| Foreword |
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xxv | |
| Preface |
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xxix | |
| Acknowledgments |
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xxxvii | |
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PART 1 New Technologies, New Creative Opportunities |
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Chapter 1 Storytelling, Old and New |
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3 | (24) |
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Storytelling: An Ancient Human Activity |
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3 | (4) |
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Interactivity and Storytelling |
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7 | (1) |
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8 | (1) |
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Mythological Symbolism and Digital Storytelling |
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9 | (2) |
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Familiar Rituals and Digital Storytelling |
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11 | (2) |
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Rites of Passage and Digital Storytelling |
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13 | (1) |
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Games and Digital Storytelling |
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13 | (6) |
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Ancient Games and Digital Storytelling |
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16 | (1) |
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Board Games and Digital Storytelling |
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16 | (1) |
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Children's Games and the "Fun Factor" |
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17 | (1) |
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Fantasy Role-Play for Adults |
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18 | (1) |
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Nonlinear Fiction before the Computer |
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19 | (2) |
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Nonlinear Drama in Theater and Motion Pictures |
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21 | (2) |
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The Special Characteristics of Digital Storytelling |
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23 | (2) |
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25 | (1) |
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Idea-Generating Exercises |
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26 | (1) |
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Chapter 2 Backwater to Mainstream: The Growth of Digital Entertainment |
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27 | (46) |
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An Extremely Recent Beginning |
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27 | (1) |
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A Brief History of the Computer |
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28 | (2) |
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The Birth of the Internet |
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30 | (2) |
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32 | (2) |
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Less Familiar Forms of Interactive Entertainment |
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34 | (1) |
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The Evolution of Content for a New Medium |
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34 | (2) |
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The Early Days of a New Medium |
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34 | (2) |
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Harnessing Convergence to Digital Storytelling |
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36 | (1) |
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Transmedia Storytelling as a Form of Convergence |
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37 | (3) |
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Alternate Reality Games: A Special Form of Transmedia Storytelling |
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40 | (4) |
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44 | (4) |
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48 | (5) |
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The Profound Impact of Digital Media |
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53 | (11) |
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Changes in the Consumption of Entertainment |
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54 | (1) |
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The Third Screen's Impact on Hollywood |
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55 | (2) |
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How Advertisers Are Responding |
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57 | (1) |
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The Impact on Journalism and How We Receive Information |
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58 | (1) |
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The Internet as a Journalistic Medium |
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59 | (1) |
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What the Digital Revolution Means for Content |
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59 | (1) |
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Types of User-Generated Content |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (1) |
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63 | (1) |
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63 | (1) |
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Digital Technology and the Arts |
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64 | (2) |
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66 | (1) |
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67 | (1) |
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Idea-Generating Exercises |
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68 | (5) |
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PART 2 Creating Story-Rich Projects |
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Chapter 3 Interactivity and Its Effects |
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73 | (22) |
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73 | (1) |
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Interactivity as a Conversation |
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74 | (2) |
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What Happens to the Audience? |
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76 | (1) |
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The User, the Author, and Interactivity |
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76 | (3) |
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79 | (3) |
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82 | (3) |
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How Interactivity Impacts Content |
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85 | (2) |
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Using Gaming Techniques to Supply the Missing Cohesion |
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87 | (1) |
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Games as Abstract Stories |
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88 | (2) |
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Drama in an Abstract Game |
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90 | (1) |
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Stories That Are Not Games |
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90 | (2) |
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92 | (1) |
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Idea-Generating Exercises |
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93 | (2) |
