dc.identifier.citation | Aarseth, E. J. (1997). Cybertext: Perspectives on ergodic literature. Baltimore, Md:
Johns Hopkins University Press.
Anhut, A. (2014, Temmuz). Let’s Get Real About Concept Art. How to not suck at game
design. http://howtonotsuckatgamedesign.com/2014/02/lets-get-real-conceptart/
adresinden erişildi.
Anthropy, A. ve Clark, N. (2014). A game design vocabulary: Exploring the foundational
principles behind good game design. Upper Saddle River, NJ: Addison-Wesley.
Bembeneck, E. J. (2013). The Princess is in Another Castle: Multi-Linear Stories in Oral
Epic and Video Games. (Yayımlanmamış doctoral dissertation). The University
of Michigan.
Burgun, K. (2013). Game design theory: A new philosophy for understanding games.
Boca Raton, FL: A K Peters/CRC Press.
Byrne, E. (2005). Game level design. Charles River Media game development series
(1st ed.). Hingham, Mass: Charles River Media.
Campbell, J. (2008). The hero with a thousand faces. Bollingen series XVII (3rd ed.).
Novato, Calif: New World Library.
Campbell, J. ve Moyers, B. D. (2011). The power of myth. New York: Broadway Books.
Choonhachat, D. (2019, Kasım). WHAT IS THE DIFFERENCE BETWEEN CONCEPT
ART, VISUAL DEVELOPMENT, AND ILLUSTRATION? DYLAN
CHOONHACHAT. https://dylanchoonhachat.com/blog/2020/1/11/what-is-thedifference-
between-concept-art-visual-development-and-illustration adresinden
erişildi.
Dillon, R. (Ed.). (2020). The digital gaming handbook (First edition.). Boca Raton: CRC
Press.
Doma, O. O. ve Eyüce, Ö. (2014). Video Oyunu Mekanlarında Mimari Deneyim:
Mekansal, Zamansal, Anlatısal (C. 1, ss. 1-11). 8. Mimarlıkta Sayısal Tasarım
Ulusal Sempozyumu, sunulmuş bildiri, İzmir: İzmir Yüksek Teknoloji Enstitüsü.
Dovey, J. ve Kennedy, H. W. (2006). Game cultures: Computer games as new media.
Issues in cultural and media studies. Maidenhead, Berkshire, England ; New
York, NY: Open University Press.
Egan, J. (2023, Ocak). 10 Reasons All Video Games Are Starting To Suck.
WhatCulture. https://whatculture.com/gaming/10-reasons-all-video-games-arestarting-
to-suck?page=4 adresinden erişildi.
Feil, J. ve Scattergood, M. (2005). Beginning game level design (1st ed.). Boston, MA:
Thomson Course Technology.
Fisher, D. C. (2021). Graphic Storytelling: Teaching Experience and Utility. Closure.
Kieler e-Journal für Comicforschung #8, 129-142.
Frasca, G. (2003). Ludologists love stories, too: Notes from a debate that never took
place (C. 8). DİGRA conference, sunulmuş bildiri.
Fullerton, T., Swain, C. ve Hoffman, S. (2008). Game design workshop: A playcentric
approach to creating innovative games (2nd ed.). Amsterdam ; Boston: Elsevier
Morgan Kaufmann.
Galuzin, A. (2011). Ultimate Level Design Guide. http://www.worldofleveldesign.com/
adresinden erişildi.
Garda, M. B. (2013). Neo-rogue and the essence of roguelikeness. Homo Ludens, 1(5),
59-72.
Gottschall, J. (2012). The storytelling animal: How stories make us human. Boston:
Houghton Mifflin Harcourt.
Grant, A. E. ve Meadows, J. H. (2004). Communication technology update (9th ed.).
Amsterdam: Elsevier.
Güngör, A. (2021). Yeni Medya’dan Transmedya’ya İllüstrasyon ve Oyun Tasarımında
Periferi. Akdeniz Sanat, 16(29).
Halaçoğlu, B. N. (2020). Transmedya Öykü Anlatımı ve Makinima: Video Oyun
Tiyatrosu. 2. GELENEKSEL DİJİTAL ULUSLARARASI MEDYA
ARAŞTIRMALARI SEMPOZYUMU (IMS 2020), sunulmuş bildiri, Ege
Üniversitesi.
Hartley, J. ve McWilliam, K. (Ed.). (2009). Story circle: Digital storytelling around the
world. Chichester, U.K. ; Malden, Mass: Wiley-Blackwell.
Hooten |||, B. (t.y.). Modern Narrative and Human Experience: Television Shows,
Movies, and Video Games as Storytelling Media.
Huizinga, J. (2021). Homo Ludens. (İ. Mutlu, Çev.). Dorlion Yayınları.
