Digital Storytelling : A Creator's Guide to Interactive Entertainmen

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CHAPTER 1 Interactive Storytelling: A Brief History Can the roots of interactive storytelling really be traced all the way back to prehistoric religious rituals What could they possibly have in common How are games played on a computer similar to those played on a ball field or on a tabletop game board Do various forms of linear entertainment—novels, plays, and movies—have anything useful to show us about creating interactive entertainment 3
EARLIEST FORMS OF INTERACTIVE STORIES AND ENTERTAINMENT Long before video games, or experiments with interactive TV, or the explosive growth of the Internet—long, even, before computers had ever been imagined— human beings all over the world devised and participated in interactive storytelling experiences. These beginnings, in fact, date back to ancient times, thousands of years before relatively old forms of media and entertainment like printed books and theatre. Some professionals in interactive media hypothesize that the earliest forms of interactive storytelling took place around the campfires of prehistoric peoples. I can remember this theory being enthusiastically promoted back in the early 1990s, when the creative community in Hollywood was first becoming excited about the potential of interactive media. At almost every conference I attended at the time, at least one speaker would allude to these long ago campfire scenes. The prehistoric storyteller, according to this theory, would have a general idea of the tale he planned to tell, but not a fixed plot. Instead, he would shape and mold the story according to the reactions of those gathered around him. This model evokes an inviting image of a warm, crackling fire and comfortable conviviality. It was no doubt a reassuring scenario to attendees of these first interactive media conferences, many of whom were still intimidated by computers and the concept of interactive media. But to me, this model never sounded particularly convincing. For one thing, how could anyone really know what took place around those smoky old campfires And even if it were true that ancient storytellers constructed their tales to fit the interests of their listeners, how much actual control or participation in the story could these campfire audiences have had At best, it would have been an extremely weak form of interactivity. But no matter what one thinks of this campfire model, it is unquestionably true that a form of interactive stories—a far more profound and participatory form—dates back to extremely ancient times. According to the renowned scholar Joseph Campbell (1904–1987), the earliest form of story was the myth, and storytellers did not merely recite these old tales. Instead, the entire community would reenact them, in the form of religious rituals. DEATH AND REBIRTH IN RITUAL Campbell and other scholars in the field have observed that these mythological stories generally contain deep psychological underpinnings, and that one of their most common themes is death and rebirth. Campbell noted that participants who took part in myth-based rituals often found the experience so intense that they would undergo a catharsis, a profound sense of emotional relief. (The word catharsis comes from the Greek, katharsis, and means purgation, or purification.) Ritual ceremonies evoking myths frequently reflected major life passages, such as a coming of age. According to Campbell, the ceremonies held for boys typically required them to undergo a terrifying ordeal, during which they would ‘‘die’’ as a child and be reborn as an adult. Girls also went through coming of age ceremonies, he found, though they tended to be less traumatic.
Page 2 and 3: Digital Storytelling
Page 4 and 5: Digital Storytelling A Creator’s
Page 6 and 7: I dedicate this book to my husband,
Page 8 and 9: Table of Contents FOREWORD ix PREFA
Page 10 and 11: Foreword By Ken Goldstein Something
Page 12 and 13: Foreword xi many years of opinions,
Page 14 and 15: Preface AN ANCIENT CRAFT This book
Page 16 and 17: Preface xv pocket-sized wireless de
Page 18 and 19: Acknowledgments A great many people
Page 20 and 21: PART ONE New Technologies, New Crea
Page 24 and 25: Chapter 1 Death and Rebirth in Rit
Page 26 and 27: Chapter 1 Powerful Reenactments in
Page 28 and 29: Chapter 1 Interactivity and Games
Page 30 and 31: Chapter 1 Nonlinear Fiction in Lit
Page 32 and 33: Chapter 1 Nonlinear Drama in Theat
Page 34 and 35: CHAPTER 2 Backwater to Mainstream:
Page 36 and 37: Chapter 2 A Brief History of the C
Page 38 and 39: Chapter 2 The Birth of the Interne
Page 40 and 41: Chapter 2 The First Video Games 21
Page 42 and 43: Chapter 2 Interactive Television 2
Page 44 and 45: Chapter 2 Interactive Cinema 25 ta
Page 46 and 47: Chapter 2 CD-ROMs 27 These little
Page 48 and 49: Chapter 2 Pioneering Interactive T
Page 50 and 51: Chapter 2 Pioneering Interactive T
Page 52 and 53: Chapter 2 Developing the First Tit
Page 54 and 55: Chapter 2 The Impact on Older Form
Page 56 and 57: Chapter 2 Conclusion 37 CONCLUSION
Page 58 and 59: CHAPTER 3 Moving Toward Convergence
Page 60 and 61: Chapter 3 The Corporate Marriage o
Page 62 and 63: Chapter 3 Wireless Devices 43 of t
Page 64 and 65: Chapter 3 Other Approaches to Inte
Page 66 and 67: Chapter 3 Adaptation 47 including
Page 68 and 69: Chapter 3 ‘‘Soft’’ Converg
Page 70 and 71: IDEA-GENERATING EXERCISES Chapter 3
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PART TWO Creating Entertainment- Ri
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CHAPTER 4 Interactivity and Its Eff
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Chapter 4 Lean Back Versus Lean Fo
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Chapter 4 Immersion 59 Figure 4.1
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Chapter 4 How Interactivity Impact
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Chapter 4 The Great Story and Game
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Chapter 4 Games as Abstract Storie
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Chapter 4 Stories That Are not Gam
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Chapter 4 Idea-Generating Exercise
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CHAPTER 5 Old Tools/New Tools What
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Chapter 5 Learning from Games 73 T
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Chapter 5 Learning from Aristotle
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Chapter 5 Increasing Tension 77 he
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Chapter 5 A Screenwriter’s View
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Chapter 5 How Much Story 81 spelli
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Chapter 5 Ten New Tools 83 is inte
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Chapter 5 Ten New Tools 85 Typical
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Chapter 5 Conclusion 87 that uses
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CHAPTER 6 Characters, Dialogue, and
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Chapter 6 Enduring Characters 91 F
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Chapter 6 Point of View 93 reach a
