills for Videogames addresses these issues and is the first book written to demystify
this emerging field.Through the insights and experiences of practicing game writers, the
book captures a snapshot of the narrative skills employed in todays game industry.
This unique collection of practical articles provides the foundations to the craft of
game writing. The articles, written by members of the International Game Developer s
Association (IGDA) Game Writers
SIG,
detail aspects of the process from the basics of
narrative and non-linear narrative to writing comedy for games and creating compelling
characters. Throughout the articles there is a strong emphasis on the skills developers and
publishers will expect a game writer to have. The book is suitable for both beginners and
experienced writers, and is a detailed guide to all the techniques of game writing.
This book is an essential read for anyone wishing to get into this exciting field, particularly
for new game writers wanting to hone their skills, and film and T.V. scriptwriters who
want to learn how to transfer their skills to the games industry.
KEY FEATURES
♦
Provides the first complete guide to writing for games
♦
Includes the insights and wisdom of renowned experts in the field of game writing
♦
Provides examples from real games
♦
Covers the basic principles of narrative and how to integrate these into a game project
♦
Builds up to an advanced set of skills including dialogue engine design and stitching
techniques
♦
Created by members of the IGDA s Game Writers Special Interest Group
ABOUT THE EDITOR
Chris Bateman is Managing Director of International Hobo, a specialist company in the field of market-oriented
game design and narrative, and a noted game designer and writer. His games include Discworld
Noir,
Ghost Master
and, Bratz: Rock Angels. He sits on the executive panel of the IGDA Game Writers Special Interest Group, and
is also co-author of
21st
Century Game Design.
ш
m
m
S Contents
Acknowledgments
xv
About the Authors
xvii
Preface
xxv
1
Introduction to Game Narrative
1
Richard
Dansky
Definition of Terms
2
Story
2
Character
3
Setting
3
Backstory
3
Cut Scenes
4
Scripted Events
4
In-Game Artifacts
4
What Is the Purpose of Game Narrative?
5
Immersion
5
Reward
6
Identification
6
What Makes Game Writing Unique?
7
What Are the Basics of Game Writing?
9
Keeping
Gameplay
in the Writing
10
Using the Tools the Game Provides
11
What Are the Tasks Involved?
11
Story
12
Dialogue
12
Supporting Texts
12
Cut Scenes and Scripted Events
12
Other Tasks
13
vi
Contents
Creating
Story
13
Story Arc
13
Pacing
13
Climax
и
Creating Characters
4
Immersion ^
Unique Challenges and Pitfalls
!
7
TheWriterandthe Development Team
! 9
Writer and Producer
19
Writer and Designer
20
Writer and Programmer
20
Writer and Artist
21
The Pragmatics of Game Writing
21
Conclusion
23
2
The Basics of Narrative
25
Stephen Jacobs
Plot
25
Aristotle s Poetics Model
26
Joseph Campbell s Hero s Journey Model
27
Syd
Field s Screenplay Model
30
Bending and Breaking Models
31
Examining Star Wars
32
Character
35
Archetypes
36
Remaining Aristotelian Concepts
39
Theme
39
Diction and Pattern
39
Spectacle
40
Conclusion
41
3
Writing for Games
43
Richard Boon
Game Narrative
43
Contents
VÍ!
Implicit
Narrative
45
Formal
Narrative
46
Interactive
Narrative
46
Interactive Story 47
The Game Writer
47
Narrative Delivery
49
Game
Structure
57
Progress Structure
58
Structuring the Story
61
Player Agency
63
Conclusion: A Suggested Writing Process
67
Property Analysis
67
Story Overview/Story Design
67
Narrative Design
67
Cut Scene Creation
68
Full Design/Level Analysis
68
In-Game Narrative Materials
68
Initial Testing and Checking
69
Dialogue Recording
69
Final Testing and Checking
69
4
Nonlinear Game Narrative
71
Mary DeMarle
Story versus Game
72
Merging Story and Game
74
Leveraging Player Experience
77
Techniques for Embedding Story
80
Eliminate Internal Inconsistencies
80
Identify Storytelling Vehicles
81
Layer in the Details
82
Think Modular
83
Conclusion
84
5
Keeping the Player on Track
85
Chris Bateman
VIU
Contents
Freedom versus Clarity °->
The Spine of the Game and the Golden Path
87
Example: Game Spines 88
Which Path to Signpost? 88
Breadcrumbing: Following the Path
89
Physical Trails of Breadcrumbs
90
Breadcrumbs in Dialogue
91
Options in Dialogue
93
Triggering Events
94
Dead Ends
95
Funneling: Leading Back to the Path
95
The Edge of the World
98
Funneling by Area
99
The Player s Peace of Mind
99
Warning Signs: Proceed with Caution
100
Simple versus Cryptic Language
100
Conclusion
101
Game Characters
103
Andrew S. Walsh
Character versus Icon
103
Purpose and Personality
104
Purpose
105
Personality
108
Types of Character
110
The Protagonist
1
Ю
Antagonists
113
Non-Player Characters
116
Bringing a Character to Life
118
Traits 118
Characteristics
120
Stock Characters
122
Character Sheets and Bibles
122
Maintaining a Character
123
Contents
¡Χ
Characters and the Development Team
125
Game Design
125
Artist
125
Voice Actors and Voice Directors
126
Conclusion
126
7
Cut Scenes and Scripted Events
127
Richard
Dansky
Noninteractive Storytelling
127
Cut Scenes
127
Scripted Events
128
In-Game Artifacts
129
Taking Control from the Player
130
Benefits of Removing Player Control
131
Dangers of Removing Player Control
135
Applications for Noninteractive Sequences
138
Character Development
138
Exposition
139
Helping the Player
140
Depicting Action
140
Writing Manageable Cut Scenes and Scripted Events
141
Knowing Your Resources
142
Cut Scene and Scripted Event Dialogue
143
Useful Techniques
145
Conclusion
147
8
Writing Comedy for Videogames
149
Ed Kuehnel and Matt Entin
Choosing Writers
150
Using TV Writers
150
Using Game Writers
151
In-Between Solutions
152
Making Comedy Games
153
Choosing a Style
153
Contents
154
Choosing a Story
Research
Keeping the Story Simple 156
Infusing Humor
The Authority of the Writer l 58
External Editors 160
Script Reviews 160
Focus Tests 161
Showing Off the Game 162
Tips 162
Working with a Team
* 62
Technical Issues l63
Working Blue 164
Legal Issues !65
Conclusion
165
9
Writing for Licenses
167
James Swallow
IP or Not IP?
