Atjaunināt sīkdatņu piekrišanu

E-grāmata: Handbook on Interactive Storytelling

3.67/5 (6 ratings by Goodreads)
, , (Abo Akademi University), (University of Turku, Finland)
  • Formāts: PDF+DRM
  • Izdošanas datums: 01-Jul-2021
  • Izdevniecība: John Wiley & Sons Inc
  • Valoda: eng
  • ISBN-13: 9781119688150
Citas grāmatas par šo tēmu:
  • Formāts - PDF+DRM
  • Cena: 124,85 €*
  • * ši ir gala cena, t.i., netiek piemērotas nekādas papildus atlaides
  • Ielikt grozā
  • Pievienot vēlmju sarakstam
  • Šī e-grāmata paredzēta tikai personīgai lietošanai. E-grāmatas nav iespējams atgriezt un nauda par iegādātajām e-grāmatām netiek atmaksāta.
  • Bibliotēkām
Handbook on Interactive StorytellingPalielināt
  • Formāts: PDF+DRM
  • Izdošanas datums: 01-Jul-2021
  • Izdevniecība: John Wiley & Sons Inc
  • Valoda: eng
  • ISBN-13: 9781119688150
Citas grāmatas par šo tēmu:

DRM restrictions

  • Kopēšana (kopēt/ievietot):

    nav atļauts

  • Drukāšana:

    nav atļauts

  • Lietošana:

    Digitālo tiesību pārvaldība (Digital Rights Management (DRM))
    Izdevējs ir piegādājis šo grāmatu šifrētā veidā, kas nozīmē, ka jums ir jāinstalē bezmaksas programmatūra, lai to atbloķētu un lasītu. Lai lasītu šo e-grāmatu, jums ir jāizveido Adobe ID. Vairāk informācijas šeit. E-grāmatu var lasīt un lejupielādēt līdz 6 ierīcēm (vienam lietotājam ar vienu un to pašu Adobe ID).

    Nepieciešamā programmatūra
    Lai lasītu šo e-grāmatu mobilajā ierīcē (tālrunī vai planšetdatorā), jums būs jāinstalē šī bezmaksas lietotne: PocketBook Reader (iOS / Android)

    Lai lejupielādētu un lasītu šo e-grāmatu datorā vai Mac datorā, jums ir nepieciešamid Adobe Digital Editions (šī ir bezmaksas lietotne, kas īpaši izstrādāta e-grāmatām. Tā nav tas pats, kas Adobe Reader, kas, iespējams, jau ir jūsu datorā.)

    Jūs nevarat lasīt šo e-grāmatu, izmantojot Amazon Kindle.

"Games are no longer 'just' entertainment or simply a leisure activity; multiple platforms that make games available at any moment of the day and connect the player to other players to become a part of a community play a big role in modern society. Interactive storytelling focuses on creating computer systems, where users experience a dramatically compelling narrative that responds to their actions. The objective of this book is to provide readers with a cohesive picture of the research currently being undertaken in interactive storytelling. In addition to the wealth of material, systematic structure, and extensive bibliography, each chapter provides a set of exercises ranging from implementational tasks to open research questions and starting points forfurther study. The book is also an inspiring source of information for game designers working in the game industry, focusing on the challenges in creating immersive narrative experiences for the player, irrespective of the technical aspects of game production. The case studies presented have been carefully selected with the aim of proposing specific design approaches where narrative is one of the main features of the gaming experience. Therefore, the book is also aimed at gaming industry- experts who wish to tackle the notion of interactive storytelling to its full potential"--

Discover the latest research on crafting compelling narratives in interactive entertainment

Electronic games are no longer considered “mere fluff” alongside the “real” forms of entertainment, like film, music, and television. Instead, many games have evolved into an art form in their own right, including carefully constructed stories and engaging narratives enjoyed by millions of people around the world.

In Handbook on Interactive Storytelling, readers will find a comprehensive discussion of the latest research covering the creation of interactive narratives that allow users to experience a dramatically compelling story that responds directly to their actions and choices.

Systematically organized, with extensive bibliographies and academic exercises included in each chapter, the book offers readers new perspectives on existing research and fresh avenues ripe for further study. In-depth case studies explore the challenges involved in crafting a narrative that comprises one of the main features of the gaming experience, regardless of the technical aspects of a game’s production.

