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Books on the topic 'Game-narrative'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Thabet, Tamer. Video Game Narrative and Criticism. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525543.

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2

Jonathan, Gash. The great California game: A Lovejoy narrative. London: Century, 1991.

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3

Jonathan, Gash. The great California game: A Lovejoy narrative. London: Arrow, 1991.

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4

In Palamedes' shadow: Explorations in play, game & narrative theory. Boston: Northeastern University Press, 1990.

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5

Of literature and knowledge: Explorations in narrative thought experiments, evolution, and game theory. Abingdon, [England] : New York: Routledge, 2006.

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6

Suter, Beat, René Bauer, and Mela Kocher, eds. Narrative Mechanics. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452.

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What do stories in games have in common with political narratives? This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society - such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design - of game mechanics.
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7

Selous, Frederick Courteney. A hunter's wanderings in Africa: Being a narrative of nine years spent amongst the game of the far interior of South Africa ... London: R. Bentley, 1989.

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8

Wallis, James. The extraordinary adventures of Baron Munchausen: A superlative role-playing game in a new style. London: Hogshead, 1998.

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9

Ringbearers: The Lord of the Rings Online as intertextual narrative. Manchester: Manchester University Press, 2011.

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10

Christie, Ian, and Annie Oever, eds. Stories. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985841.

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Stories are perceived as central to modern life. Not only in narrative entertainment media, such as television, cinema, theater, but also in social media. Telling/having "a story" is widely deemed essential, in business as well as in social life. Does this mark an intensification of what has always been part of human cultures; or has the realm of "story" expanded to dominate twenty-first century discourse? Addressing stories is an obvious priority for the Key Debates series, and Volume 7, edited by Ian Christie and Annie van den Oever, identifies new phenomena in this field — complex narration, puzzle films, transmedia storytelling — as well as new approaches to understanding these, within narratology and bio-cultural studies. Chapters on such extended television series as Twin Peaks, Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in the digital age. With contributions by Vincent Amiel, Jan Baetens, Dominique Chateau, Ian Christie, John Ellis, Miklós Kiss, Eric de Kuyper, Sandra Laugier, Luke McKernan, José Moure, Roger Odin, Annie van den Oever, Melanie Schiller, Steven Willemsen, Robert Ziegler.
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11

Hunting for empire: Narrative of sport in Rupert's Land, 1840-70. Vancouver: UBC Press, 2007.

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12

The game narrative toolbox. Routledge, 2015.

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13

Heussner, Tobias. The Game Narrative Toolbox. Routledge, 2015. http://dx.doi.org/10.4324/9781315766836.

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14

The Game Narrative Toolbox. Routledge, 2017.

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15

Heussner, Tobias. The Advanced Game Narrative Toolbox. Edited by Tobias Heussner. CRC Press, 2019. http://dx.doi.org/10.1201/9781351014397.

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16

Bateman, Chris. Game Writing: Narrative Skills for Videogames. Bloomsbury Publishing Plc, 2021.

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17

Bateman, Chris. Game Writing: Narrative Skills for Videogames. Bloomsbury Publishing Plc, 2021.

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18

Mark, Bateman Chris, ed. Game writing: Narrative skills for videogames. Boston, Mass: Charles River Media, 2007.

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19

Bateman, Chris. Game Writing: Narrative Skills for Videogames (Charles River Media Game Development). Charles River Media, 2006.

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20

O'Hara, Mary. Shame Game: Overturning the Toxic Poverty Narrative. Policy Press, 2020.

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21

O'Hara, Mary. Shame Game: Overturning the Toxic Poverty Narrative. Policy Press, 2020.

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22

Shame Game: Overturning the Toxic Poverty Narrative. Policy Press, 2020.

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23

Thabet, T. Video Game Narrative and Criticism: Playing the Story. Palgrave Pivot, 2015.

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24

Thabet, T. Video Game Narrative and Criticism: Playing the Story. Palgrave Pivot, 2015.