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Chapter 4 Old Tools/New Tools |
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95 | (24) |
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An Assortment of Storytelling Tools |
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95 | (1) |
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96 | (3) |
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99 | (2) |
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101 | (2) |
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Learning from Contemporary Storytellers |
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103 | (1) |
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104 | (1) |
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The Storyline in Linear and Interactive Narratives |
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105 | (2) |
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A Hollywood Writer's View of Interactive Media |
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107 | (2) |
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109 | (6) |
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110 | (1) |
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Systems for Determining Events and Assigning Variables |
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110 | (1) |
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Assigning a Role and Point of View to the User |
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111 | (1) |
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Working with New Types of Characters and Artificial Intelligence |
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111 | (1) |
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New Ways of Connecting Story Elements |
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112 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (1) |
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The Use of Time and Space |
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114 | (1) |
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Sensors and Special Hardware |
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114 | (1) |
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The Collaborative Process |
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115 | (1) |
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116 | (1) |
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Idea-Generating Exercises |
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116 | (3) |
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Chapter 5 Characters, Dialogue, and Emotions |
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119 | (38) |
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Characters in an Interactive Environment |
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119 | (4) |
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The Role of Characters in Digital Storytelling |
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120 | (1) |
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The Differences between Characters in Linear and Interactive Storytelling |
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121 | (1) |
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Where Did All the Characters Go? |
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122 | (1) |
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Classic Characters from Linear Media |
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123 | (1) |
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124 | (6) |
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126 | (1) |
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127 | (2) |
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The User's Many Possible Roles |
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129 | (1) |
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Computer-Controlled Characters: Antagonists and Others |
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130 | (5) |
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Creating Worthy Opponents |
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132 | (2) |
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A Multiple Number or Succession of Antagonists |
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134 | (1) |
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134 | (1) |
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135 | (5) |
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Conflict between Characters with AI |
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136 | (1) |
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137 | (2) |
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139 | (1) |
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Creating Characters for an Interactive Environment |
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140 | (4) |
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Techniques for Developing Memorable Characters |
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140 | (2) |
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Constructing a Character Arc |
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142 | (1) |
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143 | (1) |
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Dialogue and Other Forms of Verbal Communication |
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144 | (7) |
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Other Forms of Communication |
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146 | (1) |
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147 | (1) |
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Dialogue in Digital Storytelling |
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147 | (3) |
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Guidelines for Verbal Communications |
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150 | (1) |
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151 | (3) |
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154 | (1) |
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Idea-Generating Exercises |
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155 | (2) |
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Chapter 6 Structure in Digital Storytelling |
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157 | (26) |
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157 | (2) |
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The Basic Building Blocks of Traditional Drama |
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159 | (2) |
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The Basic Building Blocks of Interactive Narratives |
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161 | (2) |
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163 | (4) |
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165 | (2) |
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The Branching Structure in iTV and iCinema |
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167 | (1) |
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167 | (4) |
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Structural Models That Support the Critical Story Path |
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169 | (1) |
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The Passenger Train Model |
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170 | (1) |
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171 | (6) |
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171 | (1) |
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Structures That Are More Angular |
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172 | (2) |
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174 | (1) |
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Sophisticated Story Models |
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174 | (3) |
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The Collective Journey Model |
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177 | (1) |
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Creating Your Own Structural Model |
