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Slay the Dragon. Robert Denton BryantЧитать онлайн книгу.

Slay the Dragon - Robert Denton Bryant


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Hollywood Calling!

       Why “Slay the Dragon”?

       Meet Your Quest Givers: Bob & Keith

       Screenwriter Meets Game Producer, Fight Breaks Out

       Who Needs This Book?

       How To Use This Book (Press X to Skip)

       DRAGON EXERCISES 00: PLAYING TO LEARN

       CHAPTER 01: WHAT’S IN A GAME?

       What We Talk About When We Talk About Games

       A Game Is a Journey of Action

       Game Genre vs. Story Genre

       How Do They Make Games? Who’s the Director?

       Where Do Game Ideas Come From?

       The Narrative Designer

       DRAGON EXERCISES 01: MAKING A GAME

       CHAPTER 02: DO GAMES NEED STORIES?

       Story Matters

       Immersion: Context Is Everything

       Story ≠ Plot

       A Story Tutorial

       A Criminally Brief History of Game Narrative

       DRAGON EXERCISES 02: EXPLORING THE GAME WORLD

       CHAPTER 03: ARISTOTLE VS. MARIO

       The Challenge of Game Writing

       Aristotle vs. Mario: The Clash of Story and Gameplay

       Making the Dragon Roar: Roles in a Game Studio

       How Are Games Written? Are They Written?

       The Rise of Story-Driven Games

       How Do We Solve This Problem?

       DRAGON EXERCISES 03: EXPRESSING YOUR GAME IDEA

       CHAPTER 04: THE NO-ACT-FITS-ALL STRUCTURE OF VIDEO GAMES

       Finding the Dragon

       What Is Structure?

       Traditional Entertainment Structure = 3 Acts

       Add a Midpoint = 4 Acts

       Shakespeare and The Hulk = 5 Acts

       The Sequence Approach = 8 Acts!

       Serialized Storytelling

       Beginning, Middle & Ending(s)

       Time Is Different in Video Games

       The “Slay the Dragon” Structure

       A No-Act Structure?

       DRAGON EXERCISES 04: SPEAKING OF STRUCTURE

       CHAPTER 05: WRITING A GREAT PLAYABLE CHARACTER

       The Evolution of the Video Game Character

       Writing from the Arc Backwards

       Who’s More Awesome, Superman or Batman?

       Conflict: The Essence of Drama

       Backstory: How Is Finding Nemo Like The Last of Us?

       Don’t Tell Bowser: The Bad Guys Think It’s Their Game

       And the Dragon Goes To: The Best Supporting NPC

       DRAGON EXERCISES 05: MEETING YOUR CHARACTERS

       CHAPTER 06: WHO AM I WHEN I PLAY? GAMEPLAY AS METHOD ACTING

       Playing Your Character

       “Character Creation” Is Not Creating Characters

       Agency vs. Emotional Arc

       Characters in Conflict Must Make Choices

       To Be (Press A) Or Not To Be (Press B)

       Choices Must Lead to Consequences

       DRAGON EXERCISES 06: SPEAKING THROUGH YOUR CHARACTERS

       CHAPTER 07: GAME DESIGN BASICS FOR WRITERS

       It’s Only a Game—And That’s a Pretty Good Thing

       Gameplay Is the Core Building Block of Interactive Narrative

       What Is a Game Designer?

       Our Theory of Fun

       Mechanics = Active Verbs

       Mechanics & Context

       DRAGON EXERCISES 07: PLAYING WITH GAMEPLAY

       CHAPTER 08: THE HERO OF A THOUSAND LEVELS

       Quests, Levels, and Missions: Dissecting Your Game

       Level Design Is Story Design

       Story Beats by Level: an Analysis of The Last of Us

       What Must Happen in Your Level?

       Fit Your Idea in the Game Engine

       Level Design Impacts Traditional Media

       DRAGON EXERCISES 08: LEVELING UP

       CHAPTER 09:


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