Index
Note: Page numbers followed by b indicates boxes; f indicates fgures; t indicates tables.
A
Abstract concepts, metaphor as, 221
Abstract stories, games as, 187–188
Academy of Interactive Arts and Sciences (AIAS), 368–369
Academy of Television Arts and Sciences, 369
Action gag, as comedy devices, 93
A.D.A.M. The Inside Story, 221–222
Adams, Ernest, 362
Adelaide Productions, writer
agreements, 132
Agents
and breaking in, 127–129, 399–400
and looking for work, 136
Age of Empires, 236
Aggression–laughter relationship, 85–86
Aggro, games definition, 151
Aggro radius, games definition, 151
Agon, 187
AI, see Artificial intelligence (AI)
AIAS, see Academy of Interactive Arts and Sciences (AIAS)
A la rencontre de Philippe, 217–218
Alice in Wonderland, 89
Alliteration, as comedy device, 92
Alternate reality games (ARGs), 204, 362, 367
America's Army, 353
Amped 3, 294, 296, 297–298, 305–306, 307, 313, 315
Animation comedy
characteristics, 86
global comedy, 95
original projects, 95
reference works, 95
script construction, 88
writing funny TV scripts, 86–88
Animation Flash, 136
Animation Magazine,109, 120, 136
Animation-related organizations, for networking, 119
Animation-series concept, breaking in to feature animation, 122
Animation World Network (AWN),109, 121
Animation Writers Caucus, 118, 131–133, 136
Animatoon,109
Antagonist character development, 76 storytelling tools, 193
Anthropomorphism, as comedy device, 89
The Apprentice, 180
ARGs, see Alternate reality games (ARGs)
Aristotle, storytelling lessons, 195–197
Art designer, detail work, 41
Artificial intelligence (AI), 151, 203
Artist gags, as comedy devices, 94
Artwork
interactive media development, 235–248
ASIFA, see Association International du Film d'Animation (ASIFA)
Assets
definition, 149
hypertext connections, 204
Association International du Film d'Animation (ASIFA), 119, 135–136
Astronomica, 225
AtomFilms.com, 376
Attorneys
handling payments, 129–130 optioning material, 125
Attributes, games definition, 151
Audience and act breaks, 45, 62
Aristotle's lessons, 196
and character development, 299
character identification, 75–76, 78
comedy writing considerations, 87, 94–95
consideration during development, 229, 231, 235
direct-to-video, 101
establishing shots, 13
feature structure requirements, 103–105
and imitatable behavior, 56
and interactivity, 178, 179–180
and jeopardy, 301
and laughter, 85
and metaphors, 221
original idea sales, 360
and pace, 302
and political correctness, 69
and POV, 301
resonance of myths, 194
state of computer games, 297
and story theme, 65
and tension, 198
Audio director, 146
Austin Game Conference, 368
Authority, comedy techniques, 94–95
Avatar and aggro, 151
and attributes, 151
and buff, 152
character biographies, 255–256
and DPS, 152
and emotes, 153
experience points, 158
Avatar (Continued)
features, 153
interactive entertainment, 203
in jeopardy, 198
as new character type, 203
rewards/penalties, 204
side-scrollers, 156
and story structure, 161
strafe, 157
toon definition, 157
trigger/flag/hook, 157
twinking, 157
AWN, see Animation World Network (AWN)
The AWN Spotlight, 136
B
Backgrounds
script definition, 24
TV animation, 30, 41, 49 Backstory
Grand Theft Auto example, 348-349
Baldur's Gate, 296
Bambi, 104
Batman, 125
Beason, Pam, 317
Beast Wars, 48
example, 8b
Beauty and the Beast, 47
Becket, Miles, 380
Behavioral tags, character development, 75
Behavior control handling, 344f
interactive narrative, 305-306
story adaptation, 344f
B.G. (BACKGROUND), definition, 8
Bible, see also Animation bible; Game bible definition, 24-25
interactive entertainment development, 235-236
writer's character rights, 80-81
Bill Cosby's Kids Say the Darndest Things, 90
Blockhead character type, 68
Borst, Terry, 245f
Boss game bible, 256
game definitions, 152
Boy Scout Patrol Theater, 304, 309, 309f
Branching dialogue, game writing, 263f, 264f
Branching storylines, 328, 335–337
Breaking in and agents, 127–129
author's experience, 115
and company locations, 133–134
feature animation animation bible, 122
animation bible elements, 123–124
animation-series concept, 122
concept sales potential, 125–126
“getting in the door”, 126–127
game writing and agents, 399–400
and company locations, 398–399
freelance vs. employee, 386–392
publishers/developers, 384–396
web resources, 362b
TV animation business aspects, 120–121
Buff, game definitions, 152
Bug, game definitions, 152
Bulletin-board system (BBS), for script exchange, 60
Bumpers, definition, 25
Button, writing funny TV scripts, 87
C
Calling card, showcasing work, 372
Camera movements, linear script format, 277t
Cameron, James, 339
Capper, writing funny TV scripts, 87
Capture person/object quest, definition, 257
Caricature, as comedy device, 92
Carmen Sandiego series, 197–198, 247
Cartoon Network, pitching, 126–127
Case, Stevie, 359
Cast list, definition, 50
Casual games career education, 367
gameplay structure, 161
game writing jobs, 391
storylines, 199
Catalyst, simple story creation, 62
Catechumen, 354
Cattle calls, as writer abuse, 130
CD-ROMs, showcasing work, 373
Cel, definition, 25
CGI, see Computer-generated images (CGI)
Chained quest, definition, 258
Character development animation bible, 123
biographies in game writing, 255–256
character design, 77
design in TV animation, 30
first steps, 67
iconic characters, 80
interactive entertainment development, 234
for live interaction, 79
market research, 80
Character relationships animation bible, 123
avatars, 256
character development, 75
comedy from, 86
comedy types, 69
interactive media development, 308
love stories, 104
parallel path stories, 311–312
pitching, 110
in series, 75
Character types
classical linear narrative, 298–299
classic comedy vs. negative stereotypes, 69–70
complex and original characters, 70
