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Scoop.it!
The Digital Rocking Chair's insight:
Elizabeth Segran: "Game developers have always been interested in how players might react to the characters and plots they created—but what if they could tell exactly how the player was feeling and tailor the game to their mood?" 
Scoop.it!
The Digital Rocking Chair's insight:
Pascal Luban: "Gameplay for episodic games:Questions to answer and pitfalls to avoid" ...
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The Digital Rocking Chair's insight:
Liz England: "A lot of developers (and some gamers) are kind of aware there’s this tool called “Twine” out there that makes web games, but don’t really know much about it. They don’t know why it’s popular and what it’s used for" ...
David Collet's curator insight,
September 1, 2015 1:02 AM
I am really enthusiastic about alternative career paths. This looks like it may assist someone trying to find a different way to 'test the waters' of publishing to an alternative stream. 
Jenny Wakefield's curator insight,
September 14, 2015 9:33 AM
I like this idea for creating interactive stories: Twine. The tool is available at http://twinery.org
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The Digital Rocking Chair's insight:
Jeff Beer: "You're running through the streets of Paris. The year is 1789 and you've just killed a guy with your bare hands. The question is, do you care if the graffiti you just sprinted past is historically accurate? Ubisoft does."
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Ira was really talking about game design, even though he thought [he] was talking about broadcasting.
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Scoop.it!
The Digital Rocking Chair's insight:
Pascal Luban: "A game based on “brands” as strong as The Walking Dead or Games of Thrones automatically generate a lot of interest from gamers and the media. However, it would be a mistake to assume that episodic games became successful only because of their affiliation with some of the most popular TV series."
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The Digital Rocking Chair's insight:
Rhys Cooper: "The never-ending argument over what video games are designed for rages on. Should they just be fun, a piece of art, a fantastic story-telling experience or a combination of all three? Most would argue the latter, but for the moment I will focus on the narrative strategies in games and a particular bug-bear of mine" ...
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The Digital Rocking Chair's insight:
Maria Popova: "Great stories, like great life-stories, are woven of the same interplay between fertile ennui and surmountable frustration — so argues writer Peter Turchi in one especially rewarding section of the altogether stimulating A Muse and a Maze: Writing as Puzzle, Mystery, and Magic (public library | IndieBound)."
Dr. Pamela Rutledge's curator insight,
February 10, 2015 11:50 AM
One of the exciting gifts of the rising popularity of gaming and, by extension, game design is the increased visibility and appreciation of relationships among user experience, psychology and narrative. This creates a broader understanding of the need for psych theories, like Flow, in thinking about and designing media and technology (#mediapsych). As this excellent article illustrates, Flow, like narrative, is based on the fundamental push/pull of energy in every experience, the inherent conflict that moves life forward. Flow is a masterful model of how this balance translates into psychological engagement.
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From
kotaku
Jason Schreier: "Words bounce and move in certain directions, with certain cadences and beats. You can tell when the pulse isn't there"...
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Elizabeth Segran: "Game developers have always been interested in how players might react to the characters and plots they created—but what if they could tell exactly how the player was feeling and tailor the game to their mood?"
Elizabeth Segran: "Game developers have always been interested in how players might react to the characters and plots they created—but what if they could tell exactly how the player was feeling and tailor the game to their mood?"