168
What Makes a Licensed Title Work?
170
The Voice of the World
172
Beyond the Franchise
176
Jumping Through Hoops
179
The Game as IP
181
Conclusion
183
10
The Needs of the Audience
185
Rhianna Pratchett
Who Is in the Audience?
186
Case Study. Gaming in the United Kingdom
186
The
Mainstreaming
of Gaming
187
Gender and Ethnicity Considerations
189
Gender
189
Ethnicity
191
Accessibility
192
Contents
ΧΙ
Maintaining Hardcore
Interest
192
Attracting New Players
193
Players with Disabilities
194
Meeting Player Expectations
196
How Gamers Evaluate a Game Brand
196
Coherent Worlds
197
Conclusion
199
11
Beware of the Localization
201
Tim
Langdell
Translation Notes
202
Lost in Translation
203
Avoid Concatenation
204
Lip Synch
204
Local Color
205
Cultural Differences
205
Game-Literate Translators
206
The Importance of QA
207
Conclusion
208
12
Adding Magic—The Voice Actors
209
Coray
Seifert
Writing for Voice Actors
209
Writing the Spoken Word
209
Conveying Emotional States
214
Prototype and Iterate
216
Inflections
217
Ham with Care
217
Write for Your Talent
218
Script QA
218
Between Script and Recording
219
Voice Casting
219
Preparing Actors
222
Vocal Warmups
223
Solo versus Group Sessions
226
XÜ Contents
The Recording Session
The Writer and the Recording Session
227
Test Runs 23°
Voice Directors 23°
Keep It Relaxed 231
Multiple Takes 232
Other Technical Considerations
233
After the Session 234
Conclusion
235
13
Interchangeable Dialogue Content
237
Ernest Adams
Case Study: British Rail Announcements
237
Is Stitching Necessary?
239
Shortage of Space
239
Lack of Recording Time
240
Risks of Using Stitching
240
Typographical Conventions in this Chapter
241
Game Events
242
Single-Line Events
242
Events with Multiple Optional Lines
242
Events that Trigger Long Lines
243
Handung
Simultaneous Events
244
Interruptions
244
How to Study the Speech Space of Your Game
245
Commentary
245
Conversations
246
Recording Different Vocal Inflections
247
Declaratives
247
Imperatives
248
Interrogatives 248
Responses
248
Parts of Speech
249
Nouns
249
Articles
253
14
Contents
XII
Adjectives
254
Pronouns
255
Prepositions
255
Don t Stitch Verbs
256
Writing Scripts with Interchangeable Content
257
Recording Scripts
257
Programmer s Scripts
260
Case Study: American Football
261
Town and Team Names
261
Score Numbers
262
Halftime Score Announcement
262
Special Considerations for Stitching
263
Recording Sessions
263
Editing
265
Conclusion
265
Dialogue Engines
267
Chris Bateman
Types of Dialogue Engine
267
Event-Driven Engines
268
Topic-Driven Engines
272
Dialogue Trees
277
Commentary Engines
279
Text-Only Engines
284
Dynamic Elements
284
Conditions and Flags
285
Cases and States
288
Inserting Text Strings
289
Conclusion
290
Glossary
293
References
301
Index
303
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| id | DE-604.BV023644530 |
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| publishDate | 2007 |
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| spelling | Game writing narrative skills for videogames ed. by Chris Bateman 1. ed. Boston, Mass. Charles River Media 2007 XXVII, 308 S. graph. Darst. txt rdacontent n rdamedia nc rdacarrier Game development series Video games Authorship Computerspiel (DE-588)4010457-6 gnd rswk-swf Erzähltechnik (DE-588)4124854-5 gnd rswk-swf Computerspiel (DE-588)4010457-6 s Erzähltechnik (DE-588)4124854-5 s DE-604 Bateman, Chris Sonstige oth Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017240877&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017240877&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Game writing narrative skills for videogames Video games Authorship Computerspiel (DE-588)4010457-6 gnd Erzähltechnik (DE-588)4124854-5 gnd |
| subject_GND | (DE-588)4010457-6 (DE-588)4124854-5 |
| title | Game writing narrative skills for videogames |
| title_auth | Game writing narrative skills for videogames |
| title_exact_search | Game writing narrative skills for videogames |
| title_full | Game writing narrative skills for videogames ed. by Chris Bateman |
| title_fullStr | Game writing narrative skills for videogames ed. by Chris Bateman |
| title_full_unstemmed | Game writing narrative skills for videogames ed. by Chris Bateman |
| title_short | Game writing |
| title_sort | game writing narrative skills for videogames |
| title_sub | narrative skills for videogames |
| topic | Video games Authorship Computerspiel (DE-588)4010457-6 gnd Erzähltechnik (DE-588)4124854-5 gnd |
| topic_facet | Video games Authorship Computerspiel Erzähltechnik |
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