everyman vs. one-of-a-kind, 70
as interactive devices, 225
interactive entertainment, 203
interactive narrative, 304, 308
Chatterbots, interactive entertainment, 203
Chevy Tahoe commercial, 180
Choices fake, 171f
game dialogue, 263–265, 263f, 264f
immediate/direct links, 215
and interactivity, 180
meaningful, 171f
The Chronicles of Narnia, 297–298, 305–306
Cinematics, 149–150, 258–259, 269
Clarity, and metaphors, 221
Class, game parameters, 165–166
Classical linear narrative character, 298–299
climax, 300
conflict, 300
example, 299f
jeopardy, 301
pace, 302
resolution, 301
scenes/sequences, 301
story structure, 299
Classic hero, characteristics, 73
Climax classical linear narrative, 300
three-act structure, 61
Close Combat, 353
Collaborative development, 206, 206b
Collecting/gathering quest, definition, 257
Collins-Ludwick, Anne, 200, 206
Comebacks, as comedy device, 91
Comedy characters classic vs. negative stereotypes, 69–70
and personality, 86
Comedy devices artist gags, 94
Comic-Con, for networking, 118
Commenting out, definition, 150
Commercial Artists and Designers Union, 133
Communication, as interactivity type, 184
Compton's Interactive Encyclopedia, 214
Computer games, see also PC games, general
Computer-generated images (CGI)
animated feature structure, 103
definition, 23
dialogue and lip-synch factor, 43
Computer-mediated multimedia, definition, 210
Conan, 56
Concept animated features, 103
animation-series, 122
establishment via flash animation/web comics, 126
interactive media development process, 230–231
Concept art, interactive entertainment development, 246
Concept document, interactive entertainment development, 235
Conferences career development, 368
for networking, 119
Conflict, classical linear narrative, 300
Conniver character type, 68
Conquests of Camelot, 159, 163, 163f, 173, 175
Conquests of the Longbow, 159, 164, 167, 173
Consistency, and metaphors, 221
Console games, general choices, 171
current state, 297
development season, 393
game parameters, 163
game story, 255
game writing jobs, 390
interactivity, 183
interface, 172
linear stories, 160
and multimedia, 210
next-generation, 390
player expectations, 174
publishers/developers, 385
terminology, 295
Content designer, 146
Content-interactivity, 185-186
Content-user relationship, 178-179
Contests, for showcasing work, 381
Contracts digital storytelling career, 364
freelancers, 364
getting paid, 129
optioning properties, 125
WGA interactive writing, 363, 401
Contract work, see Freelancing
Control
behavior control, 305-306, 344f
and interactivity, 180, 212-213
player control, 304, 305-307, 318
version control, 267
virtual objects, 184
Cook-ay Slots, 377
CopyWrite, 271
Covers, script format, 37
Coward character type, 69
Creative director, 146
Critical choice, characters in story, 79
Critical path document, interactive entertainment development, 247
Crowd scene rule, TV animation script restrictions, 49
Customs, as comedy device, 90
Cynopsis: Kids, 121
D
Dailies, and feature financing, 102
Dalton, Brian Keith, 380
Damage per second (DPS), definition, 152
DarkBASIC, 384
Darwin: Survival of the Fittest, 354
Database, screen-based informational script, 284-286
DAY, script format definitions, 13
Dead Ends, story-driven simulations, 328
Death, as comedy device, 94
Deathmatch, game definitions, 152
Definition, as comedy device, 91
Delayed links, interactive media, 217
Deliverables, definition, 150
Deliver quest, definition, 257
DePatie, David, 115
Design director, 146
Design document definition, 150
example, 237f
game writing, 252
interactive entertainment, f 236-240
interactive narratives, 276
Deus Ex, 314
Deus ex machina, 196
Development hell, definition, 126
Development process
Hollywood vs. games definition, 148
interactive entertainment artwork, 235-248
concept art, 246
concept document, 235
core concept creation, 230-231
specialized documents, 247-248
storyboards, 246
TV animation, 29
Dialect, in animation scripts, 58
Dialogue
branching dialogue, 263f, 264f
example, 10b
interactive narrative, 305, 306f, 319
linear script format, 277t
live-action vs. animation script format, 43–44
script format definition, 10
TV animation script restrictions, 49
Dialogue script, 240–244, 241f, 242f
Dialogue writer, in game development, 147
Digital storytelling basics, see also Interactive media
agency, 180
character/story development, 197–198
core concept creation, 230
game-free narratives, 188
interactivity types, 183
player's actions, 140
storylines, 199
ticking clock, 199
Digital storytelling career
breaking in resources, 362b
career pointers, 369
industry events, 368
as occupation, 358
pitching ideas, 360
selling original ideas, 359–360
Digression, as comedy device, 92
Dinosaurs, 100
Direct links, interactive media, 215
Director animated features, 51
calling out shots, 37
CG projects, 48
and dialogue, 43
and live-action script format, 37, 41
storyboarding, 246
Discover the Stories Behind the Magic, 358–359
Disguise, as comedy device, 88
Disney digital storytelling career, 358–359
feature script development, 100–101
and IATSE Local 839, 133
story development, 100
traditional animation department, 99–100
2D vs. 3D scripts, 47
writer agreements, 132
Distribution
animated features, 102
publishers/developers, 384–385
showcasing work, 373
Documentation, interactive entertainment
Doom, 296
Doom 3, 298
Double-column script format, interactive narratives, 286–287
DPS, see Damage per second (DPS)
Dracula Unleashed, 213–214, 318
Drama in abstract games, 188b
opposition factor, 187
DreamWorks
feature development, 51–52, 100
story development, 100
traditional animation department, 99–100
2D vs. 3D scripts, 47
writer agreements, 132
Dumb joke, as comedy device, 90
Dungeons, game definitions, 152
