Tabletop RPGs are story engines. Why would you want to tell only one kind of story?
MATT THOMPSON
As part of my EngD project, I am creating ways for story authors to easily write narratives with multiple branches, along the lines of the Choose Your Own Adventure stories from the 1990s. Typically, this kind of story authoring is hard, as the number of material that needs to be written increases exponentially with the number of decision points.
Integrating Narrative into Game Design: A Portal Post-Mortem
Cory Doctorow: Stories Are a Fuggly Hack - Locus
I've mentioned before, stories are weird. I mean, really, really weird. Nothing that happens in a piece of fiction has any consequence in the real world. Romeo and Juliet did not live, did not die, and the ''tragedy'' they represent is objectively less important than the tragedy of the live yogurt culture I digested at the breakfast table this morning. My theory is that the parts of our brains that …Read More
Write Games, Not Engines
Blog of Agatha Mallett: This is a mirroring of "Write Games, Not Engines" by Josh Petrie.
The Rise and Fall of the Lone Game Developer – Holy Ghost Stories
In the early 80s, all it took to make a game was a computer, some graph paper, and a lot of determination.
The Delightful Storybook Workflow
How productive teams get the most out of Storybook
4-Layers, A Narrative Design Approach
Introduction This blog post will be about a new way to approach narrative design in games - the 4 Layers Approach. It is based on a GDC ...
StoryScope: Investigating idiosyncrasies in AI fiction
As AI-generated fiction becomes increasingly prevalent, questions of authorship and originality are becoming central to how written work is evaluated. While most existing work in this space...
Fundamentals of Interactivity | Interactive Storytelling Tools for Writers | Chris Crawford
The Anatomy of Story
”The Anatomy Of Story is concrete and practical without resorting to simplistic ‘Three Act Structure’ screenwriting clichés. It will be an indispensable guide to writing your first great script.” —Larry Wilson, co-writer /co-producer of Beetljuice and co-writer of The Addams Family THE ANATOMY OF STORY 22 STEPS TO BECOMING A MASTER STORYTELLER Faber & Faber launches John Truby’s The Anatomy of Story: 22 Steps to Becoming a Master Storyteller—a new Bible not just for screenwriters, but for any writer crafting the perfect story. Taking as his examples Jaws, Adventures of Huckleberry Finn, Tootsie, The Great Gatsby, The Godfather, Chinatown, and A Christmas Carol, among many others, Truby illustrates in The Anatomy of Story (Faber & Faber/Farrar, Straus and Giroux) what makes a great story and how to create that story, focusing on plot and premise, theme, characters, moral development, and crafting the kind of ending that brings readers and audiences back again and again. Additionally, Truby offers seven key story structure steps, which are the major stages of a story’s development and of the dramatic code under its surface. The Anatomy of Story is a step-by-step guide to constructing the best story possible—be it a screenplay, short story, or novel. Truby, who has taught his twenty-two-step Great Screenwriting and Genre classes to more than 20,000 students worldwide, is available to discuss: Top 10 mistakes writers make about story. Five best and worst questions about screenwriting. How the 22-step-approach is different from the 3-act structure. Five unique story elements of blockbuster films. Five best techniques of character and plot. John Truby is Hollywood’s premier story consultant and founder of Truby’s Writers Studio. He has worked as a story consultant and script doctor for Disney Studios, Sony Pictures, FOX, and HBO, among others. Booklist “ Hollywood story consultant Truby commits his vast knowledge of screenwriting and storytelling to the page in this handy guide for aspiring writers of all types. Truby delves into the setup, from basic structure to the premise and the depth behind it. From there, he moves into character, emphasizing the importance of not only the hero but also the characters in the story who aid and oppose him. Truby illustrates the importance of setting to the story and how careful plotting is needed to weave the elements of the story together. He cautions that plot is not incidental and requires careful management and timely revelations. Although most of his examples are from movies, such as Tootsie, The Godfather, and Star Wars, Truby also draws from novels and plays, and his advice is applicable not only to the hopeful screenwriter but to the aspiring novelist as well. A comprehensive guide to writing stories of all kinds, Truby’s tome is invaluable to any writer looking to put an idea to paper.” —Kristine Huntley Tweet
Claude Mythos 5.1 and Fable 5.1: Capabilities
This is the weirdest situation in which to write a capabilities review.
Weaving Narratives into Procedural Worlds
Examining the value, characteristics, and methods of integrating static narratives into otherwise procedurally generated environments.
» How Jordan Mechner Made a Different Sort of Interactive Movie (or, The Virtues of Restraint) The Digital Antiquarian
One can learn much about the state of computer gaming in any given period by looking to the metaphors its practitioners are embracing. In the early 1980s, when interfaces were entirely textual and graphics crude or nonexistent, text adventures like those of Infocom were heralded as the vanguard of a new interactive literature destined to augment or entirely supersede non-interactive books. That idea peaked with the mid-decade bookware boom, when just about every entertainment-software publisher (and a few traditional book publishers) were rushing to sign established authors and books to interactive projects. It then proceeded to collapse just as quickly under the weight of its own self-importance when the games proved less compelling and the public less interested than anticipated.
GameSpot's SIMply Divine: The Story of Maxis Software
GameSpot action adventure driving puzzle role-playing simulation sports strategy hardware