Hovedartikel: Genre.En spillebog er en bog hvor læseren undervejs har indflydelse på handlingen. Herhjemme er Du er hovedperson i ... og Sværd og Trolddom de kendteste eksempler, og de er alle skrevet i anden person, som det er typisk for spillebøger.
Eksempler på spillebøger på dansk
- De dødes nat af Charlie Schneider (2016)
- Ankors amulet af Linea Bjerrum Nielsen (2017)
- Den sidste dag af Kenneth Bøgh Andersen (2010)
- Dr. Krank af Bjarke Schjødt Larsen (2018)
- Dage med Diam eller Livet om Natten af Svend Åge Madsen (1972)
Se en næsten fuldstændig liste på Bibliotek.dk
Tilgange til spillebogsdesign
Mysterious Path
Fra The Problem with Gamebooks Trilogy Part 1, Part 2, Part 3, Part 4, Part 5, Part 6
Problemet
Den store udfordring når man skal forfatte en spillebog er at spil og fortællinger er som olie og vand: Et spil fungerer bedst når spilleren har frihed til at udforske dets verden, og ikke tvinges igennem lange, passive narrative passager, mens dette netop er hvad der kendetegner en klassisk nedskrevet fortælling.
Lineære fortællinger har hovedpersoner der er karakterer med fastlagte psykologiske egenskaber der gør det muligt for læseren at leve sig ind i dem. Spil har avatarer der gør som spilleren befaler uagtet hvordan de er forsøgt karakteriseret i ikke-interaktive passager, og dermed er de grundlæggende marionetter frem for karakterer. Spillebøger italesætter sig som avatar-modellen med sit “du”, men uden en sammenlignelig grad af frihed og agency.
Lineære fortællinger bevæger sig teleologisk mod deres slutning og har dermed fra starten beseglet hovedpersonens skæbne. Spil giver derimod spilleren frihed til at handle via dennes avatar og giver dermed følelsen af agency frem for skæbnebestemthed. Spillebøger giver læseren en pseudoagency der typisk dækker over en relativt lineær udvikling mod den rigtige slutning, og under alle omstændigheder ikke giver den samme følelse af at være spiller — her er man blot deltager.
Lineære fortællinger rummer kun fortolkende interaktivitet for disses deltagere, hvorimod spil altid rummer et feedbackloop der muliggør sand interaktivitet for spillerne. I spillebøger er feedbackloopet for enkelt til at skabe (illusionen af) sand interaktivitet, og læserne er derfor snarere deltagere end egentlige spillere.
Løsningen
(indhold på vej ...)
Litteratur om spillebogen
Artikler
(med udgangspunkt i Lloyd of Gamebooks' liste)
Lloyd of Gamebooks:
- How to write a gamebook – introduction.
- How to write a gamebook part 1 - thinking of a plot (and then a few more plots).
- How to write a gamebook part 1a - the map method.
- How to write a gamebook part 1b - the flow diagram method.
- How to write a gamebook part 1c - the just write it! method.
- How to write a gamebook part 2 - splitting the plots into paragraph order.
- How to write a gamebook 2a - Turning the map into a gamebook.
- How to write a gamebook part 2b - turning the flow diagram into a gamebook.
- How to write a gamebook part 2c - improving on the just write it! method.
- How to write a gamebook part 2d - Using paragraphs.
- How to write a gamebook part 2e - A day in my life gamebook.
- How to write a gamebook part 2f - what to consider when you write a gamebook by yourself.
- How to write a gamebook part 3 - genre and setting.
- How to write a gamebook part 3a - Descriptions and Worlds.
- How to write a gamebook part 4 - characters and descriptions.
- How to write a gamebook part 4a - archetypes and stock characters. Why people don't like them and when they are useful.
- How to write a gamebook part 4b - some examples of gamebook characters.
- How to write a gamebook part 5 - using a game system.
- How to write a gamebook part 6 - advanced stuff with numbers.
- How to write a gamebook part 7 - what is wrong with this paragraph?
- How to write a gamebook part 8 - weird and wonderful stuff.
- How to write a gamebook part 9 - Notes from my own gamebook writing.
- How to write a gamebook part 10 - proofing and playtesting.
- How to write a gamebook part 11 Ulysses Ai on the gamebook writing process.
- How to write a gamebook part 12 – summary.
- Before paragraph 1: Choices you might have to make before your adventure.
The Problem with Gamebooks Trilogy:
Part 2, Part 3, Part 4, Part 5, Part 6
The Brewin’ Guide to Writing Better Gamebooks
Interactivity in Narrative Part 1, Part 2
Standard Patterns in Choice-Based Games
Classifying and Rating Linearity
Gamebook design: finding workarounds for missing codewords
Gamebooks: the value of doing it with dialogue
Hot and cold about interactive literature
How do we make gamebooks a pleasure to read?
Gamebooks where you're NOT the hero
Does interactive fiction need randomness?
How many endings does a gamebook need?
Does interactivity have a downside?
Guest post: Richard S Hetley on The Way of the Tiger
How to write an adventure gamebook: Part 1, Part 2, Part 3, Part 4
Five Tactics for Designing Games While Depressed
By the Numbers: How to Write a Long Interactive Novel That Doesn’t Suck
7 Rules for Designing Great Stats
4 Common Mistakes in Interactive Novels
Beyond Branching: Quality-Based, Salience-Based, and Waypoint Narrative Structures
Fra bloggen Interactive Visual Gamebook Adventures :: Sipko Software :: Peter Agapov:
- What is an Interactive Visual Gamebook Adventure?
- Psychology of Games and why they are very important for kids and for adults
- The great potential of Gamebook Adventures and what is wrong with them
- Gamebook Theory: mechanics of GAMEbooks (input - test of performance - feedback)
- Gamebook Theory: The importance of Meaningful Choices and how to create them
- Gamebook Theory: Logical Conclusion Choices and applying the "Fog of War"
- The fatal trap we all fall into and How to Cheat Death (in a gamebook)
- Make your game even more interesting: Emotional and Moral Choices
- Gamebook Theory: Treasure Hunt gamebook mechanic
- Gamebook Practice Lesson 1: Build a wonderful Game World (using the Magic of a Divergind Diamond)
- Gamebook Practice Lesson 2: Establish the Battlefield (add combats to your adventure)
- Gamebook Practice Lesson 3: Give the control back to the player (intergate Logical Conclusion Choices)
- Gamebook Practice Lesson 4: A journey to the world's end and back
- Gamebook Practice Lesson 5: Logic Puzzles (or another way to keep the reader in the driver seat)
| Skrivekunst | |||
|---|---|---|---|
| Form |
| ||
| Indhold |
| ||
| Handling | |||
| Personer | |||
| Miljø | |||
| Tema | |||
| Virkemidler |
| ||
| Livsstil |
| ||
| |||
| Skrivekonkurrencer (0) | |||
| Forlag (156) | |||
| Teoretisk baggrundsviden | |||
|---|---|---|---|
| Grammatik
og Semantik |
Ord |
| |
| Fraser | |||
| Tekster |
| ||
| Pragmatik |
| ||
| Litteratur | |||
| Kultur og medier |
| ||