Dust: A Tale of the Wired West, 294–295, 296, 306–307, 312, 313, 313f, 316
Duvall, Shelley, 198
DVDs
animation features, 101
original features, 105
showcasing work, 373
E
E3, see Electronic Entertainment Expo (E3)
Earth & Beyond, 166
ECU (EXTREME CLOSE-UP), 12, 12b
Educational courses digital storytelling career, 364–367
game writing/design, 387
as place to network, 119
Crazy Nights, 102
Eisner, Michael, 51
Electronic Entertainment Expo (E3), 392–393
Electronic games, definition, 295
Elegant, game definitions, 153
Elite, game definitions, 153
Elliott, Ted, 52
Emotes, game definitions, 153
Emotion
and laughter, 85
subtle, handling in scripts, 57
Employee track, interactive media breaking in, 386–392, 394–395
and company locations, 398–399
payment, 396 END OF ACT ONE, placement, 13–14
END OF TEASER, placement, 13–14
Entry-level jobs, as networking opportunities, 119
Environmental synergy document, 247
Escort/protect quest, definition, 257
Exaggeration, character development, 75
Excuse, as comedy device, 91
Experience management
High Noon interactive drama, 341
overview, 339
unexpected player behavior, 344f
Experience points (XP), 158, 256
Exploit, game definitions, 153
Exposure, as comedy device, 89
External developers, 385
F
Faction, game parameters, 165–166
FADE IN:/FADE OUT, 13–14, 277t
False logic, as comedy device, 92
Fantasia 2000, 100
Fantasy characters, 73
F.E.A.R., 319
Fear–laughter relationship, 85–86
Feature, game definitions, 153
Feature animation
animation-series concept, 122
bible, 122
concept sales potential, 125–126
direct-to-DVD, 101
DVD features, 101
financing/distribution, 102
“getting in the door”, 126–127
greenlighting concerns, 99–100
script and pre-production, 100–101
selling originals, 105
for television, 101
F.G. (FOREGROUND), definition, 14
Field, Syd, 196
Fighting elite mob quest, definition, 257
Fighting mobs quest, definition, 257
FileMaker Pro database, 284–285
Final Fantasy VII, 195
Financing, animated features, 102
Finding Nemo, 47
Finding person/object quest, definition, 257
Firaxis Games, 383
Fisher, Katie, 195
Fish-out-of-water character, 68, 86
Fitch, Stephan, 317
Flag, game definitions, 157
Flash animation
career education, 367
original concepts, 126
self-education, 376
skill sets, 374
Flexibility, game design, 169
Flinders, Ramesh, 380
Flowcharts, 244-246, 245f, 272-273
FMV, see Full-motion video (FMV)
Focus groups, interactive media development, 233
Font, script page layout, 36
Food, as comedy device, 93
Fox Television Animation, writer agreements, 132
Frag, game definitions, 153
Freelancing breaking in, 386-392, 395-396
and company locations, 399
publishers/developers, 388-392
Free play
Grand Theft Auto example, 348-349
and simulation stories, 331
Free Range Graphics, 372
Full-motion video (FMV), 150, 252
Full Spectrum Warrior, 353
Funny chase, as comedy device, 93
Funny sounds, as comedy device, 92
G
Gags
action gag, 93
artist gags, 94
in character creation, 68
gag series, 93
motion gags, 94
recycling old gags, 88
running gags, 93
in story creation, 64
Galatea, 189
gamasutra.com, 146, 394, 396
Game design
abstract story approach, 187-188
cutscenes/cinematics, 258
Game design (Continued)
design document proposal, 276
feature creep, 153
flexibility, 169
game story, 255
gradients, 170
immersion, 174
instancing decisions, 154
linear vs. nonlinear storyline, 158–160
mythic structure, 195
story/character development, 160
user interaction, 180
and user interactivity, 180
variables, 169
version control, 267
“What if…” questions, 167–168 Game designer
breaking in, 383
definition, 145
education, 387
empowering players, 158
types, 146
use of recruiters, 394
Game Developer magazine, 396
Game Developers Conference (GDC), 368, 392
Game industry
game-development/playing terms, 151–158
structure, 386
writer-specific terms, 149–151
Game intro, game writing, 252
Game manual, game writing, 266
Game objects, acquisition, 166
Game parameters
game objects acquisition, 166
player level, 165
quest acquisition, 166
Gameplay
game writing, 256
storytelling tools, 204
The Games Game, 362
Game story
game writing, 255
goals, 193b
as storytelling tools, 192
structure, 161
Game structure
Game Submission Guide, 360
Game Writers Summit, 393
Game writing basics, see also Interactive narrative
branching dialogue, 263f, 264f
character biographies, 255–256
design document, 252
dialogue variables, 260–265, 261b
FMV/game intro, 252
game manual, 266
in-game text, 265
job types, 251
promotional materials, 266
samples, 269
slang/fantasy language, 265
story, 255
technical material, 266
version control, 267
web sites, 266
Gang credit, as writer abuse, 130–131
GDC, see Game Developers Conference (GDC)
Genre, interactive entertainment, 233, 296
Gerber, Steve, 60
Gilligan, Shannon, 223–224, 319
Gradients, game design, 170
Grand Theft Auto franchise
action control, 305
backstory, main story, free play, 348–349
character determination, 307
and current state of games, 297–298
linking, 313
overview, 347
pace, 318
plot points, 316
text, 223
Granularity, and interactivity, 186–187
Graphical user interface (GUI), game definitions, 154
Griefers, game definitions, 153
Grim Fandango, 297
GUI, see Graphical user interface (GUI)
Guitar Hero, 222
H
Half-Life series
character behavior, 305
characters, 225
current state of games, 297
cutscenes/cinematics, 258
exposition, 315
pace, 318
props, 225
sounds, 319
Halo, 296
Hamlet on the Holodeck, 187
Hand in the Plan, Leaders
simulation, 336f
Hardware, storytelling tools, 205
Harlem Renaissance web site, 219f, 221, 223
The Haunted Carousel, 200, 201f
Hero character, definition, 151–152
Hidden element, as comedy device, 89
Hierarchical branching, interactive narrative, 310–311, 310f
High-level design interactive multimedia, 217–222
