Oracle 10g Developer: PL/SQL Programming
Author: Joan Casteel
Learn how to use the PL/SQL programming language effectively, using one of the most popular and widely-used software programs in large companies today. Oracle 10g Developer: PL/SQL Programming uses Oracle 10g to provide an overview of the PL/SQL programming language, beginning with fundamental PL/SQL concepts and progressing to the writing and testing of PL/SQL code. The book then progresses to more advanced topics, such as Dynamic SQL and code tuning. Updated to the latest release, Oracle 10g, it uses the developer's perspective to focus on the PL/SQL component of the software. With real-world examples and a straightforward writing style, this is a valuable resource for anyone preparing for the new Oracle Certification exam, or simply looking to master the PL/SQL programming language with Oracle.
Book review: Herding Cats or Vindication
Character Development and Storytelling for Games
Author: Lee Sheldon
This is a book of ideas and of choices. Knowing which choices to make is not teachable. It's part of that creative instinct we call talent whose secret voice guides us every time we sit down at the keyboard. All stories are not identical. They are shaped by all those unique facets of the human beings who write them. All any writer can do when he wants to share his knowledge with others is be as open and giving as possible; and hope others can learn from that. You hold in your hands most of what I know about writing for games and much of what I believe and practice no matter what kind of writing I'm doing. It is meant to inform, to instruct, and maybe even inspire. It is as much about game design as it is writing for games. The two are virtually inseparable. The book itself has been designed as a quest. We are all of us on a journey toward a destination for which there is no single road. Lee Sheldon, Author
Table of Contents:
Introduction | xi | |
Part I | Background | 1 |
Chapter 1 | Myths and Equations | 3 |
Why Make Games? | 4 | |
Why Tell Stories in Games? | 6 | |
One Last Equation | 11 | |
Chapter 2 | The Story Remains the Same | 13 |
Aristotle and Those Other Greeks | 15 | |
Jung's Collective Unconscious | 24 | |
Campbell's The Hero's Journey | 25 | |
Primary Sources | 26 | |
From The Great Train Robbery to Birth of a Nation | 26 | |
The Language of Drama and Film | 28 | |
Part II | Creating Characters | 33 |
Chapter 3 | Respecting Characters | 37 |
Three Dimensions | 37 | |
Character Progression | 40 | |
The Pivotal Character | 42 | |
The Player-Character | 43 | |
Chapter 4 | Character Roles | 61 |
The Character's Role in Story | 61 | |
Populating the World | 63 | |
Commentary and Gossip | 64 | |
Living Useful Lives | 67 | |
The Player-Character Revisited (Protagonist) | 69 | |
Death of a Player-Character | 70 | |
Villains (Antagonists) | 74 | |
Mentors | 77 | |
Sidekicks | 80 | |
Servants and Pets | 82 | |
Merchants | 84 | |
Trainers | 84 | |
Quest Givers | 85 | |
Chapter 5 | Character Traits | 87 |
Mobility | 87 | |
Physical Skills | 94 | |
Professions | 96 | |
Race | 97 | |
Sex | 99 | |
Character Emotion | 102 | |
Characters in Opposition | 103 | |
Memory | 106 | |
Revealing Character Through Action | 108 | |
Chapter 6 | Character Encounters | 113 |
Perception | 113 | |
Perspective (First Person Versus Third Person) | 116 | |
Dialogue | 119 | |
Dialogue Systems | 127 | |
Entrances and Exits | 135 | |
Return Visits | 136 | |
Relationships | 138 | |
Part III | Telling the Story | 149 |
Chapter 7 | Once Upon a Time | 151 |
