| Description |
1 online resource (221 pages) |
| Contents |
Cover; Half Title; Title Page; Copyright Page; Dedication; Contents; Preface; Acknowledgments; Author; Permissions; Introduction; Section I: Primary Shapes and Dynamic Composition; 1 Character Shapes and Poses; Iconic Character Design; Psychological Gestures; Group Shapes; Simple Silhouette Concepts for Intricate Characters; Dynamic Character Poses; Summary; 2 Lines of Movement; Guided versus Synchronized Characters; The Shape of Movement; Speed, Line Tension, and Continuity of Movement; Communicating Personality with the In-Game Camera; Player-Character Empathy |
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Dynamic Character Animations and Level DesignSummary; 3 Environment Shapes; Harmony and Dissonance; Character-Centric Design; Image Systems; The Architectural Value of Secondary Characters; Character-Environment Scale; Deductive Reasoning through Changing Locations; Summary; 4 Pathways; The Aesthetic Value of Pathway Lines; Complimentary and Contrasting Pathways; Open Canvas; Blocked Pathways and Gating; Summary; 5 Dialogue; Nonverbal Communication; Character Classes; Skill Trees; Character Customization; Aesthetic Alignment of Dialogue; Pictographic Communication of Mood and Intentions |
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Player-Driven DialogueUniversal Language; Scripted Dialogue; Cutscene Prompts; Gameplay Prompts; Branching Narratives; Multiple-Choice Dialogue; Exposition; Environment Storytelling; Language Training; Language Pacing; Barrier to Recommencing Play; Summary; 6 Framing; The Camera's Influence on Emotions and Gameplay; Creating Layers of Emotions with Camera Angles; Player-Controlled Camera Angles; Inducing Discomfort with Canted Camera Angles; Directing the Player's Gaze; Centering; Signposting; Contrast; Contrast of Speed and Animation; Contrast of Color; The Importance of Medium Values |
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Face-to-Face ContactSummary; 7 Audio; Waves, Dancing, and Gameplay; Tone; Tone and Player Gestures; Musical Themes; Rhythm and Tempo; Melody and Lines of Movement; Melodic Contours; Triangular Melodic Contours and Atonal Melodies; Musical Open Canvas; Overt Drama versus Subtext; Silence; Diegetic and Non-Diegetic Sound Effects; Video Game Accompanists; Summary; 8 Player Gestures; Calibration and Synchronization; Player-Character Synchronization; Player Gestures and Game Controllers; Motion Controllers; Virtual Reality; Keeping Controls Simple; Summary |
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Section II: The Dramatic Curve and Transitions9 Transitions in Games; Deductive Reasoning and Real-Time Gameplay; The Unreliable Gamemaster; Editing-Out Inconsequential Events; The Call-to-Action and Refusal of the Call; Instant, Delayed, and Imagined Consequences; Active Elements of Dynamic Composition; Mapping the Dramatic Curve; Summary; 10 Transitions with Cutscenes; Case Study: The Last of Us: Left Behind; Drama Analysis; Snapshot Sequence; Mapping the Dramatic Curve; Attention Bottleneck; Case Study: Brothers: A Tale of Two Sons; Drama Analysis; Snapshot Sequence |
| Notes |
Mapping the Dramatic Curve |
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Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force. WlAbNL |
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Print version record |
| Subject |
Video games -- Authorship.
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Video games -- Design
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Storytelling.
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Storytelling
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Video games -- Authorship
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Video games -- Design
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| Form |
Electronic book
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| ISBN |
9781315401218 |
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1315401215 |
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9781315401201 |
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1315401207 |
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