High Noon interactive drama, 341, 341f, 343f, 344f, 345f
Hit points (HP), game definitions, 154
Hollywood
interactive media perspective, 200–202
and videogame industry, 148–158
The Hollywood Reporter,109, 121, 136
Homicide: Second Shift, 296
Hook, game definitions, 157
Howard, Robert E., 56 HP, see Hit points (HP)
Hypernauts, 38
Hypertext, for asset connection, 204
I
IATSE Local 839, 133, see also The Animation Guild (TAG)
Ice Age, 104
Iconic characters, creation, 80
Icons, as interactive devices, 223
IDGA, see International Game Developers Association (IDGA)
IF, see Interactive fiction (IF)
If-then interactive format, 279, 281–283
IMDB, see Internet Movie Database (IMDB)
Imitatable behavior, in animation scripts, 55–57
Immediate links, interactive media, 215
Immersion
game design, 174
Impersonation, as comedy device, 88
Incident Commander,353
Indents, script page layout, 36
Indirect links, interactive media, 215–217
Industry events, digital storytelling career, 368
Information
game writing, 256
as interactivity type, 184
Informational design document, format, 276
Informational script, screen-based, single-column in database, 284–286
Informational treatment, sample, 275–276
Information architecture
interactive multimedia, 217–222
In-game text, game writing, 265
In-house developers, 385
In joke, as comedy device, 90
InkTip.com, 120
Input devices, interactive multimedia, 222
Insider, 354
Inspiration software, for flowcharts, 246
Instance, game definitions, 154
Insult, as comedy device, 91
Intellectual property (IP), 363, 384
Intelligent links, interactive media, 217
Intelligent Tutoring, simulation stories, 334–335
Interactive devices
challenges, 225
characters, 225
icons, 223
scenes, 317
Interactive fiction (IF), 188
Interactive media
character types/AI, 203
classic storytelling tools, 198–199
contemporary storyteller lessons, 197–198
definition, 211
events/variable, 203
gameplay, 204
game/story goals, 193b
Hollywood writer's perspective, 200–202
immediate/direct links, 215
intelligent/delayed links, 217
motivation, 197
vs. passive entertainment, 179b
rewards/penalties, 204
sensors/hardware, 205
six-column script format, 289
story element connections, 203–204
storytelling tools, 192
time and space, 205
user role/POV, 203
Interactive media development process
concept art, 246
concept document, 235
core concept creation, 230–231
specialized documents, 247–248
storyboards, 246
Interactive multimedia
input devices, 222
Interactive narrative
character biographies, 255–256
characterization, 304
classical linear elements, 298–302
design document, 252
experience management, 340–346
experimental structures, 314
FMV/game intro, 252
Interactive narrative (Continued)
game writer duties, 251
game writer technical skills, 266-269
genres, 296
Grand Theft Auto story example, 348-349
handcrafted spider web storylines, 337-338
hierarchical branching, 310-311, 310f
High Noon simulation, 341, 343f
in-game text, 265
linear, 309
linear with scene branching, 309-310
mobs/monsters/bosses, 256
parallel path stories, 311-312, 311f
player control, 304
preliminary documents, 272-276 proposals/design documents, 276
scenes
actions, 305
character setup/relationships, 308
variable control, 306
simulated conversations, 331-333
vs. simulations/worlds, 294-295
slang/fantasy language, 265
spider web storylines, 335-337
story-driven simulations, 323-328
technical material/game manual, 266
variable state environment, 314
version control, 267
web site/promotional materials, 266
Interactive narrative scripts double-column format, 286-287
single-column complex if-then, 281–283
single-column screen-based informational, 283–286
single-column simple if-then, 279
six-column format, 289
Interactive Program Contract (IPC), 363
Interactive Trauma Trainer,353
Interactive TV (iTV), 179, 298, 361
Interactive writer
role, 212
viewer input, 214
Interactivity
and cohesive storytelling, 186–187
definition, 178
and game structure, 159
limits, 213
potential, 212
six-column script format, 289
as user–content conversation, 178–179
INTERCUT TO/INTERCUTTING TO, 15, 15b
Interfaces
game definitions, 154
interactive entertainment, 234
interactive multimedia, 218–220
Internal development
premises, 32
publisher/developer structure, 385
International Game Developers Association (IDGA), 360, 363, 368–369, 389, 401 Internet. see also Web sites
interactive media careers, 361
interactive multimedia, 211–212
web comics/flash animation, 126
Internet Movie Database (IMDB), 395
Internships, as career entry point, 361
Intuitive, game definitions, 154
Invictus, 195
IP, see Intellectual property (IP)
IPC, see Interactive Program Contract (IPC)
The Iron Giant, 104
Irony, as comedy device, 92
The Italian Job, 298
J
Jackson, Peter, 297
James R. Webb Memorial Library, 117–118
Jensen, Jane, 213–214, 318 Jeopardy
classical linear narrative, 301
as storytelling tool, 198 The Jetsons, 90
Jimmy Neutron: Boy Genius, 105
Job list resources, 394
The Joe Kubert School of Cartoon and Graphic Art, Inc., 124
JumpStart series, 200b, 236, 237f
Just Cause, 294–295, 298, 313, 315
K
Katzenberg, Jeffrey, 51–52, 100
Kid's mistakes, as comedy device, 90
L
Labor organizations, 130–133, 400–401
Laidlaw, Marc, 296
Las Posadas holiday procession, 182
Laughter, comedy writing, 85–86
Laurel and Hardy, 95
Laws of physics, as comedy device, 94
Leaders simulation
Dead Ends, 328
Molecule Identification Form, 336f
narrative construction, 326–327
narrative graph, 326f
sample script, 328b
screenshot, 330f
Shared Outcomes, 328
simulated conversations, 331–333
spider web storylines, 335–337
Lead system designer, 146
Lead world designer, 146
Lean back vs. lean forward experience, 179b
Leave-behind, definition, 126
Legal issues, digital storytelling career, 363–364
The Legend of Alon D'ar, 254, 256, 259, 269
