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Relevant bibliographies by topics / Video game storytelling

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Academic literature on the topic 'Video game storytelling'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Video game storytelling"

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Ecenbarger, Charlie. "Comic Books, Video Games, and Transmedia Storytelling." International Journal of Gaming and Computer-Mediated Simulations 8, no. 2 (April 2016): 34–42. http://dx.doi.org/10.4018/ijgcms.2016040103.

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This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.

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Kocurek, Carly. "Walter Benjamin on the Video Screen: Storytelling and Game Narratives." Arts 7, no. 4 (October 23, 2018): 69. http://dx.doi.org/10.3390/arts7040069.

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Walter Benjamin’s 1936 essay, “The Storyteller” (2006) defines storytelling as a mode of communication that is defined in part by its ability to offer listeners “counsel”, or meaningful wisdom or advice. This article considers the earmarks of storytelling as defined by Benjamin and by contemporary writer Larry McMurtry and argues this type of narrative experience can be offered via interactive media and, in particular, video games. After identifying the key characteristics of storytelling as set forth by Benjamin, the article proposes and advocates for a set of key characteristics of video game storytelling. In doing so, the article argues that effective narrative immersion can offer what Benjamin calls counsel, or wisdom, by refusing to provide pat answers or neat conclusions and suggests these as strategies for game writers and developers who want to provide educational or transformative experiences. Throughout, the article invokes historic and contemporary video games, asking for careful consideration of the ways in which games focused on sometimes highly personal narratives rely on storytelling techniques that instruct and transform and that can provide a rich framework for the design and writing of narrative games.

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Genovesi, Matteo. "Choices and Consequences: The Role of Players in The Walking Dead: A Telltale Game Series." Open Cultural Studies 1, no. 1 (December 20, 2017): 350–58. http://dx.doi.org/10.1515/culture-2017-0032.

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Abstract One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series.

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Haggis, Mata. "Creator’s discussion of the growing focus on, and potential of, storytelling in video game design." Persona Studies 2, no. 1 (May 17, 2016): 20–25. http://dx.doi.org/10.21153/ps2016vol2no1art532.

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The video game industry, by its wider reputation, is not commonly regarded for its deep and thoughtful experiences. In its common media presence it is represented as frequently dealing with content that is excessively violent and usually expressing themes and genres that are otherworldly: science-fiction, horror, or fantasy. However, the broad reputation of video games’ reputation is not wholly deserved, partly due to an arthouse-esque movement growing rapidly alongside the larger, traditional releases. In the last decade, and five years especially, there have been an increasing number of games which tell personal stories that are either inspired by life or that are autobiographical and that defy that broader reputation. These games are often highly concerned with creating vivid and believable characters, telling personal stories, or conveying emotional experiences using interaction to enhance the narrative. This article discusses some of the key titles in this area, the debates in video game culture surrounding them, and some of the choices made in the development of the author's own narrative game experience 'Fragments of Him'.

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Eveleth, Kyle. "When Players Feel Helpless: Agentic Decay and Participation in Narrative Games." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 6 (May 1, 2014): 50. http://dx.doi.org/10.12681/syn.16177.

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The ergodic (participatory) element of games is often cited as the core barrier to overcoming a perceived divide between good ludic (gaming) design and powerful storytelling. The present study examines two Indie games, Braid and Actual Sunlight, and their nuanced treatment of player participation in service of effective storytelling. These games in particular test the limits of player agency by asking the player to make ethically and morally problematic decisions, such as killing the main character, en route to completing the narrative. Such unusual narrative methods allow Braid and Actual Sunlight‗s game designers to unveil the mechanisms that afford, constrain, and ultimately revitalise the player‘s agency within the bounds of ergodic interaction. Narrative here, rather than restricting gameplay, instead enhances it, offering a tragic moment of cathartic relief as the player is exculpated for his or her decisions during the game. The insights drawn from these two examples and larger-studio offerings like Bioshock and Assassin’s Creed suggest a deeply traditional mode of storytelling at work in many narrative video games, an assertion that allows the ludological/narratological divide to be reknit and sets up ergodic media as a whole (video games, physical roleplaying games, interactive books, and more) for critical reconsideration.

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Luhova, Tetiana. "NARRATIVE AND STORYTELLING IN THE KNOWLEDGE STRUCTURE OF THE EDUCATIONAL BUSINESS VIDEO GAMES AS FACTORS OF THE SYNERGY OF INFORMATION TECHNOLOGIES AND SPIRITUALLY-ORIENTED PEDAGOGY." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 42–59. http://dx.doi.org/10.28925/2414-0325.2020.8.6.