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177 | (1) |
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178 | (2) |
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180 | (1) |
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Idea-Generating Exercises |
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181 | (2) |
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183 | (28) |
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183 | (1) |
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Children: A Significant Piece of the Digital Pie |
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184 | (12) |
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Understanding the Young User |
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186 | (2) |
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188 | (1) |
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Soliciting Help from Experts, Large and Small |
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189 | (1) |
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190 | (1) |
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The Parents' Point of View |
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191 | (3) |
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194 | (1) |
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Offer Satisfying Challenges and Rewards |
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195 | (1) |
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A Final Tip: Be Respectful |
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195 | (1) |
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196 | (3) |
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Creating Projects for Women |
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198 | (1) |
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Seniors and Digital Media |
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199 | (3) |
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The Medically 111 and Disabled |
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202 | (1) |
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Other Parts of the World and Other Ethnic Groups |
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203 | (2) |
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Specialized Works for Domestic Populations |
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205 | (1) |
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Zeroing in on Your Target Audience |
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206 | (2) |
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208 | (1) |
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Idea-Generating Exercises |
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209 | (2) |
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Chapter 8 Social Media and Storytelling |
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211 | (26) |
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Inserting the Social into the Media |
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211 | (2) |
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The Power of Social Media |
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213 | (1) |
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Characters on Social Media |
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214 | (3) |
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Works of Fiction Using Social Media |
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217 | (6) |
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222 | (1) |
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Other Works of Social Media Fiction |
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223 | (1) |
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A Darker Social Media Story |
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224 | (1) |
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Other Approaches to Social Media Storytelling |
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225 | (3) |
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Works of Non-Fiction Using Social Media |
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228 | (3) |
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231 | (2) |
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Does Humor Have Any Role to Play in Social Media? |
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233 | (1) |
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233 | (1) |
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Idea-Generating Exercises |
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234 | (3) |
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Chapter 9 Guidelines: Creating a New Project |
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237 | (32) |
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The Development Period and Why It Is Critical |
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237 | (2) |
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Five All-Too-Common Errors |
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239 | (2) |
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The First Step: Creating the Core Concept |
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241 | (1) |
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242 | (2) |
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How Projects Evolve during Development |
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244 | (1) |
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Other Steps in the Preproduction Phase |
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245 | (1) |
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A 10-Step Development Checklist |
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246 | (3) |
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249 | (15) |
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249 | (1) |
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250 | (1) |
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251 | (4) |
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255 | (3) |
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258 | (4) |
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262 | (1) |
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263 | (1) |
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263 | (1) |
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Specialized Documents and Artwork |
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264 | (1) |
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265 | (1) |
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Idea-Generating Exercises |
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266 | (3) |
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PART 3 Harnessing Digital Storytelling for Pragmatic Goals |
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Chapter 10 Using Digital Storytelling to Teach, Promote, and Inform |
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269 | (82) |
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270 | (1) |
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Applying Digital Storytelling to Teaching and Training |
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271 | (2) |
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Digital Media and Young Learners |
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273 | (3) |
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274 | (1) |
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275 | (1) |
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275 | (1) |
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Digital Media and Older Learners |
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276 | (1) |
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The Role of Educational Games for Older Learners |
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277 | (3) |
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Gamification in Education |
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278 | (1) |
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278 | (2) |
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280 | (1) |