Les Triplettes de Belleville, 105–106
Level designer, 146, 148–149, 155
Levels/Leveling up, game definitions, 154–155
Leventhal, Michael, 363
Lilo and Stitch, 104
Limited animation, definition, 26
Linear narrative characteristics, 309
example, 159f
interactive script format, 277–279
Linked quest, definition, 258
Linking definition, 211
immediate/direct links, 215
intelligent/delayed links, 217
interactive narrative, 314
worlds in interactive narrative, 312–313
The Lion King, 104
"Literal use of words," as comedy device, 91
The Little Mermaid, 51
Live-action scripts
dialogue and lip-synch factor, 43–44
example layout, 38b
writing to length, 45
Live host, six-column script format, 289
Local networks, interactive multimedia, 212
Logic flow document, 248
Logline
animated features, 103
core concept creation, 231
definition, 50
in pitching, 112
LonelyGirl15, 380
The Lord of the Rings, 299
Loulou and the Other Wolves, 102–103
Lucas, George, 195
M
Made for Internet Contract, 363
Main story example, Grand Theft Auto, 348–349
Major crisis, simple story creation, 63
Malapropism, as comedy device, 91
Managers, and looking for work, 136
Map, interactive multimedia, 220–221
Marcus, Aaron, 221
Market research
character development, 80
interactive entertainment development, 231–232, 233
Massively Multiplayer Online Games (MMOGs)
career education, 367
character biographies, 256
company employee track, 387
game writing, 256
industry events, 368
instancing, 154
and interactivity, 179
interfaces, 173
and myths, 195
navigation, 183
non-linear storylines, 160
player level, 165
player mind-set, 174
PVE, 156
PVP, 156
story structure, 161
from Syfy, 148
zones, 164
Massively Multiplayer Online Role Playing Games (MMORPGs), 296
Matrix, in interactive media development, 203, 247, 345
The Matrix Online, 254-255, 266
Maxis Software, 383
MBA, see Minimum Basic Agreement (MBA)
McKee, Robert, 323
The Meatrix, 372
Media-altering interactivity, definition, 210-211
Media-based comedy device, 94
Meier, Sid, 383
Menus, as interactive devices, 223-224, 224f
Metal Gear Solid, 312
Metamorphosis, as comedy device, 92
Metaphors, interactive multimedia, 221–222
Microsoft Visio, for flowcharts, 246
Milestones
contract-based, 364
game writing payment, 397
Milia, 368
Military simulations,353
Miller, Craig, 125
Minibible, definition, 122
Minimum Basic Agreement (MBA), and WGA, 131
MIPTV, 368
Misplaced emphasis, as comedy device, 92
Missions, game writing, 256-258
Misunderstanding, as comedy device, 89-90
MMOGs. see Massively Multiplayer Online Games (MMOGs)
MMORPGs. see Massively
Multiplayer Online Role
Playing Games (MMORPGs)
Mobile games, general
current state, 298
industry events, 368
Mobile object (Mob)
game bible, 256
game definitions, 155
spawning, 156
stats, 157
triggers, 157
MobyGames, 395
Models
TV animation script restrictions, 49-50
Monsters, game bible, 256
Monsters, Inc., 47
MOO, see Multi-User Dungeon Object Oriented (MOO)
Motion gags, as comedy devices, 94
Motivation, in interactive media, 197
Movie Magic Screenwriter, 50, 271
Mr. Deity, 380
MSWord, for script formatting, 272
MUDs, see Multi-User Dungeons (MUDs)
Multimedia, see also Interactive multimedia
computer-mediated, 210
definition, 211
Multimedia designer, 277
Multiple personalities, as comedy device, 88
Multiple reference, as comedy device, 89
Multisensory experience, immersiveness, 181
Multi-User Dungeon Object Oriented (MOO), and IF, 189
Multi-User Dungeons (MUDs), and IF, 189
My Fair Lady, 189
MySpace, 378
Myths, storytelling lessons, 194-195
N
Naif character type, 68
Name-calling, as comedy device, 91
Nancy Drew games
character identification, 306-307
concept art, 246
current state of games, 297-298
example, 201f
icons, 223
as interactive narrative, 294
interface, 218
as mystery subgenre, 296
screenshot, 219f
script format, 281
special development documents, 247
structure, 313
writer's flowchart, 220f
Narration, three-column script format, 287–289
Narrative
classical linear elements, 298–302
elements in interactive media, 234
story-driven simulations, 326–327
Narrative designer, 146, 147, 387
Narrative proposal, format, 276
Narrative treatment, sample, 276
National Association of Television Program Executives (NATPE),109
NATPE, see National Association of Television Program Executives (NATPE)
The Nauticus Shipbuilding Company, 275, 294
Navigate–move interactivity type, 183
Navigation
interactive narrative, 273, 308–314
Odd Todd web site, 378
Navigation bars, as interactive devices, 223
NDA, see Non-disclosure agreement (NDA)
Negative stereotypes vs. classic comedy characters, 69–70
NERF, game definitions, 155
Networking
digital storytelling careers, 368–369
for freelancing, 389
publishers/developers, 392–393
Networks, interactive multimedia, 212
Newell, Gabe, 310
Nickelodeon, pitching, 126–127
Nickelodeon Productions Writing Fellowship Program, 120
NIGHT, script format definitions, 13
Noles, Geoffrey, 377
Non-disclosure agreement (NDA), 364, 365f
Nonhuman characters, characteristics, 73–74
Non-linear storyline
example, 159f
“What if…,” questions 168
Nonplayer character (NPC)
and AI, 151
character biographies, 255–256
game definitions, 155
game dialogue variables, 260
interactive entertainment, 203
interactive fiction, 189
Max Payne example, 161
player options, 307
PVE, 156
PVP, 156
simulated conversations, 331–332
spawning, 156
stats, 157
triggers, 157
variables, 169
Non sequitur, as comedy device, 92
NPCs, see Nonplayer character (NPC)
O
Objection!, 354
(O.C.)/OFF CAMERA, 16
Odd Todd website
character, 375f
cyber support, 377b
maintenance and content, 377–378
popularity, 376
O'Meara, Maria, 317
One-of-a-kind character type, 70
Online games, interfaces, 173
Opposition
games as storytelling tools, 192