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The article touches on the issues of humanization of modern technologically advanced education, analyzes the synergy factors of information technology and spiritually-oriented pedagogy to prepare a new generation of humanist managers. For this, the role of narrative and storytelling in the process of creating educational computer games that form the competence of making managerial decisions is determined. An analysis of the knowledge structure of educational games on the basis of the proposed methodology for developing their plot shows the need to balance the processes of formalization of educational processes in the game, preserving narrative by referring to works of folk art, classical fiction as sources of implicit knowledge. The threats of formalization and automation of modern education are described. It has been found that “relay” learning is superficial, it does not contribute to the formation of critical and systemic thinking. As a result, this leads to the emergence of a generation of techno-button-managers. It is indicated that the preservation and effective translation of deep narratives containing educational humanistic meanings is a priority for designers of educational video games. The components of the game by D. Gray, game history and pedagogical strategies in the MDA model are compared, which made it possible to clarify the meaning of the terms “narrative”, “plot”, “storytelling”, to determine the place of their greatest actualization in the process of creating educational computer games. Considering the general tendency of the techno-environment to reduce, optimize and formalize, the task of preserving tacit knowledge, correct translation of it into over-formalized knowledge (morals, formulas) through effective storytelling, embodied in "active learning" of computer games, is crucial. In this case, the narrative plays the role of a base of spiritual-oriented knowledge, and with the help of storytelling it balances the spiritual-ethical meanings and educational results of a business video game. The meaning of the terms "narratives" and "storytelling" is considered, the Ukrainian-language terms-analogues are proposed. The importance of adhering to the principle of non-linear game plot for increasing the effectiveness of business games is revealed. The close relationship of business games with case studies, project- and problem-based training was emphasized. The correlation of narratology and ludology of the game is shown in the matrix of transformation of professional competencies and procedures for making managerial decisions into the rules of the game, their metaphorization and translation into script phrases. It is shown that the gamification of training exercises and situations is a synergy of creative and information-analytical work with databases and game design project documents. The core of educational game design is the balance of narrative and storytelling, explicit and implicit knowledge. This balance is achieved through effective collaboration and communication between all participants in the educational and business processes. Creation of virtual learning environments in which a future leader has an opportunity to formulate and comprehensively develop the competencies of business communication and managerial decision-making in situations of uncertainty and ethical dilemmas is a promising area of digital education.

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Kerttula, Tero. "“What an Eccentric Performance”: Storytelling in Online Let’s Plays." Games and Culture 14, no. 3 (November 21, 2016): 236–55. http://dx.doi.org/10.1177/1555412016678724.

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In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player.

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Álvarez, Ricardo, and Fábio Duarte. "Spatial Design and Placemaking: Learning From Video Games." Space and Culture 21, no. 3 (November 10, 2017): 208–32. http://dx.doi.org/10.1177/1206331217736746.

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Spatial design and placemaking are fundamental to create a vibrant urban life, whereas video games are designed primarily for temporary amusement. However, they both share the same essence of creating large-scale artificial environments for human interaction as their fundamental value. Video game developers have been successfully using spatial design tools to create virtual environments to engage players and build narratives, understanding, and appropriating many characteristics of what makes a place tick. In this article, we argue that spatial design and placemaking could learn from video games development, by incorporating features ranging from storytelling and multiple viewpoints to participatory practices and flexible design.

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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.

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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.

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Shliakhovchuk, Elena, and Adolfo Muñoz Garcia. "Intercultural Perspective on Impact of Video Games on Players: Insights from a Systematic Review of Recent Literature." Educational Sciences: Theory & Practice 20, no. 1 (January 28, 2020): 40–58. http://dx.doi.org/10.12738/jestp.2020.1.004.

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The video-game industry has become a significant force in the business and entertainment world. Video games have become so widespread and pervasive that they are now considered a part of the mass media, a common method of storytelling and representation. Despite the massive popularity of video games, their increasing variety, and the diversification of the player base, until very recently little attention was devoted to understanding how playing video games affects the way people think and collaborate across cultures. This paper examines the recent literature regarding the impact of video games on players from an intercultural perspective. Sixty-two studies are identified whose aim is to analyze behavioral-change, content understanding, knowledge acquisition, and perceptional impacts. Their findings suggest that video games have the potential to help to acquire cultural knowledge and develop intercultural literacy, socio-cultural literacy, cultural awareness, self-awareness, and the cultural understanding of different geopolitical spaces, to reinforce or weaken stereotypes, and to some extent also facilitate the development of intercultural skills. The paper provides valuable insights to the scholars, teachers, and practitioners of cultural studies, education, social studies, as well as to the researchers, pointing out areas for future research.

