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Want to know what it’s like to write for a theme park attraction? Or an interactive toy? Or a virtual reality game? Wait – those tell stories? And there are jobs for people who write them? Thanks to technology, interactive products and live experiences can now engage us with memorable characters and exciting adventures that were once destined only for the cinema. Storytelling for New Technologies and Platforms: A Writer’s Guide to Theme Parks, Virtual Reality, Board Games, Virtual Assistants, and More is a handbook for writers, students, producers, teachers, scholars, career changers, early tech adopters, and just about anyone who loves story and technology. As a collection of articles from some of the best creative writers in their medium, this book will prepare content creators of tomorrow to tackle some of today's most exhilarating creative challenges found on a screen ... or off! Key Features: Expert advice from several industry professionals who have worked for some of the world’s biggest tech and interactive companies. Best practices that not only guide writers on how to apply their craft to new fields, but also prepare them for the common ambiguity they will find in corporate and start-up environments. Breakdown of platforms that shows how tech capabilities can fulfill content expectations and how content can fulfill tech expectations. Basic storytelling mechanics customized to today’s popular technologies, live experiences, and traditional game platforms.
Digital Storytelling shows you how to create immersive, interactive narratives across a multitude of platforms, devices, and media. From age-old storytelling techniques to cutting-edge development processes, this book covers creating stories for all forms of New Media, including transmedia storytelling, video games, mobile apps, and second screen experiences. The way a story is told, a message is delivered, or a narrative is navigated has changed dramatically over the last few years. Stories are told through video games, interactive books, and social media. Stories are told on all sorts of different platforms and through all sorts of different devices. They’re immersive, letting the user interact with the story and letting the user enter the story and shape it themselves. This book features case studies that cover a great spectrum of platforms and different story genres. It also shows you how to plan processes for developing interactive narratives for all forms of entertainment and non-fiction purposes: education, training, information and promotion. Digital Storytelling features interviews with some of the industry’s biggest names, showing you how they build and tell their stories.
This pioneering work equips you with the skills needed to create and design powerful stories and concepts for interactive, digital, multi-platform storytelling and experience design that will take audience engagement to the next level. Klaus Sommer Paulsen presents a bold new vision of what storytelling can become if it is reinvented as an audience-centric design method. His practices unlock new ways of combining story with experience for a variety of existing, new and upcoming platforms. Merging theory and practice, storytelling and design principles, this innovative toolkit instructs the next generation of creators on how to successfully balance narratives, design and digital innovation to develop strategies and concepts that both apply and transcend current technology. Packed with theory and exercises intended to unlock new narrative dimensions, Integrated Storytelling by Design is a must-read for creative professionals looking to shape the future of themed, branded and immersive experiences.
Interactive Narratives and Transmedia Storytelling provides media students and industry professionals with strategies for creating innovative new media projects across a variety of platforms. Synthesizing ideas from a range of theorists and practitioners across visual, audio, and interactive media, Kelly McErlean offers a practical reference guide and toolkit to best practices, techniques, key historical and theoretical concepts, and terminology that media storytellers and creatives need to create compelling interactive and transmedia narratives. McErlean takes a broad lens, exploring traditional narrative, virtual reality and augmented reality, audience interpretation, sound design, montage, the business of transmedia storytelling, and much more. Written for both experienced media practitioners and those looking for a reference to help bolster their creative toolkit or learn how to better craft multiplatform stories, Interactive Narratives and Transmedia Storytelling serves as a guide to navigating this evolving world.
In some cultures, the owl is heralded as a symbol of strength, prosperity, and knowledge. Learn all about these captivating birds in the Wise Owl: The Ancient Symbol of Wisdom. Inside, you'll discover mythology and folklore about these intelligent creatures and get a look at how they're represented in the media and pop culture. This kit also includes a 2 3/4 inch resin owl and tons of fun facts like this: The only way an owl can view its surroundings is by turning its head. So make the wise decision and take home the Wise Owl.