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Useful Techniques for Combining Teaching with Digital Storytelling |
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280 | (6) |
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Determining Where the Educational Content Fits In |
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281 | (1) |
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281 | (1) |
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Creating a Program Conducive to Active Learning |
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282 | (1) |
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Setting Levels of Difficulty |
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282 | (1) |
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Establishing a Compelling Premise and End-Goal |
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283 | (1) |
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Creating a Rewards System |
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284 | (1) |
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285 | (1) |
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Using Peer-To-Peer Learning |
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286 | (1) |
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Additional Digital Tools for Education and Training |
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286 | (4) |
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Transmedia Storytelling and Alternate Reality Games |
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287 | (1) |
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Mobile Phones, Tablet Computers, and Apps |
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288 | (1) |
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289 | (1) |
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Other Digital Storytelling Techniques |
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289 | (1) |
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The Growth of the Serious Games Movement |
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290 | (2) |
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A Cross-Section of Serious Games |
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291 | (1) |
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Developing Serious Games for the Military |
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292 | (4) |
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Combining Digital Storytelling and Training |
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296 | (3) |
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A Sample Interactive Training Course |
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298 | (1) |
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Other Digital Options for Teaching |
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299 | (1) |
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Guidelines for Projects That Blend Storytelling with Teaching and Training |
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300 | (2) |
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Using Digital Storytelling Techniques for Promotion |
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301 | (1) |
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302 | (3) |
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Digital Media Venues for Promotion and Advertising |
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303 | (2) |
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Applying Digital Storytelling Techniques and Genres to Promotion |
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305 | (1) |
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305 | (18) |
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306 | (1) |
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307 | (1) |
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Public Advocacy Campaigns |
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308 | (1) |
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309 | (1) |
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310 | (1) |
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Advergaming and Casual Games |
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310 | (2) |
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312 | (1) |
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312 | (2) |
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Massively Multiplayer Online Games and Virtual Worlds |
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314 | (1) |
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315 | (2) |
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317 | (1) |
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"Construction Kit" Commercials |
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317 | (1) |
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317 | (1) |
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318 | (2) |
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320 | (1) |
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321 | (1) |
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322 | (1) |
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Augmented Reality and Virtual Reality |
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322 | (1) |
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A Unique Transmedia Venture |
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323 | (1) |
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The Impact of Digital Media on News and Information |
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324 | (6) |
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The Growing Popularity of Digital Media as a News Source |
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325 | (2) |
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The Digital Revolution and Traditional News Media |
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327 | (3) |
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Applying Digital Storytelling Techniques to News and Information |
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330 | (5) |
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Utilizing Personal Stories |
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331 | (1) |
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Community-Building Elements |
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331 | (1) |
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Games and Game-Like Activities |
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332 | (1) |
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333 | (1) |
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Offering Multiple Points of View |
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334 | (1) |
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335 | (9) |
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335 | (2) |
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337 | (1) |
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338 | (1) |
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338 | (1) |
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Interactive and Second-Screen TV |
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339 | (1) |
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339 | (1) |
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340 | (1) |
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Interactive Documentaries |
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341 | (1) |
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341 | (1) |
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342 | (1) |
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343 | (1) |
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Special Considerations for Creating Informational Projects |
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344 | (2) |
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346 | (1) |
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Idea-Generating Exercises |
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347 | (4) |
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PART 4 Media and Models: Under the Hood |