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Chapter 6 Characteristics of the P
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Chapter 6 Creating Worthy Opponent
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Chapter 6 Unique Digital Character
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Chapter 6 Ways to Allow for Charac
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Chapter 6 Techniques for Developin
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Chapter 6 Adapting Characters from
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Chapter 6 Advanced Synthetic Chara
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Chapter 6 Dialogue and Other Forms
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Chapter 6 Interactive Dialogue 111
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Chapter 6 Guidelines for Verbal Co
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Chapter 6 The Role of Emotion 115
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CHAPTER 7 Structure in Interactive
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Chapter 7 The Basic Building Block
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Chapter 7 Types of Choices 123 TYP
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Chapter 7 The Critical Story Path
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Chapter 7 Modular Structures 127 F
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ROUNDED AND ANGULAR MODELS Chapter
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Chapter 7 Which Is Right 131 Figur
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CHAPTER 8 Blending Entertainment wi
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Chapter 8 Rewards 137 looked just
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Chapter 8 The Perceived Value of E
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Chapter 8 Mixing in the Entertainm
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Chapter 8 But What About More Adva
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Chapter 8 Breaking New Ground in I
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Chapter 8 Information and Interact
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Chapter 8 Other Infotainment Appro
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Chapter 8 Can Interactive Training
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Chapter 8 Online Education 153 on
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Chapter 8 Blending Promotion and E
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Chapter 8 Tackling a Project That
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CHAPTER 9 Tackling Projects for Chi
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Chapter 9 Understanding the Young
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Chapter 9 Help from Other Experts,
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Chapter 9 Age Appropriateness and
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Chapter 9 The Parents’ Point of
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Chapter 9 Branding 169 - Fantasy g
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Chapter 9 Original Properties 171
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Chapter 9 The Use of Humor 173 Fig
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Chapter 9 The Seven Death Kisses 1
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Chapter 9 The Anti-Death Kiss Stra
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Chapter 9 The Anti-Death Kiss Stra
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Chapter 9 Conclusion 181 before fi
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CHAPTER 10 Creating a New Project:
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SOME ALL-TOO-COMMON ERRORS Chapter
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Chapter 10 Who Is on the Team 187
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Chapter 10 Other Early Decisions 1
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Chapter 10 A Ten-Step Development
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Chapter 10 Documents and Artwork 1
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Chapter 10 Specialized Documents a
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Chapter 10 Idea-Generating Exercis
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PART THREE Media and Models: Under
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CHAPTER 11 Video Games What are som
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Chapter 11 The Major Genres of Gam
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Chapter 11 The Major Genres of Gam
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Chapter 11 Game Developers and Hol
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Chapter 11 Today’s Games 217 Fig
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Chapter 11 What Makes Video Games
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Chapter 11 What Can We Learn from
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CHAPTER 12 Massively Multiplayer On
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Chapter 12 The Origins of Today’
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Chapter 12 A Player’s Point of V
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Chapter 12 Essential Questions 231
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Chapter 12 Designing a MMOG for a
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Chapter 12 Early Development Work
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Chapter 12 The Characters 237 The
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Chapter 12 The Role of the Treadmi
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Chapter 12 Conclusion 241 planning
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CHAPTER 13 The Internet What are th
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Chapter 13 The Quest for ‘‘Sti
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Chapter 13 TV as a Role Model 247
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Chapter 13 Drawing from Traditiona
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Chapter 13 Promotion-Based Enterta
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Chapter 13 Other Entertaining Prom
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Chapter 13 Using Entertainment to
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CHAPTER 14 Interactive Television W
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Chapter 14 Major Hurdles 261 Many
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Chapter 14 General Lessons 263 His
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Chapter 14 Setting Objectives 265
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Chapter 14 Applying iTV to Drama 2
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Chapter 14 The Dual-Screen Experie
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Chapter 14 Dimensionalizing a Dram
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Chapter 14 Dimensionalizing a Dram
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CHAPTER 15 Cross-Media Productions
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Chapter 15 A Different Approach to