in games/drama, 187
The Oregon Trail, 217–218, 223
OTS (OVER THE SHOULDER), 16, 16b
Our Gang, 95
Outline
interactive narratives, 272–275
Prudential Verani web site example, 273b
“Spykecam”, script 60
Outside pitches, premise development, 31
P
Pace
classical linear narrative, 302
interactive movies, 318
interactive narrative, 317–319
player control, 318
and time manipulation, 318–319
The Pandora Directive
character identification, 307
intelligent links, 217
interactive dialogue, 305
parallel path stories, 311–312, 311f
variable state environment, 314
walkthrough excerpt, 215–216, 216b
Parallel path stories, 311–312, 311f
Parentheticals, 17–23, 17b, 277t
Parody, as comedy device, 92
Parties, for networking, 119
Passive vs. interactive entertainment, 179b
Patch, game definitions, 155
Payment issues
employee track, 396
PC games, general
current state, 298
development season, 393
game writing jobs, 391
interactivity demands, 160
interfaces, 173
and multimedia, 210
publishers/developers, 385
terminology, 295
Peak Webhosting, 377
PEER, see Professional Electronic Entertainment Recruiters (PEER)
Penalties, as storytelling tool, 204
Personality, comedy characters, 86
Peter Pan, 100
PGA, see Producers Guild of America (PGA)
Phase-based parameters, game structure, 164–165
Phoenix Wright: Ace Attorney, 297–298
Pirates of the Caribbean, 121, 297–298
Pitching projects
and getting work, 137
guidance for, 360
personal presentation, 111
post-pitch, 112
rehearsals, 110
student projects, 113
Pixar, 2D vs. 3D scripts, 47
The PJs, 132
Platforms
audience considerations, 229
career self-education, 367
and concept document, 235
digital storytelling across, 204
distribution methods, 373
interactive entertainment development, 231, 233
need for writers, 390
owners, 385
project development decisions, 231, 233
and visionary storytellers, 358
Player character
determination by player, 307
hit points, 154
jeopardy, 198
power-up, 156
stats, 157
unexpected behavior, 344f
Player control
attributes, 151
and characterization, 304
communication, 184
experience management, 331–333
and exposition, 316
game parameters, 163
Grand Theft Auto example, 349
interactive narrative, 159, 306–307
interface elements, 173
linear vs. interactive narrative, 304
and NPCs, 155
and pace, 318
parallel path stories, 311–312
and plot points, 316
and time–pace relationship, 318–319
and zone, 163
Player vs. environment (PVE), game definitions, 156
Player groups, instancing, 154
Player immersion, 174
Player level
and aggro, 151
branching dialogues, 264
as game parameter, 165
time-based parameters, 164–165
variables, 260
Player/minor character, 307–308
Player vs. player (PVP), 152, 156, 192
Plot points
and beats, 24
and conflict, 300
linked worlds, 312
myths, 194
within scenes, 301
Pocket Dragon Adventures, 132
The Pocket Dragons, 125
Poetry, as comedy device, 92
Point of view (POV)
classical linear narrative, 301–302
example, 18b
interactive entertainment development, 234
script format definition, 18
users, 203
Polygons, game definitions, 155–156
Poor Soul character type, 68–69
PopCap Developer Program, 384
Pop-culture references, as comedy device, 90
Portfolio, showcasing work, 373
Postproduction, TV animation process, 30
Pousette, Lena Maria, 304
The Powerpuff Girls, 99
Power-up, game definitions, 156
Pray, Diane, 200
Predetermined events, 166-167, 167f
Premise
concept creation, 231
interactive entertainment development, 233
“Spykecam” example, 33b
Preproduction
animated feature script, 100-101
artwork, 235
definition, 228
design document, 236
development mistakes, 229
and documentation, 228
Hollywood development process, 148
schedules, 232
storyboards, 246
and subject matter experts, 232
Present tense, in scripts, 54-55
Pretense, as comedy device, 89
The Princess and the Frog, 47
Producers
and agents, 400
communication with, 53
cutscenes/cinematics, 258
dialogue issues, 59
feature creep control, 153
forbidden words in animation, 55
game development team, 148
game publishers/developers, 386
game-user interaction, 180
game version control, 267
game writing jobs, 390
hiring writers, 390
networking, 118
outline changes, 34
and recruiters, 394
screenwriting expos, 113
spec scripts, 116
story/character development, 160
Producers Guild of America (PGA), 369
Production schedule animated features, 102-103
as boost to creativity, 49
CG shows, 47
working out, 232
Professional Electronic Entertainment Recruiters (PEER), 394
Project creep, 363
Promotional materials, game writing, 266
Prop master, detail work, 41
Proportion, as comedy device, 94
Proposals, interactive narratives, 276
Props list, definition, 50
Prototypes
development phase, 228
interactive media development, 233, 246–247
selling original ideas, 360
for showcasing work, 384 Prudential Verani web site, 221, 222f, 273b
Publishers/developers
employee track, 387–388, 394–395
freelance track, 388–392, 395–396
structure, 385
timing job applications, 393
PULL BACK/PULL BACK TO REVEAL, 18, 18b, 89
Pulp Fiction, 158
Pulse,353
Pun, as comedy device, 92
Punch line, writing funny TV scripts, 87
Put-downs, as comedy device, 91
PVE, see Player vs. environment (PVE)
PVP, see Player vs. player (PVP)
Q
QA, see Quality assurance (QA)
QoL, see Quality of life (QoL)
Quake, 296 Quality assurance (QA), game definitions, 156
Quality of life (QoL), 399
Quantum Gate, 178
Quest designer, 146
R
Race, game parameters, 165–166
RAPID DISSOLVE TO:, definition, 11
Reactions
as comedy device, 89
delayed links, 217
to user input, 216f
Real War,353
ReBoot, 47
Receiving–acquiring interactivity type, 184
Recruiters, game writing jobs, 394
Redbeard's Pirate Quest, 222
Rehearsals, for pitching, 110
Replayability, game definitions, 156
Repression–laughter relationship, 85–86
Rescuing/setting free quest, definition, 257