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Dissertations / Theses on the topic "Video game storytelling"

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Perkins, Kyle Eric. "Lifesigns: Successful Storytelling in Open-World Games." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1290205847.

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Chen, Renee Chia-Lei. "Autoethnographic Research through Storytelling in Animation and Video Games." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461270639.

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Holmquest, Broc Anthony. "Ludological Storytelling and Unique Narrative Experiences in Silent Hill Downpour." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363456341.

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Chan, Pauline B. "Narrative participation within game environments: role-playing in massively multiplayer online games." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37126.

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Massively multiplayer online games (MMOGs) present fantastic, persistent worlds and narratives for a community of players to experience through pre-defined rules, roles, and environments. To be able to offer the opportunity for every player to try the same experiences, many game developers have opted to create elaborate virtual theme parks: scripted experiences within static worlds that cannot be affected or changed through player actions. Within these games, some players have turned to role-playing to establish meaningful connections to these worlds by expanding upon and subverting the game's expectations to assume a limited sense of agency within the world. The interaction between role-players and the locations they occupy within these worlds is a notable marker of this narrative layering; specific locations inform social codes of conduct, designed by developers, and then repurposed by players for their characters and stories. Through a qualitative case study in World of Warcraft on public role-playing events, this thesis considers how the design of in-game locations inform their use for role-playing, and how locations are altered through storytelling as a result.

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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.

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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.

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Acarsoy, Sara Nil. "Effects of interactivity on narrative-driven games : A heuristic approach for narrative-driven games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19844.

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In narrative-driven games, the story is an essential part of the gameplay, and understanding the story is of great importance. Given that what separates this genre from other storytelling media is interactivity, this thesis focuses on the elements in narrative-driven video games that effects the players' perception of narrative through interactivity. Using players' likes and dislikes from their previous experiences in narrative-driven games, this thesis aims to develop a heuristic approach for interactive narrative elements that offer the narrative through players' input to the game's system and create an effective gameplay experience that delivers the story to the players.

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Andersson, Oscar, and Tim Grödem. "Förenklade drama managers : Att producera emergenta narrativ medförenklade metoder." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17271.

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Det finns ett antal berättarmetoder inom datorspel. De vanligaste formerna som används är linjärt och förgrenat berättande, men det finns en metod som inte används i samma utsträckning, kallad emergent berättande. Detta är en typ av berättande där spelaren själv baserat på samspelet mellan spelets system kan forma sitt egna narrativ. Det är dock inte helt definierat vad emergent berättande innebär. Denna studie använder sig av en artefakt för att utforska emergent berättande med hjälp av system kallade Drama Managers som syftar till att kontrollera händelseförloppet i ett spel så det bildar ett narrativ. Syftet med studien var att utforska om en förenklad Drama Manager kunde åstadkomma ett emergent narrativ eller om den enbart skulle producera ett förgrenat narrativ. Artefakten prövades på personer insatta inom ämnena spel och narrativ och de intervjuades om deras uppfattningar av artefakten. Slutsatsen är att element av emergens kunde identifieras, men inte till den grad att artefakten upplevdes innehålla ett emergent narrativ. Kunskapen ifrån studien skulle kunna hjälpa till att definiera skillnaden mellan emergenta narrativ och förgrenade narrativ.
There are a few storytelling methods for video games. The most common forms are linear and branching narratives, but there is one method not used to the same extent, known as emergent narrative. This study uses and artifact to explore emergent narrative using systems known as Drama Managers that aim to control the sequence of events in a game to create a narrative. The purpose of the study was to explore if a simplified drama manager could produce emergent narratives. The conclusion is that elements of emergence could be identified, but the artifact could not be considered to contain an emergent narrative. This knowledge could be used to help define the difference between emergent and branching narratives.

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Rempulski, Nicolas. "Synthèse dynamique de superviseur pour l'exécution adaptative d'applications interactives." Thesis, La Rochelle, 2013. http://www.theses.fr/2013LAROS407/document.