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25

Jonathan, Gash. The Great California Game: A Lovejoy Narrative (Magna Large Print General Series). Ulverscroft Large Print, 1993.

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26

Jackson, Gregory S. The Novel As Board Game: Homiletic Identification and Forms of Interactive Narrative. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730438.013.0014.

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27

Video game storytelling: What every developer needs to know about narrative techniques. Watson-Guptill, 2014.

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28

Swirski, Peter. Of Literature and Knowledge: Explorations in Narrative Thought Experiments, Evolution, and Game Theory. Routledge, 2007.

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29

Swirski, Peter. Of Literature and Knowledge: Explorations in Narrative Thought Experiments, Evolution, and Game Theory. Routledge, 2007.

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30

Arnaudo, Marco, and Series Editor Matthew Wilhelm Kapell. Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today. McFarland & Company, 2018.

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31

Selous, Frederick Courteney. A Hunter's Wanderings in Africa: Being a Narrative of Nine Years Spent Amongst the Game of the Far Interior of South Africa (Resnick Library of African Adventure, No. 6.). Alexander Books, 2001.

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32

Selous, Frederick Courteney. A Hunter's Wanderings in Africa: Being a Narrative of Nine Years Spent Amongst the Game of the Far Interior of South Africa (Resnick Library of African Adventure, No. 6.). Alexander Books, 2001.

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33

Gibbons, William. Playing Chopin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0010.

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This chapter explores two video games that feature the nineteenth-century pianist and composer Frédéric Chopin as the main character: the Japanese role-playing game Eternal Sonata and the mobile game Frederic: Resurrection of Music. The chapter begins by examining three mythic identities that have shaped audience’s understandings of Chopin and his music and that play a role in Eternal Sonata and Frederic: the salon composer, the Romantic composer, and the Slavic composer. To address the challenges of creating a compelling video game narrative about a real-world composer, both games employ innovative but problematic narrative strategies to transform Chopin into a more stereotypically heroic character. Moreover, both games include his music in ways designed to reinforce its musical greatness and increase the music’s appeal to younger audiences.
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34

Gibbons, William. Love in Thousand Monstrous Forms. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0008.

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Borrowing Mikhail Bakhtin’s notion of the grotesque, this chapter explores how the use of remixed classical works contributes to the game Catherine’s pervasive focus on opposing dualities. The chapter describes in detail how, for example, music comments on the real world and horrific dreamworld experienced within the game by the main character, Vincent, who is in the midst of a major life crisis. It explores how the careful selection of musical works in Catherine, along with the irreconcilable combination of high and low arts, mirrors dualistic structures found throughout the game, from the mixing of unlikely gameplay genres to its narrative details.
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35

Swayne, Harald George Carlos. Seventeen Trips Through Somaliland : A Record of Exploration & Big Game Shooting, 1885 to 1893: Being the Narrative of Several Journeys in the ... of Its Administration by Great Britain Un. Franklin Classics, 2018.

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36

Shattuck, Debra A. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040375.003.0007.

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Baseball did not become gendered as a man’s sport overnight nor did any single group dominate the cultural metanarrative of baseball as it matured from infancy to adolescence during the nineteenth century. Baseball has been used to symbolize “Americanism,” middle-class, Judeo-Christian values, and “manliness.” Though many vied to control the narrative of America’s national pastime, not every group had equal influence on the ultimate character and culture of baseball. By the end of the nineteenth century, men held almost exclusive control of the narrative of “official” baseball, while women controlled a parallel narrative for the baseball-surrogate called “women’s baseball.” This game became the precursor of softball which emerged in its official form during the 1930s.
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37

Chudacoff, Howard P. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039782.003.0001.