Resolution
classical linear narrative, 301
game story structure, 162
three-act structure, 61
Rewards, storytelling tools, 204
Rhymes, as comedy device, 92
Ridiculous situation, as comedy device, 91
Rights
established material, 125
Roach, Greg, 178, 186, 188, 232, 367
The Road to El Dorado, 52, 121
Role playing games (RPGs), see also Massively Multiplayer Online Role Playing Games (MMORPGs)
character biographies, 256
interactive narrative genres, 296
player level, 165
player race/faction/class, 165–166
stats, 157
Role reversal, as comedy device, 88
Roman comedy types, 68
Romero, John, 359
RPGs, see Role playing games (RPGs)
Rube Goldberg inventions, as comedy devices, 93
S
Save Your Co-Worker, 242f
Scenario writer, in game development, 147
Scene branching, linear narrative, 309–310, 309f
Scene heading, see SLUGLINE Scenes, classical linear narrative, 301
Scenes, interactive narrative
actions, 305
character setup/relationships, 308
variable control, 306
writing challenges, 317
Schank, Roger, 324
Scooby-Doo, 69
Scouting quest, definition, 257
Screen-based informational script
in database, 284–286
Screenplay: The Foundations of Screenwriting, 196
Screenwriting expos, as pitching opportunities, 113
Script format, animation
basic layout, 36
Script format, games
game writing, 251
interactive narrative, 271
preliminary documents, 272–276
screen-based informational script, 283–286
single-column complex if-then, 281–283
single-column simple if-then, 279
six-column, 289
Script process
assignment requirements, 50
springboard, 31
Scriptwriter title, in game development, 147
Scriptwriting definition, 148
Scriptwriting software, 50–51, 271–272
Senior designer, 146, 252, 267
Sensors, storytelling tools, 205
Sequences, classical linear narrative, 301
Serious games
industry events, 368
overview,353
Set list, definition, 50
Setup, see Exposition Setup-payoff, 87, 92
(SFX:)/SOUND EFFECTS, 19–20, 19b, 20b
Shadow of the Colossus, 254–255, 256, 294–295
Shadow Raiders, 47
Shared Outcomes, story-driven simulations, 328
Shelley Duvall Presents Digby's Adventures, 198
Shell game, as comedy device, 93
Shellshock, 298
Shock–laughter relationship, 85–86
Short, Emily, 189
Show bible, definition, 122
Showcasing work
distribution, 373
do-it-yourself approach, 376b
overview, 372
portfolio vs. single-piece, 373
professional considerations, 372–374
professional pointers, 381–382
skills, 374
Shrek series, 47, 52, 68, 90, 99–100, 121
Sides, definition, 27
Side-scrollers, game definitions, 156
SIGGRAPH conference, 368
SIGs. see Special Interest Groups (SIGs)
The Sims, 151, 156, 213, 294-295, 308, 349-350
The Sims Online, 350
Simulated conversations, simulation stories, 331-333
Simulations
vs. interactive narratives, 294-295
military,353
story-driven, see story-driven simulations
Simulation stories
handcrafted spider webs, 337-338
Sinbad, 100
Single-column script format
screen-based informational script, 283-286
simple if-then, 279
Single-piece showcase, 373
Sitcoms
and animated story creation, 64
misunderstanding as comedy device, 89-90
Sitemap, interactive multimedia, 220-221
Six-column script format, interactive narratives, 289
Skeleton logic chart, 248
Slang
game writing, 265
Sloper, Tom, 360
Slow motion action, as comedy device, 94
Slugline
CLOSE-UP/CLOSE ON, 9
definition, 20
EST. (ESTABLISHING), 13
EXT. (EXTERIOR), 13
FAVORING, 14
INT. (INTERIOR), 14
linear script format, 277t
live-action scripts, 37
TWO-SHOT/2SHOT/2S, 21
Small Soldiers, 52
Smart toys, 248
SMEs, see Subject matter experts (SMEs)
Software
for flowcharting, 246
for scriptwriting, 50-51, 271-272
Sony Pictures Animation, writer agreements, 132
South Park, 90
Spacing, script page layout, 36
Spawn camping, game definitions, 156
Spawning, game definitions, 156
Special Interest Groups (SIGs), 368-369, 401
Spec scripts
and agents, 128
breaking into TV animation, 116-118
definition, 27
newcomer mistakes, 117
Speeded-up action, as comedy device, 94
Spider-Man, 47
Spider web storylines, 335-338
Spielberg, Steven, 297
Spirited Away, 104, 105-106, 195
Splinter Cell, 256
Star Wars, 195
Statistics (stats), game definitions, 157
Steinmetz, Robert, 240-246, 242f
Stimulus-response interactivity type, 183
Stinger, writing funny TV scripts, 87
Stocker, Sarah W., 390
Story arc, definition, 27
Storyboard artist
feature script pre-production, 100
relationship with, 54
TV animation script format, 37, 41
2D vs. 3D scripts, 48
Storyboards
animated feature films, 51
definition, 27
interactive entertainment development, 246
interactive narratives, 289-277
Story creation
and character development, 78-79
gags/laughs approach, 64
game design, 186
game writing, 255
sitcom model, 64
theme-based, 63
Story-driven simulations
Dead Ends, 328
narrative construction, 326–327
sample script, 328b
Shared Outcomes, 328
Story editor
animation process, 29
and breaking in, 116–121, 126–127
forbidden words, 55
and pitches, 31
and sample scripts, 135
springboards, 31
writing to length, 45
Storylines
JumpStart series, 200b
non-linear, 158–160, 159f, 168
“Story,” men, 133
Story nodes, games, 159
Story structure, see also Three-act structure
classical linear narrative, 299
day/night game components, 165f
differences, 61
experimental interactive, 314
Grand Theft Auto franchise, 348–349
hierarchical branching, 310–311, 310f
linear, 309
linear with scene branching, 309–310
parallel path stories, 311–312, 311f
story-driven simulations, 325–326, 328
variable state environment, 314
Storytelling tools Aristotle, 195–197
contemporary storytellers, 197–198
event determination/variables, 203
gameplay, 204
overview, 192
rewards/penalties, 204
sensors/hardware, 205
story element connections, 203–204
story goals, 193b
time and space, 205
user role/POV, 203
StoryView, 271