Readers will also enjoy:

  • A thorough introduction to interactive storytelling, including discussions of narrative, plot, story, interaction, and a history of the phenomenon, from improvisational theory to role-playing games
  • A rigorous discussion of the background of storytelling, from Aristotle’s Poetics to Joseph Campbell and the hero’s journey
  • Compelling explorations of different perspectives in the interactive storytelling space, including different platforms, designers, and interactors, as well as an explanation of storyworlds

Perfect for game designers, game developers, game and narrative researchers and academics, and undergraduate and graduate students studying storytelling, game design, gamification, and multimedia systems, Handbook on Interactive Storytelling is an indispensable resource for anyone interested in the deployment of compelling narratives in an interactive context.

Recenzijas

"Interactive storytelling is a popular research area without a disciplinary framework where contributions are usually coming from different disciplines such as computer science, communication studies, games studies or film studies. This book, on the other hand, employs an interdisciplinary approach and provides an innovative framework to analyze interactive narratives. Students can use the book to understand the theory of interactive narrative and its impact on game design. Professionals can buy the book for a better understanding of the recent developments and approaches in this domain." Barbaros Bostan, Bahcesehir University

"The Handbook on Interactive Storytelling provides a remarkably clear introduction to what stories and storytelling are, their operation, and how they can be analysed and understood, and then proceeds to present various solutions for creating interactive storytelling. Rich in examples and loaded with concrete assignments, the Handbook is an excellent textbook on a significant, evolving phenomena, discussing art, techniques, users, as well as the conceptual and theoretical dimensions of interactive storytelling. The book is packed with insights, drawing from classic works of interactive fiction, story-driven computer games, interactive drama, and many scientific, artistic, and technological experiments. It should be of high value for students in game studies, interaction design, literary studies, drama, and computer sciences alike." Frans M??yr??, Professor & Director, Tampere University??& The Centre of Excellence in Game Culture Studies

