The Advanced Game Narrative Toolbox
- Length: 220 pages
- Edition: 1
- Language: English
- Publisher: CRC Press
- Publication Date: 2019-02-28
- ISBN-10: 1138499633
- ISBN-13: 9781138499638
- Sales Rank: #1452551 (See Top 100 Books)
The Advanced Game Narrative Toolbox continues where the Game Narrative Toolbox ended. While the later covered the basics of writing for games, the Advanced Game Narrative Toolbox will cover techniques for the intermediate and professional writer. The book will cover topics such as how to adapt a novel to a game, how to revive IPs and how to construct transmedia worlds. Each chapter will be written by a professional with exceptional experience in the field of the chapter.
Key Features
Learn from industry experts how to tackle today’s challenges in storytelling for games. A learn by example and exercise approach, which was praised in the Game Narrative Toolbox. An in depth view on advanced storytelling techniques and topics as they are currently discussed and used in the gaming industry. Expand your knowledge in game writing as you learn and try yourself to design quests, write romances and build worlds as you would as a writer in a game studio. Improve your own stories by learning and trying the techniques used by the professionals of game writing.
Cover Half Title Title Page Copyright Page Contents Editor Contributors Chapter 1: Introduction How to Use This Book What It Is About Alexander Bevier Heidi McDonald Brian Kindregan Danny Salfield Wadeson Craig Sherman Cash DeCuir Matt Forbeck Tanya DePass Toiya Kristen Finley Tobias Heussner References Chapter 2: Why Authentic Diversity, Consultants and Research Are Needed in Narrative Design Authentic Diversity Examples of Failure to Have Authentic Diversity in Games You May Wonder: Why Not Stereotypes? Before You Get a Consultant, Let’s Talk Research Conclusion Exercise Chapter 3: Writing Romance and Sexuality in Games What Is a “Romance Game”? Satisfying and Dissatisfying Romance The Workflow of a Romance Representation and Sexuality Exercises Reference Chapter 4: Building A Universe Introduction: Why World-Build? First Principles Authenticity Immersion Theory Crafting and Headcanon The Worst Case Nomenclature World-Building Lore Storysense Environmental Storytelling My World-Building Toolkit Toolbox Economy and Dominant Forces Within It Flora and Fauna Pantheons and Belief Systems/Mythology Social Hierarchy (Class/Caste) Sport and Recreation Conflict and Arms Language and Communication (Including Proper Nouns!) Factions and Geopolitics Workflow On Creating and Deploying Mysterious Lore Some Practical Tips Go Offline How Much Is Too Much? Don’t Build an Ivory Tower Pick Your Battles Document Sparingly, Effectively Beware Stealth Exposition and Other Warnings Conclusion Exercises Special Thanks Reference Chapter 5: Writing for Nondigital Games (Board Games) Games Covered in This Chapter How to Embed Narrative Content Understanding Uncertainty Understanding Turn Orders Understanding How These Two Will Shape Your Stories Anatomy of a Playing Card Card Art Flavor Text Mechanical Function Storytelling as a Mechanic The Connection of Board Games and Their Narrative Content Successful Case Studies! Betrayal at House on the Hill Gloom Android: Netrunner The Future Conclusion Chapter 6: From Novel to Game and Back Again Getting the Rights Right Dive In The Heart of the Matter Consult the Creator(s) Approvals Making a Game Writing a Book Taking Criticism Exercise Chapter 7: From Movie to Game (and Back Again?) Movie to Game Game to Movie The Takeaway Exercise References Chapter 8: Get It into the Game: Writing and Implementation The Lack of Common Formatting Implementing Your Work A Word on Scripting How to Learn Scripting and What to Learn Talking Art Getting Things Ready Get It in the Game Conclusion Exercise Reference Chapter 9: Cinematics and Dialogue Introduction Prerenders and In-Game Cutscenes Prerenders In-Game Cutscene Does This Need to Be a Cutscene? Is the Primary Purpose Exposition? Is It Visual? Can It Be Ambient? Is It Emotional? Does It Have Spectacle? Kickoff Meeting Play the Levels before and after the Cutscene First Draft The Central Idea Theme Conflict Structure Dialogue First Round of Feedback Second Draft Pacing Dialogue Character Subtext Seek Out Help from the Art and Audio Teams Subsequent Drafts Animatic The Director Unexpected Changes Conclusion Exercise Chapter 10: Get This, Kill That, Talk with … Mission and Quest Design Introduction to Missions and Quests What Is a Quest? Quest Design and Motivation Quest Design and Environmental Storytelling Quest Design and Exposition Focus and Progression in Quest Design A Sample Quest Design Flow Step 1: The Background Step 2: The High Concept Step 3: General Information Step 4: General Information, The Quest Graph Step 5: General Information, The Map Step 6: A First Quest, The Summary Step 7: A First Quest, Player Information Step 8: A First Quest, Gameplay Information Conclusion Exercise Reference Chapter 11: Planning Your Work Schedules and Budgets Setting a Plan Granularity Estimation and Keeping Track of Time Elegance Working with Your Team The Producer Countering Failure Time Sinks Scope Committing to Your Narrative Iteration Cutting An Antidote to Stress A Closing Note An Exercise in Production Chapter 12: Yes, Videogames Need Story Editors! Types of Editing Roles and How They Translate to Games Breaking Down Editing Skills for Game Storytelling Developmental/Substantive Editing (High Level) Narrative Design and Story Worldbuilding Pacing Quests A Note on Dialogue Systems Plot Development Characterization and Character Development Art Assets Sound Assets Feedback, Budgets, and Time Sensitivity Reading and Diversity Consulting Editing Verdant Skies Copyediting and Proofreading: Low-Level Editing Copyediting Accuracy Dialogue Voiced Dialogue Unvoiced Dialogue Informational/Instructional Texts Grammar Proofreading Modes for Giving Feedback A Feedback Summary Conclusion: The Editor–Developer Relationship Exercise: Developmental Edit References Chapter 13: Freelancing in Games: Narrative Mercenaries for Hire So, Why Freelance? What a Freelancer Is and Is Not Experience vs. Inexperience And What If You Don’t Have Experience? But How Do You Get That Experience? Work Is Work Skills Every Freelancer Needs Freelancing Skill #1: Time Management Freelancing Skill #2: Marketing Freelancing Skill #3: Knowing Your Worth Be Aware of Your Hats, and Get Paid for Each One You Wear Don’t Wear Hats That Don’t Fit Freelancing Skill #4: Protecting Yourself Freelancing Skill #5: Networking Freelancing Skill #6: Assessing Client Needs Freelancing Skill #7: Professionalism Establishing Rates and Finding Work Don’t Lowball (Seriously, Don’t Do It) Lowball, and the Cheapskates Win (Or: Don’t Screw with My Money) Establishing Rates Thrive, Don’t Just Survive What Are the Going Rates? Minimum, Maximum, or Somewhere in between? Contracts and Clauses Strongly Consider Adding This Clause The Up-Front Payment Finding Work Clients You Want to Work with Evaluating Potential Jobs and Prospective Clients Don’t Stare at Your Inbox How to Submit an Application Establishing Professional Relationships Make Sure You’re in Contact with the One Making the Final Decision Conclusion: Mercenaries for Hire Exercise: Query a Developer Sample Query Letter References Chapter 14: Conclusion Alexander Bevier Heidi McDonald Brian Kindregan Danny Salfield Wadeson Craig Sherman Cash DeCuir Matt Forbeck Tanya DePass Toiya Kristen Finley Tobias Heussner Glossary Resources and Groups Index
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