The convergence of narrative in film, video games, and virtual reality will fundamentally change the entertainment industry in coming years. Chris Solarski's book gives content creators crucial insights into interactive story composition and how to adapt these concepts for transmedia storytelling.

The concepts presented in 'Interactive Stories and Video Game Art' remind me of Joseph Campbell's powerful demonstration of a universal storytelling structure. This book creates that wonderful feeling of learning new letters, which soon prove useful to form new sentences for bringing new poetry to the world.

Chris’ work and writings brought me a deep insight and perspective about game design and art. His thorough research on storytelling in games, and how that translates to shape languages in game art that evokes certain emotions to the players, makes me look at visual art very differently today.

'Interactive Stories and Video Game Art' is a great game design resource, as it breaks down shape theory in all aspects of design.

The clever thing about this book is that it bridges the worlds of game design and storytelling. I would recommend this to anyone who wants to get into game design and understand what's going on beneath the surface. It reminds me of Robert McKee's 'Story,' the classic book on screenwriting. You read it and you think: Aha, this is how storytelling works in film, it really can be explained! And you can see this book as a companion volume that is essentially doing the same thing for games.

Chris Solarski's book is extremely ambitious; from the smallest detail to broad concepts that encompass an immense scale, its truly applied methodology serves as a catalyst that enriches the reader's heart and promotes the creation of pure art.

'Interactive Stories and Video Game Art' touches upon factors that can be a barrier to the developers’ experience being actualised: managing player attention, dealing with memory, communicating how players should think about playing, in addition to the practicalities of play. I feel I have a more robust means of assessing the experience developers are aiming to achieve as a result of these guidelines. The contractual nature of my work also means that I’m tasked with quickly communicating the design intent between the dev team and my team. The visual communication symbols presented in each chapter are sure to play a part in that process moving forward.