Jenkins, H. (2004). Game Design as Narrative Architecture. Computer, 44(3), 118-130.
Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York:
New York University Press.
Jones, D. (2008). Narrative Reformulated: Storytelling in Videogames. CEA Critic,
70(3), 20-34.
Koster, R. (2013). Theory of fun for game design. O’Reilly Media, Inc.
Kremers, R. (2009). Level Design: Concept, Theory, and Practice. Hoboken: CRC
Press.
Krishnan, R. (2015, Kasım). 6 Problems with Open World Games. We the Nerdy.
https://wethenerdy.com/6-problems-with-open-world-games/ adresinden
erişildi.
Lambert, J. (2013). Digital Storytelling (0 bs.). Routledge. doi:10.4324/9780203102329
Lilly, E. (2017). The big bad world of concept art for video games. How to start your
career as a concept artist (First edition.). California: Design Studio Press.
Loguidice, B. ve Barton, M. (2009). Vintage games: An insider look at the history of
Grand Theft Auto, Super Mario, and the most influential games of all time.
Boston: Focal Press/Elsevier.
Manovich, L. (t.y.). Navigable space. http://manovich.net adresinden erişildi.
Marie, M. (2010, Ağustos). The Art Direction Of Batman: Arkham Asylum.
Gameinformer. https://www.gameinformer.com/b/news/archive/2010/03/13/theart-
direction-of-batman%3A-arkham-asylum.aspx adresinden erişildi.
Miller, C. H. (2014). Digital Storytelling: A creator’s guide to interactive entertainment
(3. bs.). Routledge. doi:10.4324/9780203425923
Mogollo, E. C. (2019). The Art of Blasphemous Digital Edition Version. 1 (C. 1).
Mukherjee, S. (2015). Video games and storytelling: Reading games and playing
books. Basingstoke, Hampshire New York: Palgrave Macmillan.
Murray, J. H. (2017). Hamlet on the Holodeck: The Future of Narrative in Cyberspace.
MIT press.
Newman, J. (2012). Videogames (0 bs.). Routledge. doi:10.4324/9780203143421
Nitsche, M. (2008). Video game spaces: İmage, play, and structure in 3D game worlds.
Cambridge, Mass: MIT Press.
Özel, S. (2011). YAKINSAMA: YENİ MEDYANIN İTİCİ GÜCÜ. Erciyes İletişim Dergisi,
2(2).
Pardew, L. (2005). Beginning illustration and storyboarding for games. Boston, MA:
Thomson Course Technology.
Ragonese, M. (2022, Kasım). The Problem with Open-World Games: A Reflection.
Lions’ Digest. https://lionsdigest1.com/11914/opinion/the-problem-with-openworld-
games-a-reflection/ adresinden erişildi.
Richards, P. (2009, Eylül). Hints and Hacks For Doing Conceptual Art in the Video
Game Industry. Concept Sketchblog About Links Contact.
https://www.speedgamingnews.com/what-is-speedrunning/ adresinden erişildi.
Rogers, S. (2010). Level up! The guide to great video game design. Chichester: Wiley.
Rollins, C. (1957). StoryTelling—Its Value and Importance. Elementary English, 34(3),
164-166.
Salen, K. ve Zimmerman, E. (2005). Game design and meaningful play. Handbook of
computer game studies, 59(79).
Sezen, D. (2013). Bir sanatsal ifade aracı olarak dijital oyunlar. İstanbul Üniversitesi
İletişim Fakültesi Dergisi, 45, 129-147.
Shanley, P. (2019, Eylül). ‘Blasphemous’ Team Took “Purist” Approach to Game’s Pixel
Art Style. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/blasphemousdesigner-
purist-approach-games-pixel-art-style-1238370/ adresinden erişildi.
States, B. O. (1990). Dreaming and Storytelling. The Hudson Review, 43(1), 21.
doi:10.2307/3852328
Sütçü, Ö. Y. (2013). Ortak bir dünya deneyimi: Hikâye anlatıcısı. Felsefe ve toplumsal
bilimlerde diyaloglar, 6(2), 76-92.
Swink, S. (2017). Game Feel: A Game Designer’s Guide to Virtual Sensation (1st
edition.). Boca Raton: CRC Press.
Şengün, S. (2015). Sanal Hikâye Anlatıcılığı Çağında Yaşayan Bilimkurgu ve Fantastik
Dünyalar Olarak Video Oyunları. Edebiyatın İzinde: Fantastik ve Bilimkurgu,
211-220.
Ulaş, E. S. (2014). Virtual environment design and storytelling in video games.
Metaverse Creativity, 4(1), 75-91. doi:10.1386/mvcr.4.1.75_1
Vince, J. (Ed.). (2003). Handbook of computer animation. London ; New York: Springer. | tr_TR |