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Cette thèse a pour objectif de proposer des solutions aux problématiques de la narration interactive. Nous souhaitons ainsi proposer une méthode de conception pour les auteurs, ainsi qu’une logique d’exécution utilisant ce modèle pour contrôler la construction d’un récit. Nous appliquons nos travaux au contexte des jeux vidéo, mais souhaitons adresser la narration interactive dans une dimension plus large. Nous abordons la narration interactive comme une déstructuration de la narration classique. Le processus de création du récit n’est ainsi plus à la seule charge de l’auteur, mais implique également le public. Au travers d’une revue de la narration classique, nous souhaitons donc, dans un premier temps, formaliser le récit et ses enjeux. Nous utilisons ensuite le concept d’œuvre en mouvement pour identifier les processus et acteurs mis en jeu dans la coproduction d’une œuvre, et ainsi définir les enjeux de nos travaux. Pour adresser ces problématiques, nous proposons un modèle de la narration interactive à base d’automates. Celui-ci permet un contrôle et une vérification des récits possibles, tant lors de la conception, que dynamiquement à l’exécution. Cependant ce formalisme peut être complexe à prendre en main pour des auteurs non-initiés. Ainsi, nous formulons un modèle de haut-niveau, basé sur les concepts de la narratologie, permettant à ces derniers de créer un modèle de narration interactive en manipulant des concepts qu’ils maitrisent. Ce modèle est alors converti vers notre modèle à base d’automates. Ce dernier sert alors de référent pour le contrôle dynamique de la narration interactive par un superviseur multi-agents. Celui-ci, par observation des évènements produits dans le jeu vidéo, est alors en mesure de contrôler le récit en cours de production pour garantir les critères de qualités spécifiés par l’auteur. Nous proposons une implémentation de notre approche sous la forme d’un framework, comprenant notamment des outils auteurs d’édition des modèles que nous définissons, mais également les algorithmes de supervision nécessaires à l’asservissement de l’univers virtuel du jeu vidéo
This PhD thesis has for objective to propose solutions to interactive storytelling problems. We aim to propose a design method for the authors, as well as a logic of execution using this model to control the narrative unfolding. We apply our works in the video games context, but wish to address interactive storytelling in a wider dimension. We so approach the interactive story as a breakdown of the classic storytelling. Indeed, interactive storytelling creation process is not any more only under the author responsability, but also involves spectators. Through a review of the classic storytelling, we thus wish, at first, to formalize storytelling and its stakes. We use then the concept of ”œuvre en mouvement” to identify processes and actors involved in this creation process of a work, and thus to define the stakes in our research works. We propose an interactive storytelling mode base on automata. This one allows a controland a check on possible narratives, during design as well as dynamically while producing the story. However this formalism is complex to handle by authors. So, we formulate a top-level model, based on storytelling concepts, allowing authors to create an interactive story model using concepts they know. This model is then converted into our automaton based model. The latter serves then as referent for the dynamic control of the interactive storytelling, done by a supervisor multi-agents. This one, by observing produced events in the video game, is then able of controlling and guarantee the quality criteria specified by authors. We propose an implementation of our approach in a framework, including authoring tools to edite our models. We also implements automata check and supervision algorithms necessary to control video game virtual universe

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Liu, Han. "Urbancraft: An urban laboratory for environmental storytelling." Thesis, KTH, Stadsbyggnad, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-302442.

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Stockholm is experiencing the fast urban expansion with major development projects including housing, transportation and public spaces in and out of the city in which existing blocks are involved at different levels. The project Urbancraft’s proposal to transform Kvarteret Sländan in northern Vasastaden in Stockholm is an an explorative and experimental work that look at a range of different approaches which are inspired from the game world where more interactions happen and people are more engaged in its environment but are of different characters. The aim of the project is to explore and test the approaches from game world and answer the question of how to create a vibrant neighbourhood in a traditional European district, but at the same time an imaginary vision of it: mixed, historic and most importantly interactive and responsive to the local contexts for amenity such as seasonal difference of sunlight and the diversity of needs. The key point of the concept is translating game design methods into urban design and architecture language regarding to physical world and digital game world. The design phase focuses on three units of the traditional blocks: buildings, networks and courtyards which have a significant impact in Vasastaden’s appearance. The shapes of buildings are modified through strictly applied rules for both daylight and direct sunlight, while making these possible to change periodically. Networks as connections into the site break the barriers and create new public and semi-public spaces both at roof level and ground level. As a result, rooftops and courtyards will be redefined and more responsive for different users and needs with the thinking of game world.

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Bryan, Jeffrey Scott. "The dynamics of the player narrative: how choice shapes videogame literature." Thesis, Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/47657.