Building a Home for Characters | 151 | |
Story or Game: Which Comes First? | 153 | |
Original Material | 155 | |
Adaptations from Other Media | 160 | |
Sequels | 164 | |
Finding a Style That Fits | 165 | |
Linear Versus Non-Linear | 167 | |
Avoiding Cliches | 172 | |
Chapter 8 | Respecting Story | 175 |
Willing Suspension of Disbelief | 176 | |
The Fourth Wall | 178 | |
The Trap of Cut Scenes | 183 | |
The Trap of Too Much Backstory | 187 | |
The Trap of Letting Players "Discover" the Story | 188 | |
Verisimilitude | 190 | |
Expressionism | 191 | |
Symbolism | 192 | |
Consistency of the World | 193 | |
Setting | 194 | |
Weather | 195 | |
Scope and Scale | 197 | |
Chapter 9 | Bringing the Story to Life | 199 |
Foreshadowing | 199 | |
Point of Attack | 203 | |
The Obligatory Scene | 206 | |
Reversals | 213 | |
Arcs | 214 | |
Exposition in Action | 215 | |
Chapter 10 | Games: Charting New Territory | 219 |
Characters Revisited | 219 | |
Puzzling Developments | 222 | |
Quests | 224 | |
Types of Quests | 232 | |
Rewards | 237 | |
The Story Up Till Now | 237 | |
Chapter 11 | Story Chiropractics | 239 |
Heart: Player Emotion | 239 | |
Mind: Sharing the Theme | 245 | |
Funny Bone: ROFLMAO! | 249 | |
Chapter 12 | Editing | 253 |
Collaboration | 254 | |
Adapting to the Engine You End Up With | 261 | |
Stopping the Bleeding When You Cut Levels and Areas | 263 | |
Polishing Dialogue | 267 | |
Copy Editing | 272 | |
Chapter 13 | The Roots of a New Storytelling | 275 |
The Odyssey | 276 | |
The Canterbury Tales | 280 | |
Don Quixote de la Mancha | 281 | |
Charles Dickens and Publishing in Parts | 284 | |
Saturday Morning at the Movies (Movie Serials) | 286 | |
Dennis Wheatley's Crime Dossiers | 289 | |
Daytime Soap Operas | 291 | |
Episodic Television | 292 | |
Chapter 14 | Modular Storytelling | 295 |
The Yoke of Narrative | 297 | |
Nesting Modules | 319 | |
Structuring Chaos | 320 | |
Adventures in a Non-Linear World | 321 | |
Part IV | Games People Play | 323 |
Chapter 15 | Game Types | 325 |
Action | 325 | |
Adventure | 333 | |
Role-Playing | 338 | |
Simulations | 341 | |
Strategy | 342 | |
Multiplayer | 344 | |
Chapter 16 | Game Genres | 345 |
Fantasy | 349 | |
Science Fiction | 351 | |
War | 355 | |
Espionage | 358 | |
Crime | 361 | |
Mystery | 362 | |
Horror | 366 | |
Romance | 367 | |
Western | 369 | |
Chapter 17 | Console Games | 371 |
Demographics | 373 | |
Push the Button, Get the Story | 374 | |
Integration Versus Cut Scenes | 375 | |
How Story Enhances Gameplay | 377 | |
Cooperative Games (Minimally Multiplayer) | 379 | |
The Incredible Shrinking Game | 381 | |
Chapter 18 | Bringing Virtual Worlds to Life | 385 |
The Roots of Role-Playing | 390 | |
Scope and Scale | 396 | |
Death of a Player-Character Revisited | 401 | |
The Social World | 402 | |
Footprints in the Sand | 407 | |
The Trap pf Episodic Structure | 408 | |
Chapter 19 | Enabling Story in Virtual Worlds | 413 |
Thousands of Heroes | 413 | |
Ongoing Story | 415 | |
Revealing Story | 419 | |
True Multiplayer Quests | 421 | |
Crowd Control | 426 | |
Variety | 428 | |
Hiding the Numbers | 429 | |
Empowering Emergent Storytelling | 434 | |
Part V | Reflections | 437 |
Chapter 20 | The Responsible Writer | 441 |
Part VI | Appendices | 447 |
Appendix A | Opinionated Bibliography | 449 |
Appendix B | Developer Primer on Building Writing Teams | 453 |
Introduction | 454 | |
Team Configurations | 455 | |
The Lead Writer | 456 | |
The Staff | 458 | |
Additional Considerations | 459 | |
Conclusion | 460 | |
Index | 461 |
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