Writing for Games: Theory and Practice
Autor Hannah Nicklinen Limba Engleză Hardback – dec 2026
Structured into three parts, Theory considers the craft of both games and writing from a theoretical perspective, covering vocabulary for both game and story practices. Case Studies uses three specific game case studies to explore the theory explored in Part I, and seven in-depth interviews with well-known game writers excavating their craft. The Practical Workbook offers a series of provocations, tools, and exercises that gives the reader the means to refine and develop their writing, not just for now, but as a part of a lifelong practice.
The updated new edition adds the in-depth interview section and also contains brand new material on writing for and within genre, on how to be a good collaborator, a section on the problem of using AI/LLM in your practice, and a new introduction.
Writing for Games: Theory and Practice (Second Edition) is an approachable and entry-level text for anyone interested in the craft of writing for videogames.
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Specificații
ISBN-13: 9781041158332
ISBN-10: 1041158335
Pagini: 336
Dimensiuni: 174 x 246 mm
Ediția:2
Editura: CRC Press
Colecția CRC Press
ISBN-10: 1041158335
Pagini: 336
Dimensiuni: 174 x 246 mm
Ediția:2
Editura: CRC Press
Colecția CRC Press
Public țintă
Professional Practice & DevelopmentCuprins
What to Know About the Second Edition
Introduction
PART 1: Theory
Chapter 1: Craft
Chapter 2: Vocabulary – Games
Chapter 3: Vocabulary – Story Structure
Chapter 4: Vocabulary – Story Components
Chapter 5: Games Writing as a Discipline
Chapter 6: Form-Led Design
Chapter 7: A Note on Writing Comedy, and for Genre
Chapter 8: Further Reading
Chapter 9: A Note on Ethics
PART 2: Case Studies
Chapter 10: Introduction to the Case Studies
Chapter 11: Character and Dialogue in Life is Strange 2
Chapter 12: Ethics and Adaptation in 80 Days
Chapter 13: Format and the Heist in Last Stop
Chapter 14: Interviews with Practicing Game Writers
PART 3: A Practical Workbook
Chapter 15: Introduction to the Workbook
Chapter 16: Tools for Starting
Chapter 17: Tools for Developing
Chapter 18: Tools for Finishing
Conclusion
Select Glossary of Game Terms
Bibliography
Introduction
PART 1: Theory
Chapter 1: Craft
Chapter 2: Vocabulary – Games
Chapter 3: Vocabulary – Story Structure
Chapter 4: Vocabulary – Story Components
Chapter 5: Games Writing as a Discipline
Chapter 6: Form-Led Design
Chapter 7: A Note on Writing Comedy, and for Genre
Chapter 8: Further Reading
Chapter 9: A Note on Ethics
PART 2: Case Studies
Chapter 10: Introduction to the Case Studies
Chapter 11: Character and Dialogue in Life is Strange 2
Chapter 12: Ethics and Adaptation in 80 Days
Chapter 13: Format and the Heist in Last Stop
Chapter 14: Interviews with Practicing Game Writers
PART 3: A Practical Workbook
Chapter 15: Introduction to the Workbook
Chapter 16: Tools for Starting
Chapter 17: Tools for Developing
Chapter 18: Tools for Finishing
Conclusion
Select Glossary of Game Terms
Bibliography
Recenzii
Praise for the first edition:
"Hannah Nicklin's Writing for Games is an essential manual for anyone working on games, whether they are story-driven or not. It is a comprehensive overview of the process of writing for games, and what it actually means in context, how it is integrated in the process of production, and how it relates to writing for other media. As an interdisciplinary text, it is the perfect bridge for writers from other media into games; at the same time, it also helps game designers and developers understand how writing connects games to other disciplines and guides the reader to how to draw inspiration from them. Even if the reader does not intend to be a writer, Writing for Games is a very accessible text to understand the work of writers and narrative designers, providing detailed strategies to incorporate games and stories successfully. The advice and lessons all come from practice and first-hand knowledge, which ensures that the learnings are relevant to day-to-day practices of game development. All told with a very personable and approachable tone - a joy to read." – Clara Fernandez-Vara, Associate Arts Professor, New York University
"Hannah Nicklin's Writing for Games is an essential manual for anyone working on games, whether they are story-driven or not. It is a comprehensive overview of the process of writing for games, and what it actually means in context, how it is integrated in the process of production, and how it relates to writing for other media. As an interdisciplinary text, it is the perfect bridge for writers from other media into games; at the same time, it also helps game designers and developers understand how writing connects games to other disciplines and guides the reader to how to draw inspiration from them. Even if the reader does not intend to be a writer, Writing for Games is a very accessible text to understand the work of writers and narrative designers, providing detailed strategies to incorporate games and stories successfully. The advice and lessons all come from practice and first-hand knowledge, which ensures that the learnings are relevant to day-to-day practices of game development. All told with a very personable and approachable tone - a joy to read." – Clara Fernandez-Vara, Associate Arts Professor, New York University
Notă biografică
Hannah Nicklin is an award-winning narrative and game designer, writer and academic who has been practising for over 15 years. She works hard to create playful experiences that see people and make people feel seen and also argues for making games a more radical space through mentoring, advocacy and redefining processes. Trained as a playwright, Nicklin moved into interactive practices after a PhD in the field, has run a mid-sized indie studio, and has contributed significantly to or directed 5 shipped titles.
She wrote this book for you.
She wrote this book for you.
Descriere
This new edition of Writing for Games offers resources for communication, collaboration, reflection, and advocacy, inviting the reader to situate their practice in a centuries-long heritage of storytelling, as well as considering the material affordances and the practical realities of working in game development processes.