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Chapter 15 The Origins of The Beas
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Chapter 15 An Enormous Gamble 281
Page 302 and 303:
Chapter 15 The Puzzles 283 Figure
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Chapter 15 The Player-Creator Rela
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Chapter 15 The Power of the Puzzle
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Chapter 15 Majestic Wades into the
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Chapter 15 What Went Wrong 291 380
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Chapter 15 The Integrated Media Ap
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Chapter 15 The Development Process
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Chapter 15 What Went Wrong 297 gam
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Chapter 15 Other Approaches to Cro
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Chapter 15 Using the Cross-Media A
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CHAPTER 16 Smart Toys What could sm
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Chapter 16 Making the Imaginary Re
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Chapter 16 Why Are Smart Toys Wort
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Chapter 16 The Challenges of Creat
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Chapter 16 The Place of Smart Toys
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Chapter 16 Considering Play Patter
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Chapter 16 The Toy Development Pro
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CHAPTER 17 Wireless Devices What ab
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Chapter 17 The Progenitor: A Snake
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Chapter 17 Wireless Devices and Pe
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Chapter 17 Wireless Entertainment
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Chapter 17 Wireless Entertainment
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Chapter 17 A Few Guidelines 331 Wh
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CHAPTER 18 Interactive Cinema Movie
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Chapter 18 Large-Screen Interactiv
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Chapter 18 A Sample Large-Screen E
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Chapter 18 Small-Screen Interactiv
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Chapter 18 Uncompressed: a Case St
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Chapter 18 The Hyperstory as a Veh
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Chapter 18 Nonfiction Interactive
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CHAPTER 19 Immersive Environments W
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Chapter 19 Where Did VR Come From
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Chapter 19 Using VR for Artistic E
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Chapter 19 Other Narrative Experim
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Chapter 19 VR in Other Endeavors 3
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Chapter 19 Hollywood and the Milit
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Chapter 19 Making the Story Come t
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CHAPTER 20 DVDs DVDs are most commo
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Chapter 20 The Special Features of
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Chapter 20 The Bonus Factor 369 Ye
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Chapter 20 Original Projects 371 f
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CHAPTER 21 Kiosks How can something
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Chapter 21 Developing Content for
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Chapter 21 Under Mickey’s Hat 37
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Chapter 21 Discover the Stories Be
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Chapter 21 Using Kiosks for an Inf
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Chapter 21 Harnessing the Kiosk to
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Chapter 21 Stepping into the Past
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PART FOUR Career Considerations
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CHAPTER 22 Working as a Digital Sto
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Chapter 22 Selling an Original Ide
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Chapter 22 Common Entry Points 395
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Chapter 22 Legal Considerations 39
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Chapter 22 Legal Considerations 39
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Chapter 22 Educating Yourself 401
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Chapter 22 Industry Events 403 hum
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Chapter 22 Some Pointers for a Car
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CHAPTER 23 Creating Your Own Showca
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Chapter 23 Considerations in Creat
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Chapter 23 Odd Todd: A Case Study
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Chapter 23 A Low-Tech, Low-Budget
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Chapter 23 Another Approach to Sho
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Chapter 23 Pointers for Making You
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Conclusion We have now reached the
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Glossary 3G third generation: See t
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Glossary 423 branching structure: A
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Glossary 425 electronic kiosk: A bo
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Glossary 427 in by a solo user, not
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Glossary 429 natural language inter
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Glossary 431 RT3D: See real-time 3D
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Additional Readings The following b
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Subject Index Note: For specific pr
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Subject Index 437 common entry poin
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Subject Index 439 Database narrativ
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Subject Index 441 Game content, in
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Subject Index 443 Internet; see als
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Subject Index 445 launching a new M
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Subject Index 447 Scent necklace, 1
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Subject Index 449 Trubshaw, Roy, 19
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Project Index 405, 250-251 AI game,
Page 472:
Project Index 453 Tamagotchi (Virtu
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