Chapter 1.1. Communicate… Explore… Help… Words… Edge…

First things first.

Every freeway

needs an onramp. Some books do too. So let's put the pedal to the metal….

Communicate

Because the game industry evolves so fast, we who are creating the future of this entertainment and art form must have easy and frequent communication.

Feel free to email me at:

Explore

You also might want to take a look at my two websites: www.freemangames.com and www.beyondstructure.com

The www.freemangames.com site describes my game design and game writing activities, as well as those of The Freeman Group.[1] It also provides information about my teaching, as well as articles on the subjects of emotionally engaging game design and game writing.

Several times a year, I teach “Beyond Structure,” the most popular screenwriting and fiction workshop in Los Angeles and New York. I occasionally offer the workshop outside the United States as well. The www.beyondstructure.com site provides detailed information about “Beyond Structure.”

Help

As you read this book, you might have ideas on how to improve or expand the book for future updates. I welcome your feedback and suggestions.

Words

The key to understanding a subject is knowing the meaning of every single word, without exception. This book uses a number of specialized words and phrases—some commonly used in the game industry and some that I invented. Each one is defined when first used in the book and later in the Glossary.

Edge

There are some critical ways of creating emotion in games that aren't discussed in this book, such as music, art, animation, and level design. All of these important and immense subjects deserve books in their own right (and many such books already exist). The line had to be drawn somewhere; a subject needs to have a border or an edge.

Even if you work in these other areas of game creation, you may very well find tools in this book that are applicable to your own art. Sparks have a way of spreading.



[1] The Freeman Group is a group of WGA (Writers Guild of America) writers trained in my techniques, and with whom I often work on game projects.

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