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351 | (54) |
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Video Games: The 10,000-Pound Gorilla of Interactive Entertainment |
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351 | (1) |
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Video Games and Their Place in the Overall Entertainment Universe |
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352 | (2) |
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354 | (1) |
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355 | (3) |
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Adapting a Game from Other Source Material |
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358 | (1) |
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The Unique Characteristics of Video Games |
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359 | (1) |
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359 | (1) |
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Artificial Intelligence (AI) |
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360 | (1) |
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360 | (1) |
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Categories and Genres of Games |
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361 | (1) |
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361 | (3) |
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363 | (1) |
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364 | (9) |
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364 | (7) |
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The Ways Games Are Played |
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371 | (2) |
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The Enormous Popularity of Fortnite |
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373 | (1) |
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New Games and the Fading Away of Once-Popular Genres |
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374 | (2) |
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Single versus Multiplayer Games |
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376 | (1) |
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376 | (1) |
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Independent ("Indie") Games |
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377 | (2) |
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The Challenge of Storytelling in Open World Games |
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379 | (3) |
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Massively Multiplayer Online Role-Playing Games |
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382 | (14) |
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The Characteristics of the MMORPG |
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383 | (1) |
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384 | (1) |
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Why So Powerfully Addictive? |
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385 | (2) |
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387 | (1) |
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The MMORPG-Makers' Point of View |
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388 | (3) |
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391 | (1) |
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392 | (1) |
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Reaching a Broad Demographic |
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393 | (1) |
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The Role of the Treadmill |
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394 | (1) |
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395 | (1) |
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396 | (1) |
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396 | (1) |
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397 | (3) |
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400 | (1) |
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What Can We Learn from Games? |
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400 | (1) |
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Tips for Newbie Game-Makers |
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401 | (1) |
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402 | (1) |
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Idea-Generating Exercises |
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403 | (2) |
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405 | (30) |
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The Evolution of the Internet |
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405 | (3) |
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Internet Connectivity across the Globe |
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408 | (1) |
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The Popularity of Youtube Videos |
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408 | (2) |
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409 | (1) |
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The Quest for "Stickiness" |
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410 | (3) |
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412 | (1) |
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413 | (1) |
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414 | (18) |
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414 | (1) |
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Web Series with a Hollywood Parentage |
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415 | (1) |
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Professionally Produced Web Series |
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416 | (1) |
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416 | (2) |
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A Close Look at a Successful Original Web Series: Enter the Dojo |
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418 | (3) |
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Non-Fiction and Fictional Blogs |
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421 | (1) |
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421 | (2) |
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423 | (3) |
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426 | (3) |
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429 | (1) |
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Interactive Mysteries and Adventures |
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430 | (2) |
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432 | (1) |
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Idea-Generating Exercises |
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433 | (2) |
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Chapter 13 Mobile Devices and Apps |
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435 | (28) |
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The Metamorphosis of the Telephone |
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435 | (2) |
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437 | (2) |
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The Appeal of Mobile Devices and Apps |
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439 | (2) |
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Mobile's Special Challenges and Opportunities |
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441 | (4) |
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Mobile Devices and Digital Storytelling |
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445 | (3) |
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448 | (3) |
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Good for the Little Ones? |
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451 | (2) |
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Creating Content for Mobile Devices |
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453 | (4) |
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Putting Mobile Devices to Practical Use |
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457 | (1) |
