000			06324nam a22004453i 4500
001			EBC4895106
003			MiAaPQ
005			20240729131320.0
006			m o d |
007			cr cnu||||||||
008			240724s2017 xx o ||||0 eng d
020			_a9781683920304 _q(electronic bk.)
020			_z9781683920298
035			_a(MiAaPQ)EBC4895106
035			_a(Au-PeEL)EBL4895106
035			_a(CaPaEBR)ebr11405538
035			_a(OCoLC)993114864
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ
050		4	_aGV1469.34.A97.S835 2017
100	1		_aSuckling, Maurice.
245	1	0	_aVideo Game Writing : _bFrom Macro to Micro.
250			_a2nd ed.
264		1	_aBloomfield : _bMercury Learning & Information, _c2017.
264		4	_c©2017.
300			_a1 online resource (349 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
505	0		_aIntro -- Title Page -- Copyright -- Dedication -- Contents -- Foreword -- Acknowledgments -- Introduction -- Note on the Second Edition -- About the Authors -- Part I Games Writing in Context -- Chapter 1 A Brief History of Game Stories -- Game Story: The 1950s, 1960s, and 1970s -- Game Story: The 1980s -- Game Story: The 1990s -- Game Story: 2000-2005 -- Game Story: 2006-2010 -- Game Story: 2011-2016 -- Conclusion -- Exercises -- Project -- Part II What Do Games Writers Do? And How Do They Do It? -- Chapter 2 Decoding And Devising the Brief -- Briefs and Expectations -- Game Genres -- Checklist for Briefs -- Discussions -- Exercises -- Chapter 3 NDAs &amp -- Contracts -- Non-Disclosure Agreements -- Sample Non-Disclosure Agreement -- Contracts -- Sample Confidential Services Agreement -- Exercise -- Project -- Chapter 4 Collaboration: Team Us -- Part of the Team -- Who Are We? -- A Team within a Team -- Exercises -- Project -- Chapter 5 Narrative Design -- Defining Story Space -- Case Study: Unsolved Crimes -- Other Design Structures -- Exercises -- Projects -- Chapter 6 Outlines &amp -- Treatments -- The Outline -- Outline Sample -- The Treatment -- Projects -- Chapter 7 Character Documents -- How to Create a Character Document -- Research -- Example Characters -- Example Analysis -- Character Sides -- Exercises -- Chapter 8 Environmental Storytelling -- Theory -- Mise-en-Scène -- Bioshock -- Process -- Frob -- Walkthrough -- Hints and Tips -- Exercises -- Projects -- Chapter 9 Writing Scripts -- Types of Script -- Dialogue Tools -- Environmental Script Example -- Cut Scene Format -- Exercises -- Projects -- Chapter 10 Editing -- Spelling, Spacing, and Grammar -- Dialogue -- Word and Character Counts -- Tone of Voice -- Tone of Voice in Line with Character -- Game World Text (Story Prose) -- Exercises -- Chapter 11 Consultancy -- Macro Elements.
505	8		_aMicro Elements -- Boundaries and Limitations -- Exercises -- Project -- Chapter 12 Adaptations: Turning Other Things Into Games -- Key Questions -- Case Study: Coronation Street -- Exercises -- Project -- Chapter 13 Other Roles of the Games Writer -- Additional Story Documents -- Limbo Player Journey -- Adam English Backstory -- Back of Box Copy -- Instruction Manual -- Guide Book -- Associated Prose Novel -- Trailers -- Audio Casting and Direction -- Motion-Capture Consultancy and/or Direction -- Website Copy and Other Elements -- Exercises -- Projects -- Part III Beyond the Basics -- Chapter 14 Why Have Stories At All? -- Story Logic versus Game Logic -- The Argument against Story in Games -- The Argument for Limited Story -- The Argument for Story as Gameplay -- Exercises -- Projects -- Chapter 15 What is Plot and How does it Work? -- What Is Plot? -- How Does Plot Work? -- Exercises -- Project -- Chapter 16 Other Resources for Writers: More Than Movies -- Movies -- Television -- Theater -- Audio Books -- Short Stories -- Graphic Novels -- Novels -- Choose Your Own Adventure Books -- Games -- Summary -- Exercises -- Chapter 17 Marrying Design And Story: Driver 76 Case Study -- Sequence 1: Setting Up the Game and Story -- Sequence 2: The First Payoff -- Sequence 3: Adding Complications -- Sequence 4: Shifting Character Gears -- Sequence 5: Raising the Story Stakes -- Sequence 6: Changing the Hero's Fortunes -- Sequence 7: The Final Test -- Sequence 8: Climax and Reward -- Exercises -- Projects -- Chapter 18 Storyloading -- Storytelling, Storyforming, and Storydwelling -- Storyloading -- Top-Down and Bottom-Up Storytelling -- Eve Online Case Study -- Exercises -- Projects -- Chapter 19 Shifting Agency -- Multiple Character Perspectives -- Beyond the Player as Spectator -- The Space between Player and Avatar -- Exercises -- Projects.
505	8		_aChapter 20 Time Gates and Act Stimulants -- Time Gates -- The Delivery -- Act Stimulants -- Exercises -- Projects -- Chapter 21 Aristotle, Games Writing, and Games -- Why Watch a Play/Play a Game? -- Story and Plot -- Plot Structure -- Plot Unity -- Linearity and Alternatives -- Endings -- Summary -- Exercises -- Chapter 22 Choice or Enlightenment? -- Enlightenment -- Choice and Enlightenment? -- Exercises -- Project -- Chapter 23 The Future of Games Writing -- New Opportunities from Graphical Fidelity -- Increase in Relative Value -- Deepening Presence in Society -- Increasing Reactivity -- Exercises -- Project -- Part IV What's It Like Being a Games Writer? -- Chapter 24 What's It Like Being a Games Writer? -- Observations of Games Writers -- Appendix A: Rating Systems -- Appendix B: Sample Non-Disclosure Agreement -- Appendix C: Sample Writing Services Contract -- Appendix D: Selected Exercise Solutions (Chapter 10) -- Index.
588			_aDescription based on publisher supplied metadata and other sources.
590			_aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
650		0	_aVideo games--Authorship.
655		4	_aElectronic books.
700	1		_aWalton, Marek.
776	0	8	_iPrint version: _aSuckling, Maurice _tVideo Game Writing _dBloomfield : Mercury Learning & Information,c2017 _z9781683920298
797	2		_aProQuest (Firm)
856	4	0	_uhttps://ebookcentral.proquest.com/lib/orpp/detail.action?docID=4895106 _zClick to View
999			_c127738 _d127738