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The author narrative and the player narrative are distinct and separate parts that make up the whole of videogame literature. The videogame medium encourages a mixed-media understanding of conventions and the rejection of essentialism that leads to, inspires, and facilitates the player narrative. Videogame literatures require discreet actions that, as part of any possible reading, the player must do-- and in doing the player must make a choice with mind and body that involves a human-to-machine expression of agency within constraints that define the player narrative. So the decision making process in videogame storytelling is that human-to-machine interaction that can be understood as both the means by which the videogame story progresses, and the process by which the player wields his or her narrative within the procedural possibility space. Videogame literary analysis requires understanding how players make those decisions, understanding how the player leverages media conventions in order to wield power over the narrative, and understanding what role the player has in videogame storytelling. The choice dynamics of a videogame narrative are the key narrative elements within videogame literature that provide players and researchers tools for evaluating choice opportunities within videogame literature toward forming a better understanding of the space between and connection to the author narrative and the player narrative. All of these analyses combine to form a picture of decision making processes in videogame literature that are complex and contradictory path making endeavors that define the narrative experience in videogame literature, and the interconnected dynamics of the author and player narrative space.

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Books on the topic "Video game storytelling"

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Character development and storytelling for games. Boston: Thomson Course Technology, 2004.

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Sheldon, Lee. Character development and storytelling for games. Boston: Thomson Course Technology, 2004.

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Brendan, Eddy, ed. Exploring visual storytelling. Clifton Park, NY: Thomson Delmar Learning, 2007.

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Mukherjee, Souvik. Video Games and Storytelling. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055.

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Chris, Klug, ed. Interactive storytelling for video games: A player-centered approach to creating memorable characters and stories. Burlington, MA: Focal Press, 2011.

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What is your quest?: From adventure games to interactive books. Iowa City: University of Iowa Press, 2014.

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Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

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Set the action!: Creating backgrounds for compelling storytelling in animation, comics, and games. Waltham, MA: Focal Press, 2012.

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Sheldon, Lee. Character Development and Storytelling for Games (Game Development Series). Course Technology PTR, 2004.

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Sheldon, Lee. Character Development And Storytelling For Games. Course Technology, 2013.

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Book chapters on the topic "Video game storytelling"

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Girina, Ivan. "Video Game Mise-En-Scene Remediation of Cinematic Codes in Video Games." In Interactive Storytelling, 45–54. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02756-2_5.

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Mukherjee, Souvik. "Reading Games and Playing Books: Game, Play and Storytelling." In Video Games and Storytelling, 75–102. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_4.

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Mukherjee, Souvik. "(W)Reading the Machinic Game-Narrative." In Video Games and Storytelling, 48–72. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_3.

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Mukherjee, Souvik. "Shapeshifting Stories: Reading Video Game Stories through Paratexts." In Video Games and Storytelling, 103–20. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_5.

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Mukherjee, Souvik. "Machinic Stories: The Literature Machine, Technicity and the Computer Game." In Video Games and Storytelling, 25–47. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_2.

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Mukherjee, Souvik. "Ab(Sense) of an Ending: Telos and Time in Video Game Narratives." In Video Games and Storytelling, 123–45. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_6.

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Berger, Ross. "Video Game Storytelling Fundamentals: Setting, Power Status, Tone, Escalation." In Encyclopedia of Computer Graphics and Games, 1–5. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_128-1.

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Yip, David Kei-man. "The Hidden Art of Transmedia Storytelling Across Cinema and Video Game." In Advances in Creativity, Innovation, Entrepreneurship and Communication of Design, 569–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80094-9_68.

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Smith, Anthony N. "Super Mario Seriality: Nintendo’s Narratives and Audience Targeting within the Video Game Console Industry." In Storytelling in the Media Convergence Age, 21–39. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137388155_2.

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Mukherjee, Souvik. "Introduction: Video Games and Storytelling." In Video Games and Storytelling, 1–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_1.

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Conference papers on the topic "Video game storytelling"

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Adams, Joel C., and Andrew R. Webster. "What do students learn about programming from game, music video, and storytelling projects?" In the 43rd ACM technical symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157136.2157319.

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Giannakos, Michail, Konstantinos Chorianopoulos, and Letizia Jaccheri. "Math Is Not Only for Science Geeks: Design and Assessment of a Storytelling Serious Video Game." In 2012 IEEE 12th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2012. http://dx.doi.org/10.1109/icalt.2012.16.

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