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458 | (2) |
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460 | (1) |
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Idea-Generating Exercises |
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460 | (3) |
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Chapter 14 Interactive Cinema and Interactive TV |
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|
463 | (54) |
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|
|
464 | (1) |
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A Bird's Eye View of the Field |
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|
465 | (1) |
|
Large-Screen Interactive Cinema |
|
|
466 | (8) |
|
Group-Based Interactivity |
|
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468 | (1) |
|
|
|
469 | (1) |
|
A Sample Large-Screen Experience |
|
|
469 | (2) |
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Special Challenges of Large-Screen Interactive Cinema |
|
|
471 | (1) |
|
Other Venues for Large-Screen iCinema |
|
|
472 | (2) |
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Small Screen Works of iCinema |
|
|
474 | (11) |
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|
|
475 | (3) |
|
|
|
478 | (3) |
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|
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481 | (4) |
|
|
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485 | (2) |
|
|
|
486 | (1) |
|
Other Fiction-Based Small-Screen Forms of iCinema |
|
|
487 | (4) |
|
Multiplot Stories on a Grid |
|
|
487 | (1) |
|
|
|
488 | (1) |
|
Stories with User-Generated Characters |
|
|
489 | (1) |
|
iCinema Works Driven by Social Media |
|
|
489 | (1) |
|
iCinema Works Controlled by the Movements of Audience Members |
|
|
490 | (1) |
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|
|
491 | (23) |
|
Winning Over the Couch Potato |
|
|
491 | (3) |
|
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494 | (4) |
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|
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498 | (3) |
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The View from the Frontier |
|
|
501 | (1) |
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|
|
502 | (3) |
|
When iTV Becomes "Just Television" |
|
|
505 | (1) |
|
|
|
506 | (1) |
|
Applying iTV to Drama on the BBC |
|
|
507 | (1) |
|
The Dual-Screen Experience: A Real-Life Example |
|
|
508 | (3) |
|
How Second-Screen TV Is Being Used |
|
|
511 | (1) |
|
Dramatic Shows and Social TV |
|
|
512 | (2) |
|
|
|
514 | (1) |
|
Idea-Generating Exercises |
|
|
515 | (2) |
|
Chapter 15 Smart Toys and Life-Like Robots |
|
|
517 | (30) |
|
Venturing into the Metaphysical |
|
|
517 | (2) |
|
Smart Toys and Life-Like Robots: What Do They Have in Common? |
|
|
519 | (1) |
|
|
|
520 | (2) |
|
|
|
522 | (2) |
|
The Challenges of Creating a Smart Toy |
|
|
524 | (1) |
|
The Process of Developing a Smart Toy |
|
|
525 | (7) |
|
The Toy Inventor's Perspective |
|
|
526 | (2) |
|
A Toy Manufacturer's Perspective |
|
|
528 | (2) |
|
The Toy Developer's Perspective |
|
|
530 | (2) |
|
|
|
532 | (3) |
|
Toy Robots: Not Just for Kids |
|
|
535 | (1) |
|
|
|
536 | (2) |
|
Spiritual and Violent Robots |
|
|
538 | (2) |
|
Animatronic Characters: Stars of the Stage and Screen |
|
|
540 | (1) |
|
Androids: Too Much Like Us? |
|
|
540 | (3) |
|
Designing Robots to Be Likable, Not Creepy |
|
|
543 | (1) |
|
|
|
544 | (1) |
|
Idea-Generating Exercises |
|
|
544 | (3) |
|
|
|
|
Chapter 16 What Are Immersive Media? |
|
|
547 | (8) |
|
Science Fiction Territory |
|
|
547 | (2) |
|
Defining Immersive Environments |
|
|
549 | (1) |
|
The Promise of Immersive Storytelling |
|
|
550 | (2) |
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|
|
552 | (1) |
|
Idea-Generating Exercises |
|
|
552 | (3) |
|
Chapter 17 VR, AR, and Mixed Reality (XR) |
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|
555 | (60) |
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Welcome to the Outer Edges of Cyberspace |
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|
555 | (1) |
|
|
|
556 | (3) |
|
|
|
559 | (18) |
|
Narrative Experiences in VR |
|
|
559 | (2) |
|
Nonfiction Narrative in VR |
|
|
561 | (1) |
|
VR for the Body, Soul, and Mind |
|
|
562 | (2) |
|
VR and Location-Based Entertainment |
|
|
564 | (6) |
|
A Modern Twist on the Old Beach Arcade |
|
|
570 | (2) |
|
|
|
572 | (1) |
|
|
|
573 | (4) |
|
Using VR for Practical Purposes |
|
|
577 | (11) |
|
|
|
577 | (2) |
|
|
|
579 | (1) |
|
History and Newsworthy Events in VR |
|
|
580 | (2) |
|
|
|
582 | (1) |
|
Medicine and Psychotherapy |
|
|
583 | (1) |
|
Another Approach to Healing |
|
|
584 | (1) |
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|
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585 | (1) |
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|
585 | (1) |
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586 | (1) |
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|
|
586 | (2) |
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|
|
588 | (13) |
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|
|
589 | (4) |
|
Different Approaches to AR Games |
|
|
593 | (3) |
|
|
|
596 | (1) |
|
Entertainment Experiences Using AR |
|
|
597 | (1) |
|
Other Ways AR Is Being Employed |
|
|
598 | (3) |
|
|
|
601 | (12) |
|
Smale-Scale Works of Mixed Reality |
|
|
601 | (1) |
|
Mixed Reality in a Military Scenario |
|
|
602 | (1) |
|
Cultural Institutions: A New Home for Mixed Reality |
|
|
603 | (1) |
|
Ghosts in the Graveyard; Dolphins in the Ocean; Coyotes in the Desert |
|
|
604 | (2) |
|
A Virtual Character Appears in Mixed Reality |
|
|
606 | (2) |
|
Mixed Reality and Entertainment |
|
|
608 | (3) |
|
When Mixed Reality Turns You into a Spy |
|
|
611 | (2) |
|
|
|
613 | (1) |
|
Idea Generating Excercises |
|
|
613 | (2) |
|
Chapter 18 Immersive Narratives and Immersive Spaces |
|
|
615 | (32) |
|
|
|
615 | (1) |
|
Immersive Theater as a Model |
|
|
616 | (2) |
|
|
|
618 | (6) |
|
Immersive and Interactive Theme Park Rides |
|
|
624 | (2) |
|
An Other-Worldly Theme Park Experience |
|
|
626 | (2) |
|
Old and New Settings for Immersive Narratives |
|
|
628 | (1) |
|
Modern Venues for Narrative Immersion |
|
|
628 | (3) |
|
Meow Wolf's Immersive Stories |
|
|
631 | (7) |
|
Taking Immersive Narrative to the Extreme |
|
|
638 | (2) |
|
|
|
640 | (1) |
|
Immersion with Objects and Architectural Elements |
|
|
640 | (2) |
|
Immersion through Projections |
|
|
642 | (2) |
|
Team Lab and Image-Based Immersion |
|
|
644 | (1) |
|
|
|
645 | (1) |
|
Idea-Generating Excercises |
|
|
645 | (2) |
|
Chapter 19 Screen-Based Immersion |
|
|
647 | (18) |
|
Utilizing Movie Screens for Immersiveness |
|
|
647 | (1) |
|
The Influence of Immersive Theater |
|
|
648 | (2) |
|
Large-Screen Immersiveness for Audiences---The 4-D Dark Ride |
|
|
650 | (2) |
|
Single-Participant Large-Screen Immersiveness |
|
|
652 | (2) |
|
Immersive Multiplayer Motion-Sensing Games |
|
|
654 | (4) |
|
|
|
658 | (1) |
|
An Artist's Take on Creating for Fulldome |
|
|
659 | (2) |
|
|
|
661 | (1) |
|
Idea-Generating Exercises |
|
|
662 | (3) |
|
PART 6 Career Considerations |
|
|
|
Chapter 20 Working as a Digital Storyteller |
|
|
665 | (32) |
|
|
|
665 | (2) |
|
The Life of a Digital Storyteller |
|
|
667 | (2) |
|
|
|
669 | (3) |
|
|
|
671 | (1) |
|
The Different Employment Paths |
|
|
672 | (2) |
|
|
|
674 | (1) |
|
|
|
675 | (1) |
|
|
|
676 | (4) |
|
|
|
680 | (2) |
|
|
|
682 | (1) |
|
|
|
683 | (1) |
|
Some Pointers for a Career in New Media |
|
|
684 | (1) |
|
Showcasing Your Work: Is It Worthwhile? |
|
|
685 | (1) |
|
Considerations in Creating a Professional Showcase |
|
|
686 | (3) |
|
Portfolio or Single-Piece Approach? |
|
|
687 | (1) |
|
|
|
687 | (1) |
|
Subject Matter and Approach? |
|
|
688 | (1) |
|
Gaps in Necessary Skills? |
|
|
689 | (1) |
|
|
|
689 | (5) |
|
The Hows and Whys of Odd Todd |
|
|
691 | (1) |
|
|
|
692 | (2) |
|
Some Other Approaches to Showcasing |
|
|
694 | (1) |
|
|
|
694 | (1) |
|
Pointers for Making Your Own Showcase |
|
|
695 | (2) |
| Afterword |
|
697 | (2) |
| Glossary |
|
699 | (44) |
| Additional Readings |
|
743 | (6) |
| Project Index |
|
749 | (8) |
| Subject Index |
|
757 | |
Lisainfo e-raamatute kohta