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As the videogame industry has grown up, the need for better stories and characters has dramatically increased, yet traditional screenwriting techniques alone cannot equip writers for the unique challenges of writing stories where the actions and decisions of a diverse range of players are at the centre of every narrative experience. Game Writing: Narrative Skills for Videogames was the first book to demystify the emerging field of game writing by identifying and explaining the skills required for creating videogame narrative.Through the insights and experiences of professional game writers, this revised edition captures a snapshot of the narrative skills employed in today's game industry and presents them as practical articles accompanied by exercises for developing the skills discussed. The book carefully explains the foundations of the craft of game writing, detailing all aspects of the process from the basics of narrative to guiding the player and the challenges of nonlinear storytelling. Throughout the book there is a strong emphasis on the skills developers and publishers expect game writers to know.This second edition brings the material up to date and adds four new chapters covering MMOs, script formats, narrative design for urban games, and new ways to think about videogame narrative as an art form. Suitable for both beginners and experienced writers, Game Writing is the essential guide to all the techniques of game writing. There's no better starting point for someone wishing to get into this exciting field, whether they are new game writers wishing to hone their skills, or screenwriters hoping to transfer their skills to the games industry.

The special issue of International Yearbook of Futurism Studies for 2015 will investigate the role of Futurism in the œuvre of a number of Women artists and writers. These include a number of women actively supporting Futurism (e.g. Růžena Zátková, Edyth von Haynau, Olga Rozanova, Eva Kühn), others periodically involved with the movement (e.g. Valentine de Saint Point, Aleksandra Ekster, Mary Swanzy), others again inspired only by certain aspects of the movement (e.g. Natalia Goncharova, Alice Bailly, Giovanna Klien). Several artists operated on the margins of a Futurist inspired aesthetics, but they felt attracted to Futurism because of its support for women artists or because of its innovatory roles in the social and intellectual spheres. Most of the artists covered in Volume 5 (2015) are far from straightforward cases, but exactly because of this they can offer genuinely new insights into a still largely under-researched domain of twentieth-century art and literature. Guiding questions for these investigations are: How did these women come into contact with Futurist ideas? Was it first-hand knowledge (poems, paintings, manifestos etc) or second-hand knowledge (usually newspaper reports or personal conversions with artists who had been in contact with Futurism)? How did the women respond to the (positive or negative) reports? How did this show up in their œuvre? How did it influence their subsequent, often non-Futurist, career?

Das vorliegende Werk wurde an der Universität Mannheim als Dissertation ange­ nommen. Die Idee zu der Arbeit wurde im Vorfeld der Bundestagswahl 1990 geboren. Erst in den Jahren 1992 bis 1994 konnte ich mein Vorhaben in die Tat umsetzen. Zum letztlichen Gelingen der Arbeit haben einige Personen maßgeblich beigetragen, die an dieser Stelle nicht unerwähnt bleiben sollen. Für die umfangreichen Längsschnittanalysen war eine Vielzahl von Datensätzen nötig, die zeitlich weit ZUTÜckreichen. Da in der Bundesrepublik, außer von privaten For­ schungsinstituten, keine kontinuierlichen Wahl studien zu Bundestagswahlen durch­ geführt werden, ist die Beschaffung intertemporär vergleichbarer Datensätze ein sehr schwieriges Unterfangen. Es ist das Verdienst meines Doktorvaters, Prof. Dr. Max Kaase, daß die Arbeit auf ein empirisches Fundament gestellt werden konnte, das fiir die bundesdeutsche Nichtwählerforschung bisher einmalig ist. Ich danke vor allem auch Dr. Hans-Joachim Veen, der mir den Zugriff auf die breite Datenbasis der Konrad-Adenauer-Stiftung gestattete, sowie den Mitarbeitern der Konrad-Adenauer­ Stiftung, insbesondere Claus Fischer und Carsten Zelle, die mich tatkräftig unter­ stützten. Des weiteren danke ich Dr. Bettina Westle fiir das großzügige Überlassen von Daten aus ihrer Studie zur politischen Kultur im vereinten Deutschland. Großer Dank gebührt Dr. Ralph Ganter vom Institut fiir Mittelstandsforschung der Universität Mannheim, der aufvielfaltige Weise die Arbeit unterstützte und damit ihre rasche Fertigstellung ermöglichte. Mein besonderer Dank geht an Helmut B. Tautelhahn, Carsten Ascheberg und Steffen Henn, die mir immer wieder mit Rat und Tat zur Seite standen.