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This introductory chapter first sets out the book's purpose, which is to synthesize the narrative of college sports history since 1950 in order to convey a fuller understanding of how and why “game changers” have created today's intercollegiate athletic landscape. These game changers involve money, media, race, gender, and reform. The chapter also traces the development of American college sports, which emerged in the mid-nineteenth century from the efforts by male undergraduates to engage in out-of-the-classroom activity independent from the strict faculty control that governed their college lives. By the early twenty-first century, the reality of commercialism and professionalism within the idealistic realm of amateurism characterized college sports more than ever before. A brief overview of the subsequent chapters is also presented.
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38

Retcon Game: Retroactive Continuity and the Hyperlinking of America. University Press of Mississippi, 2017.

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39

Friedenthal, Andrew J. Retcon Game. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496811325.001.0001.

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This book argues that the narrative/world-building technique known as retroactive continuity, often overlooked by literary scholars and media historians alike, has become a naturalized and ubiquitous part of popular culture. A careful look at the history of retroactive continuity–or retconning– reveals how its growing acceptance as a part of popular narratives has led to a complex, complicated understanding of the ways in which history and story can interact, ultimately creating a cultural atmosphere that is increasingly accepting of revisionist historical narratives. This can be seen most potently in the way that the editable hyperlink, rather than the stable footnote, has become the de facto source of information in America today. The groundwork for this major cultural shift has been laid for decades via our modes of entertainment. To embrace the concept of retroactive continuity in fictional media means accepting that the past, itself, is not a stable element, but rather something that is constantly in contentious flux. Thus retconning, on the whole, has a positive impact on society, fostering a sense of history itself as a constructed narrative and engendering an acceptance of how historical narratives can and should be recast to allow for a broader field of stories to be told in the present.
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40

Flanagan, Kevin M. Videogame Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.25.

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Even more than novels, movies, or radio broadcasts, videogames provide a logical nexus for adaptation studies because they depend on making older narrative sources more dynamic and interactive. Chapter 25 explores four moments of encounter in videogame adaptation that encourage an active paradigm in adaptation studies: textual analysis that makes texts in one medium playable in another, porting a game to a new console or operating system, linguistic and cultural translation, and modding, or players’ modification of games after they have been manufactured. It argues that videogames adapt, and call upon their producers, players, and modders to become adapters at every stage of their conception, creation, distribution, and reception.
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41

Kim, Dorothy, and Adeline Koh, eds. Alternative Historiographies of the Digital Humanities. punctum books, 2021. http://dx.doi.org/10.53288/0274.1.00.

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In Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative. A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis.
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42

Otter, Monika. Music by Tristan. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0010.

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This chapter considers the interplay between medieval Tristan romances and Tristan songs, music closely associated with the romances and indeed attributed to the character Tristan himself. In particular, the chapter looks at Marie de France’s lai ‘Chevrefoil’, and the anonymous thirteenth-century lai ‘Kievrefuel’, which is quite distinct from Marie’s narrative poem but evokes it in some particulars. The multiple relationships between different Tristan poems and Tristan tunes, intertwined and mutually evoking each other, allows us to ‘think [of] Romance’ as a larger, modular experience, a cultural game that can transcend an individual text and generate potentially limitless further texts. It also suggests a twelfth-century way of ‘thinking [with] Romance’ in a playful, creative way that both erases and accentuates the fictionality of the romance world and its characters.
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43

Johnson, Dominic. Unlimited action. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9780719091605.001.0001.

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Unlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance.
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44

Zang, David W. American Brigadoon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037610.003.0011.

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This chapter examines the ways in which Penn State University football “fans draw their sense of community from the shared belief that Happy Valley is not only a mythic place, but a singularly righteous one as well.” It puts legendary coach Joe Paterno at the center of the narrative and sees “Happy Valley as a fantastical American Brigadoon” that may vanish after him. The State College, Pennsylvania, area acquired the “Happy Valley” nickname because of its seeming immunity to the economic misery of the Great Depression. Paterno came to State College as an assistant coach in 1950. Four years later, Brigadoon debuted in American movie theaters. It was the tale of an enchanted village that appeared once every hundred years; by covenant, if anyone left, the village would disappear forever. This chapter discusses Paterno's success with Penn State's football team and argues that he has done far more good for the game and for Penn State than he can possibly undo in his fading years.
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45

White, Derrick E. Blood, Sweat, and Tears. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652443.001.0001.