List of Figures
ix
List of Tables
xiii
Preface xv
Acknowledgements xvii
1 Introduction
1(24)
1.1 Interactive Storytelling
3(7)
1.1.1 Partakers
5(1)
1.1.2 Narrative, Plot, and Story
6(2)
1.1.3 Interaction
8(2)
1.2 History of Interactive Storytelling
10(3)
1.2.1 Theatre
11(1)
1.2.2 Multicursal Literature
12(1)
1.3 Role-playing Games
13(8)
1.3.1 Hypertext Fiction
14(1)
1.3.2 Webisodics
14(1)
1.3.3 Interactive Cinema
15(2)
1.3.4 Television
17(1)
1.3.5 Games
17(1)
1.3.5.1 Interactive Fiction
18(1)
1.3.5.2 Digital Games
19(2)
1.4 Summary
21(1)
Exercises
22(3)
2 Background
25(32)
2.1 Analysis of Storytelling
25(19)
2.1.1 Aristotle's Poetics
25(1)
2.1.1.1 Elements of Tragedy
26(1)
2.1.1.2 Narrative Forms
27(1)
2.1.1.3 Dramatic Arc
27(2)
2.1.2 Visual Storytelling
29(1)
2.1.2.1 Semiotics
30(1)
2.1.2.2 Work of Art
31(1)
2.1.2.3 Video Games as Visual Art
31(2)
2.1.3 Structuralism
33(1)
2.1.3.1 Propp's Morphology of Russian Folktales
33(2)
2.1.3.2 Colby's Grammar of Alaska Natives' Folktales
35(2)
2.1.3.3 Story Grammars
37(4)
2.1.4 Joseph Campbell and the Hero's Journey
41(1)
2.1.5 Kernels and Satellites
42(2)
2.2 Research on Interactive Storytelling
44(10)
2.2.1 Brenda Laurel and Interactive Drama
46(1)
2.2.2 Janet Murray and the Cyherbard
47(1)
2.2.3 Models for Interactive Storytelling
48(1)
2.2.4 Narrative Paradox and Other Research Challenges
49(3)
2.2.4.1 Platform
52(1)
2.2.4.2 Designer
52(1)
2.2.4.3 Interactors
53(1)
2.2.4.4 Storyworld
53(1)
2.2.4.5 Terminology
53(1)
2.3 Summary
54(1)
Exercises
54(3)
3 Platform
57(24)
3.1 Software Development
58(7)
3.1.1 Model-View-Controller
59(2)
3.1.2 Interactor's Interface
61(2)
3.1.3 Designer's Interface
63(1)
3.1.4 Modding
63(2)
3.2 Solving the Narrative Paradox
65(6)
3.2.1 Author-centric Approach
66(2)
3.2.2 Character-centric Approach
68(1)
3.2.3 Hybrid Approach
69(2)
3.3 Implementations
71(6)
3.3.1 Pioneering Storytelling Systems
71(2)
3.3.2 Crawford's IDS Systems
73(1)
3.3.3 Stern's and Mateas's Facade
74(1)
3.3.4 Experimental Systems
75(1)
3.3.5 Other Systems
76(1)
3.4 Summary
77(1)
Exercises
78(3)
4 Designer
81(26)
4.1 Storyworld Types
82(7)
4.1.1 Linear Storyworlds
83(1)
4.1.2 Branching Storyworlds
84(3)
4.1.3 Open Storyworlds
87(2)
4.2 Design Process and Tools
89(11)
4.2.1 Concepting the Storyworld
90(2)
4.2.1.1 Character Design
92(1)
4.2.1.2 Plot Composition
93(1)
4.2.1.3 Adapting Material from Other Media
94(1)
4.2.1.4 Transmedia Design
95(1)
4.2.1.5 Adams' Template for Requirements Specifications
96(1)
4.2.2 Iterative Design Process
97(1)
4.2.3 Evaluating Interactive Stories
98(2)
4.3 Relationship with the Interactor
100(3)
4.3.1 Focalization
100(1)
4.3.2 Story as Message
101(2)
4.4 Summary
103(1)
Exercises
103(4)
5 Interactor
107(24)
5.1 Experiencing an Interactive Story
108(5)
5.1.1 Onboarding - From Amnesia to Awareness
109(1)
5.1.2 Supporting the Journey
110(1)
5.1.3 Is There an End?
111(1)
5.1.4 Re-experiencing an Interactive Story
112(1)
5.2 Agency
113(4)
5.2.1 Theoretical and Perceived Agency
114(1)
5.2.2 Local and Global Agency
115(1)
5.2.3 Invisible Agency
115(1)
5.2.4 Limited Agency and No Agency
116(1)
5.2.5 Illusion of Agency
116(1)
5.3 Immersion
117(1)
5.3.1 Immersion Types
117(1)
5.3.2 Models for Immersion
118(1)
5.3.3 Flow
119(1)
5.4 Transformation
120(2)
5.5 Interactor Types
122(1)
5.5.1 Top-down Analysis
122(2)
5.5.2 Bottom-up Analysis
124(1)
5.5.3 Discussion
125(1)
5.6 Summary
126(1)
Exercises
126(5)
6 Storyworld
131(1)
6.1 Characters
132(1)
6.1.1 Perception
133(1)
6.1.2 Memory
133(2)
6.1.3 Personality
135(3)
6.1.4 Decision-making
138(3)
6.2 Elemental Building Blocks
141(4)
6.2.1 Props
141(1)
6.2.1.1 Schrodinger's Gun
142(1)
6.2.1.2 Internal Economy
143(1)
6.2.2 Scenes
144(1)
6.2.3 Events
144(1)
6.3 Representation
145(5)
6.3.1 Visual
147(1)
6.3.2 Audio
148(1)
6.3.2.1 Diegetic
148(1)
6.3.2.2 Non-diegetic
149(1)
6.4 Summary
150(1)
Exercises
151(2)
7 Perspectives
153(1)
7.1 Multiple Interactors
153(2)
7.1.1 Multiple Focus
153(1)
7.1.2 Persistence
154(1)
7.2 Extended Reality
155(1)
7.2.1 Visual Considerations
155(2)
7.2.2 Developing a Language of Expression
157(1)
7.3 Streaming Media
157(3)
7.3.1 Problems
157(2)
7.3.2 Solution Proposals
159(1)
7.4 Other Technological Prospects
160(102)
7.4.1 Voice Recognition
160(1)
7.4.2 Locating
160(102)
7.4.3 Artificial Intelligence
262(1)
7.5 Ethical Considerations
262(3)
7.5.1 Platform
163(1)
7.5.2 Designer
163(1)
7.5.3 Interactor
164(1)
7.5.4 Storyworld
164(1)
7.6 Summary
165(1)
Exercises
165(4)
Bibliography 169(18)
Ludography 187(105)
Index 292
Jouni Smed, PhD, holds his doctorate in Computer Science. He has twenty years of experience in the game development, from algorithms and networking in multiplayer games to game software construction, design, and interactive storytelling.

Tomi 'BGT' Suovuo focuses on the virtual barrier in mediated interaction, particularly between multiple users. He has taught Principles of Interaction Design for four years.

Natasha Skult is an active member of the Finnish and international game developers community as the Chairperson of IGDA and founder of Hive Turku Game Hub.

Petter Skult, PhD, obtained his doctorate in 2019 in English language and literature from Åbo Akademi University. He is a game designer and writer.
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
Permanent link: https://www.kriso.lv/db/97811196881502e.html
Keywords: