Story and Simulations for Serious Games: Tales from the Trenches

Nick Iuppa, Terry Borst

  • 出版商: Focal Press
  • 出版日期: 2006-11-15
  • 定價: $1,290
  • 售價: 1.5$199
  • 語言: 英文
  • 頁數: 272
  • 裝訂: Paperback
  • ISBN: 024080788X
  • ISBN-13: 9780240807881
  • 相關分類: 遊戲設計 Game-design
  • 立即出貨 (庫存 < 3)

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商品描述

Description

How to create a simulation where participants have a sense of freedom and personal control while still maintaining the structure necessary for an effective story is a difficult task indeed. This book examines how to create an engaging, effective story (necessary to teach participants), while relating practical considerations of building a simulation. It also looks at stories as classic ways of teaching and gathering knowledge and considers other theories of interactive narrative design such as synthetic story creation and management and participant-generated story experiences. It also discusses enabling technologies in artificial intelligence, synthetic characters design and development, speech recognition technology, 3D modelling, and the future of story-driven games. Story Driven Simulations reviews the existing efforts in this field as well as focusing on the recent efforts of Paramount Pictures and The Institute for Creative Technologies at the University of Southern California, where this expert author team created successful simulations for the U.S. Army, Department of Defense, as well as other educational simulations.

 

Table of Contents

INTRODUCTION:(Dramatic example of the benefits of story driven simulations from the recent work Paramount has done for the United States Army); PART ONE: STORIES;1. The Value of Stories
(What is a story, how is it different from an events list and what benefits does it bring to simulations);2. Back-story and Free-play
(The current story-game model);3. Poetry and Hollywood(Classic story structures from Aristotle to Darryl F. Zanick); 4. War Stories and Parables (Stories and their use in learning); 5. Tacit Knowledge and Expectations (The theory behind story-based learning); PART TWO: CHARACTERS; 6. Characters (The importance of characters in stories and their value to simulations);7. Creating Multi-Dimensional Characters (Techniques for making sure characters have dimension, including the use of character bibles, and other devices that strengthen and differentiate characters and their motivation).; 8. Unique Uses of Characters in Story Driven Simulations Pedagogical and dramatic roles that characters can play in the service of the story); PART THREE: STORY STRUCTURE CASE STUDIES; 9. Case Study: Interactive High Noon (Classic example of structure, story and virtual free play); 10. Storylines for Collaborative Distance Learning (Review of the principles used to develop collaborative distance learning for the US Army by Paramount and the Institute for Creative Technologies at USC); 11. Branching Storylines: The New Paradigm (Review of the principles of branching storylines based on a new paradigm); 12. Stories In Commercial Games (The back story and the ongoing story as used in commercial games, their value and effect on massively multiplayer games, PC games and console games; the consequences of their use in commercial game design, other ways of thinking about stories within commercial games); PART FOUR: GAME DESIGN; 13. Establishing Dramatic and Pedagogical Goals (Establishing goals and objectives for dramatic and learning simulations); 14. Organizing Events Into Storylines (How to assemble teaching points in such a way that they form a meaningful and coherent story in which the entire experience serves the critical objective of the lesson); 15. Designing The Arc Of The Game Story (Ordering the teaching points and tying them together so that the simulation story builds through a classic dramatic arc); 16. Describing Expected Participant Performance (Defining the path that the participants are expected to take through the simulation story); 17. Expectation Violations
(Methods for dealing with violations to the path that participants are expected to take in order to allow the story to stay on track in spite of participant interactions); PART FIVE: EXPERIENCE MANAGEMENT; 18. The Dungeon Master & Game Manager
(The classic role from D & D games, translating the dungeon master into massively multiplayer games); 19. The White Cell (How the Army manages simulation games); 20. Man in the Loop – The Instructor As Dungeon Master (The pedagogical implications of the dungeon master role when taken on by an instructor); 21. The Automated Story Manager (The possibilities of performing some content-based game management with artificial intelligence); 22. Liquid Narrative (Automated story generation); PART SIX: BUILDING THE IMMERSIVE ENVIRONMENT; 23. Overview (The advantages and disadvantages of different forms of media as carriers of game content); 24. Game Play (The most critical element in all games is the game play itself. Selecting media formats and delivery platforms based on game play, paying attention to game play, testing for game play, revising games for guaranteed effective game play.); 25. 3D Virtual Worlds (Building the virtual environment, constructing the space, the characters, the staging, skills required, degree of difficulty); 26. Immersive Desktop Experiences (Multi-media experiences that simulate computer based systems operation. Example: the Navy’s use of computers and multi-media in a closed system to link ships around the world in a war game simulation played out entirely through the ship's communication systems.); 27. Interactive Video And Television (How media elements can be used to create interactive characters and allow motion through a video based immersive environment instead of creating a graphics based 3D world; the coming promise of interactive television); 28. The Internet
(Ways in which delivery over the Internet enhances and detracts from game delivery); 29. Audio
(The critical role of audio in building and maintaining the virtual world, Pre-recorded audio vs. synthetic speech, the importance of music and sound effects.); PART SEVEN: STORY DEVELOPMENT CASE STUDIES; 30. Case study in Branching Storylines
(Review of the story development process as exemplified in the Leaders project jointly developed for the US Army by Paramount and USC);
31. Case study in Collaborative Distance Learning (Review of the story development process as exemplified in the ALTSIM project jointly developed for the US Army by Paramount and USC);
32. Case study in Story Driven Simulations
(Review of the story development process as exemplified in the Crisis Decision Exercise designed for the Industrial College of the Armed Forces by the Paramount.); PART EIGHT: THE FUTURE OF DISTANCE LEARNING; 33. The Role Of Story In Building Immersive Distance Learning Experiences;
34. Techniques For Collaborative Simulations;
35. Evaluation Techniques For Distance Learning Simulations; PART NINE: THE FUTURE OF STORY DRIVEN GAMES; 36. On-Line Collaborative Games; 37. Story Driven Massively Multiplayer Games; 38. Location Based Entertainment; 39. Probabilities Of Success.; CONCLUSION

商品描述(中文翻譯)

描述

創造一個讓參與者感受到自由和個人控制的模擬,同時保持有效故事所需的結構是一項困難的任務。本書探討了如何創建一個引人入勝、有效的故事(用於教導參與者),同時關注建立模擬的實際考慮因素。它還探討了故事作為傳授知識和收集知識的經典方式,並考慮了其他互動敘事設計理論,如合成故事創作和管理以及參與者生成的故事體驗。它還討論了人工智能、合成角色設計和開發、語音識別技術、3D建模以及故事驅動遊戲的未來的啟用技術。《故事驅動的模擬》回顧了這一領域的現有努力,並聚焦於派拉蒙影業和南加州大學創意技術研究所最近的努力,該專家作者團隊為美國陸軍、國防部以及其他教育模擬創建了成功的模擬。

目錄

引言:(派拉蒙為美國陸軍所做的故事驅動模擬的好處的戲劇性例子);第一部分:故事;1. 故事的價值(什麼是故事,它與事件列表有何不同,它對模擬帶來了什麼好處);2. 背景故事和自由遊戲(當前的故事遊戲模型);3. 詩歌和好萊塢(從亞里士多德到達里爾·F·贊尼克的經典故事結構);4. 戰爭故事和寓言(故事及其在學習中的應用);5. 默契知識和期望(基於故事的學習背後的理論);第二部分:角色;6. 角色(故事中角色的重要性及其對模擬的價值);7. 創建多維角色(確保角色具有維度的技巧,包括使用角色聖經和其他增強和區分角色及其動機的設備);8. 故事驅動模擬中角色的獨特用途(角色在故事服務中可以扮演的教學和戲劇角色);第三部分:故事結構案例研究;9. 案例研究:互動高中午(結構、故事和虛擬自由遊戲的經典例子);10. 合作式遠程學習的故事線(派拉蒙和南加州大學創意技術研究所為美國陸軍開發合作式遠程學習所使用的原則回顧);11. 分支故事線:新範式(基於新範式的分支故事線原則回顧);12. 商業遊戲中的故事(商業遊戲中的背景故事和持續故事,它們對大型多人遊戲、個人電腦遊戲和遊戲機遊戲的價值和影響,商業遊戲設計中使用它們的後果,商業遊戲中故事的其他思考方式);第四部分:遊戲設計;13. 確定戲劇和教學目標(確定戲劇和學習模擬的目標和目標);14. 將事件組織成故事線(如何以使它們形成有意義的教學要點的方式組織事件)。