Story writer, in game development, 147
Strafe, game definitions, 157
String of pearls architecture, 312–313, 313f
“Strong and punchy” dialogue, 43
Structure, see Game structure. Story structure; Three-act structure
Student internships, as career entry point, 361
Student projects, pitching, 113
Subject matter experts (SMEs), 232
Surprise ending, as comedy device, 94
Switching, as comedy technique, 94–95
Syfy channel, 148
Symbolic characters, 74
Symbolic drama, 188
Synopsis, definition, 50
System designer, 146
T
Tacit knowledge, identification, 324–325
Tactical operations center (TOC), ALTSIM simulation, 340
TAG, see The Animation Guild (TAG)
Tag
character development, 75
definition, 28
three-act structure, 61
Takes, as comedy device, 89
Talk to quest, definition, 257
Technical director, 146
Technical material, game writing, 266
Technical writing, as entry into industry, 395
Teenage Mutant Ninja Turtles, 56
Television animation
feature packages, 101
production process, 30
Television animation scripts
character name capitalization, 60
comedy, construction, 88
dialect, 58
dialogue and lip-synch factor, 43–44
electronic exchange etiquette, 60
example layout, 39b
forbidden words, 55
handling deaths, 55
handling subtle emotion, 57
hybrid format, 41
lip-synch problem, 59
restrictions and creativity, 49–50
sample scripts, 135
slang and fantasy language, 57–60
writing to length, 45
Tension, as storytelling tool, 198
Text menus, as interactive devices, 223–224
Text transcript, three-column script format, 287–289
The Animation Guild (TAG), 133,
see also IATSE Local 839
Theme
basic concept, 65
in character development, 78
in story creation, 63
The 7th Guest, 298
The 11th Hour, 311
Third-party developers, 385
Thomas, Roy, 115
Three-act structure, see also Story structure
and act breaks, 46
and Aristotle, 196
basic components, 61
games, 159
game story structure, 161
Three-column script format, interactive narratives, 287–289
3D (three-dimensional) animation, 23, 37–38
The Three Stooges, 95
Thunder in Paradise, 319
Time
in interactive narrative, 317–319
Time-based parameters, game structure, 164–165
Time and space, storytelling tools, 205
Titanic, 339
Tokyo Game Show, 368
Tool designer, 146
Toon, see Avatar
Topical humor, as comedy device, 90
Transition of thought, as comedy
device, 92
Transitions
CUT TO:, 10
DISSOLVE TO:, 11
examples, 21
MATCH DISSOLVE TO:, 15
QUICK CUT, 18
WIPE TO:, 23
Trans-media approach, 204
Trigger, game definitions, 157
T. Rowe Price web site, 216, 224f
True story, as comedy device, 91
Trump, Donald, 180
Try-fails, as comedy devices, 93
Turning point, simple story creation, 63
TV Guide, for pitching preparation,109
Twinking, game definitions, 157-158
Twist around, as comedy device, 89
Twisted clichés, as comedy device, 90
2D (two-dimensional), 23, 37-38, 47-48
TWO-SHOT/2SHOT/2S, definition, 21
U
“Uh-oh Technique,” for comedy94-95
Uncertainty, as storytelling tool, 198-199
Underdog character type, 68-69
Under a Killing Moon, 223, 224-225, 319
Understatement, as comedy device, 91
Universal Cartoon Studios, writer agreements, 132
Unraveling clues quest, definition, 258
U.S. Copyright Office, 126
Use of force, in animation scripts, 56
User interactivity
and current state of games, 297-298
definition, 212
experimental structures, 314
and gameplay, 204
Grand Theft Auto example, 349
input reactions, 216f
interactive media, 211
limits, 213
vs. mass audience experience, 179-180
multimedia types, 210, 211-212
with narrative, 304
Odd Todd example, 377
rewards, 204
role/POV, 203
story control, 213
story elements, 204
storylines, 199
time/space, 205
World Hunger: Food Force example, 353
Users, and development process
design document proposal, 276
if-then-based scripts, 279, 281–283
linear story structure, 309–310
misjudging users, 229
premise, 231
script outline, 273
scripts, 286–289
V
Variables
game design, 169
interactive narrative, 306
storytelling tools, 203
Variable state environment, 314
Verbal caricature, as comedy device, 92
Verbal humor, comedy techniques, 94–95
Verb set, 179
Version control, game writing, 267
Video games, 295–296, 297–298, see also PC games, general
Videogame Writers Caucus (VWC), 363, 401
Viewer input, interactive thinking, 214
Violence, in animation scripts, 57
Vital Signs, 283
(V.O.)/VOICE-OVER, 10, 21, 22b Voyeur
exposition, 315
icons, 223
interactivity limits, 213
plot points, 317
variable control, 306
VWC, see Videogame Writers Caucus (VWC)
W
Walkthrough, definition, 151
Waypoints, game definitions, 158
Web comics, for establishing original concepts, 126
Web sites, see also Internet
breaking in resources, 362b
career education, 367
game writing, 266
job listing resources, 394
outline, 272–275
WGA, see Writers Guild of America (WGA)
"What if..." questions, 167–168
Whimsy, as comedy device, 91
White House web site, 219–220
Who Killed Sam Rupert?, 223–224, 225
WIDEN/WIDEN TO INCLUDE, 23, 23b
The Wild Thornberrys, 99
Winnie the Pooh, 68
Witticism, as comedy device, 92
The Wizard of Oz, 195
Wolfman, Marv, 125
Women in Animation, 119, 135–136
WordMenu, 271
World building, 148–149, 253–254
World building designer, 146, 294
World Hunger: Food Force, 353
Worlds vs. interactive narratives, 294–295
World of Warcraft, 155, 172f, 173f, 258, 294, 296
Wright, Will, 308, 349–350, 383
Writer/designer, 146, 147, 149, 318
Writers Guild Foundation Shavelson-Webb Library, 117–118
Writers Guild of America (WGA) agents database, 128
agents and managers, 136
Animation Writers Caucus, 118, 131–133
freelancing, 363
networking, 369
Videogame Writers Caucus (VWC), 363, 401
Writer-specific terms, 149–151
Writing contests, breaking into TV animation, 119–120
X
The X-File Game, 178
X-Men: Evolution, 33b, 60, 117
XP, see Experience points (XP)
Y
Z
Zany character type, 68