Journalism Design is about the future of journalism. As technologies increasingly, and continually, reshape the way we interact with information, with each other and with our environment, journalists need new ways to tell stories. Journalists often see technology as something that improves what they are doing or that makes it more convenient. However, the growing might of technology companies has put journalism and news organisations in a difficult position: readers and revenues have moved, and platforms exert increasing control over story design. Skye Doherty argues that, rather than adapting journalism to new technologies, journalists should be creating the technologies themselves and those technologies should be designed for core values such as the public interest. Drawing from theories and practices of interaction design, this book demonstrates how journalists can use their expertise to imagine new ways of doing journalism. The design and development of the NewsCube, a three-dimensional storytelling tool, is detailed, as well as how interaction design can be used to imagine new forms of journalism. The book concludes by calling for closer ties between researchers and working journalists and suggests that journalism has a hybrid future – in newsrooms, communities, design studios and tech companies.
As a game designer or new media storyteller, you know that the story is critical to the success of your project. Telling that story interactively is an even greater challenge, one that involves approaching the story from many angles. Here to help you navigate and open your mind to more creative ways of producing your stories is the authority on interactive design and a longtime game development guru, Chris Crawford. To help you in your quest for the truly interactive story, Crawford provides a solid sampling of what works and doesn't work, and how to apply the lessons to your own storytelling projects. After laying out the fundamental ideas behind interactive storytelling and explaining some of the misconceptions that have crippled past efforts, the book delves into all the major systems that go into interactive storytelling: personality models, actors, props, stages, fate, verbs, history books, and more. Crawford also covers the Storytron technology he has been working on for several years, an engine that runs interactive electonic storyworlds, giving readers a first-hand look into practical storytelling methods.
Storytelling in the Digital World explores new, emerging narrative practices as they are enacted on digital platforms such as Amazon, Facebook, Twitter, and YouTube. Contributors’ online ethnographies investigate a wide range of themes including the nature of processes of transformation and recontextualization of offline events into digital narratives; the effects of digital anonymity and pseudonymity on narrative practices; the strategies through which virtual communities discursively work together to solidify and negotiate their sociocultural identities; the tensions between the affordances that characterize different online media and the communicative needs of users; the structures and modes in which virtual users construct and enact participatory practices in these environments; and the significance of different spatiotemporal dimensions in the encoding, sharing and appreciation of stories. More generally, the volume engages with some of the theoretical and methodological challenges that the growing presence of digital technologies and media poses to narrative analysis. Originally published as special issue of Narrative Inquiry 27:2 (2017)
Multimedia Storytelling for Digital Communicators in a Multiplatform World is a unique guide for all students who need to master visual communication through multiple media and platforms. Every communication field now requires students to be fluent in visual storytelling skill sets, and as the present-day media adapt to a multiplatform world (with ever-increasing delivery systems from desktops to cell phones), students specializing in different forms of communication are discovering the power of merging new multimedia technology with very old and deep-rooted storytelling concepts. Award-winning journalist and multimedia professor Seth Gitner provides students with the tools for successfully realizing this merger, from understanding conflict, characters, and plot development to conducting successful interviews, editing video in post-production, and even sourcing royalty-free music and sound effects. Incorporating how-to’s on everything from website and social media optimization to screenwriting, Multimedia Storytelling aims to be a resource for any student who needs to think and create visually, in fields across broadcast and digital journalism, film, photography, advertising, and public relations. The book also includes a range of supplemental material, including wide-ranging skills exercises for each chapter, interviews with seasoned professionals, key terms, and review questions.
The 1st International Conference on Virtual Storytelling took place on September 27–28, 2001, in Avignon (France) in the prestigious Popes’ Palace. Despite the tragic events of September 11 that led to some last-minute cancellations, nearly 100 people from 14 different countries attended the 4 invited lectures given by international experts, the 13 scientific talks and the 6 scientific demonstrations. Virtual Storytelling 2003 was held on November 20–21, 2003, in Toulouse (France) in the Modern and Contemporary Art Museum “Les Abattoirs.” One hundred people from 17 different countries attended the conference composed of 3 invited lectures, 16 scientific talks and 11 posters/demonstrations. Since autumn 2003, there has been strong collaboration between the two major virtual/digital storytelling conference series in Europe: Virtual Storytelling and TIDSE (Technologies for Interactive Digital Storytelling and Entertainment). Thus the conference chairs of TIDSE and Virtual Storytelling decided to establish a 2 year turnover for both conferences and to join the respective organizers in the committees. For the third edition of Virtual Storytelling, the Organization Committee chose to extend the conference to 3 days so that more research work and applications could be be presented, to renew the Scientific and Application Board, to open the conference to new research or artistic communities, and to call for the submission of full papers and no longer only abstracts so as to make a higher-level selection.