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Black college football began during the nadir of African American life after the Civil War. The first game occurred in 1892, a little less than four years before the Supreme Court ruled segregation legal in Plessy v. Ferguson. In spite of Jim Crow segregation, Black colleges produced some of the best football programs in the country. They mentored young men who became teachers, preachers, lawyers, and doctors--not to mention many other professions--and transformed Black communities. But when higher education was integrated, the programs faced existential challenges as predominately white institutions steadily set about recruiting their student athletes and hiring their coaches. Blood, Sweat, and Tears explores the legacy of Black college football, with Florida A&M’s Jake Gaither as its central character, one of the most successful coaches in its history. A paradoxical figure, Gaither led one of the most respected Black college football programs, yet many questioned his loyalties during the height of the civil rights movement. Among the first broad-based histories of Black college athletics, Derrick E. White’s sweeping story complicates the heroic narrative of integration and grapples with the complexities and contradictions of one of the most important sources of Black pride in the twentieth century.
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46

Nette, Andrew. Rollerball. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325666.001.0001.

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Rollerball, the Canadian-born director and producer Norman Jewison's 1975 vision of a future dominated by anonymous corporations and their executive elite, in which all individual effort and aggressive emotions are subsumed into a horrifically violent global sport, remains critically overlooked. What little has been written deals mainly with its place within the renaissance of Anglo-American science-fiction cinema in the 1970s, or focuses on the elaborately shot, still visceral to watch, game sequences, so realistic they briefly gave rise to speculation Rollerball may become an actual sport. Drawing on numerous sources, including little examined documents in the archive of the film's screenwriter William Harrison, this book examines the many dimensions of Rollerball's making and reception: the way it simultaneously exhibits the aesthetics and narrative tropes of mainstream action and art-house cinema; the elaborate and painstaking process of world creation undertaken by Jewison and Harrison; and the cultural forces and debates that influenced them, including the increasing corporate power and growing violence in Western society in late 1960s and early 1970s. The book shows how a film that was derided by many critics for its violence works as a sophisticated and disturbing portrayal of a dystopian future that anticipates numerous contemporary concerns, including ‘fake news’ and declining literary and historical memory. The book includes an interview with Jewison on Rollerball's influences, making, and reception.
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47

Smith, Jad. Parallel Worlds. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037337.003.0001.

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This introductory chapter discusses the metaphor of parallel worlds as it relates to the work of John Brunner. Brunner once observed that while we all inhabit the same world, we live in and among parallel worlds. He believed that a good science-fiction writer should cultivate awareness of parallel forms of experience and open up vistas onto the future that make readers more mindful of them. In keeping with this view, he developed plots with an eye toward the possible interplay of parallel worlds, imagining zones of contact as native to human experience as the tense friendship of the WASP and “Afram” roomies Donald Hogan and Norman House in Stand on Zanzibar (1968), and as foreign to it as the alternate ecology and symbiotic biotechnologies of The Crucible of Time (1983). Throughout his career, he made a practice of conducting idiosyncratic “thought experiments” in his fiction. These ranged from mirroring the moves of a famous 1892 Steinitz-Chigorin chess game in the plot of The Squares of the City (1965) to exploring the ethical quandaries of artificial intelligence through the grafted consciousness of a sentient spaceship in A Maze of Stars (1991). Time and again, Brunner proved himself an idea merchant of the first and best order. His narrative ventures often brought together parallel genres just as dynamically as parallel worlds, and he enjoyed a lasting reputation for handling even conventional storylines and concepts with an alluring difference that made them distinct—and distinctly his.
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