Creating Emotion in Games. The Craft and Art of Emotioneering 

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• 1. Main Page

• 2. Table of content

• 3. Copyright

  Copyright Copyright 2004 by New Riders Publishing Trademarks Warning and Disclaimer

• 4. Acknowledgments

  Acknowledgments

• 5. About the Author

  About the Author

• 6. About the Technical Reviewer

  REGISTER YOUR PRODUCT About the Technical Reviewer

• 7. Tell Us What You Think

  Tell Us What You Think

• 8. Foreword

  Foreword

• 9. Gallery

  Gallery

• 10. Part I: Introduction

• 11. Chapter 1.1. Communicate Explore Help Words Edge

  Chapter 1.1. Communicate Explore Help Words Edge

• 12. Communicate

  Communicate

• 13. Explore

  Explore

• 14. Help

  Help

• 15. Words

  Words

• 16. Edge

  Edge

• 17. Chapter 1.2. An Introduction to Emotioneering

  Chapter 1.2. An Introduction to Emotioneering

• 18. Chapter 1.3. Why Put Emotion into Games?

  Chapter 1.3. Why Put Emotion into Games?

• 19. Reason 1: Expanded Demographics

  Reason 1: Expanded Demographics

• 20. Reason 2: Better Buzz

  Reason 2: Better Buzz

• 21. Reason 3: Better Press

  Reason 3: Better Press

• 22. Reason 4: So Games Don t Seem Amateurish

  Reason 4: So Games Don t Seem Amateurish

• 23. Reason 5: An Inspired and Dedicated Creative Team

  Reason 5: An Inspired and Dedicated Creative Team

• 24. Reason 6: Consumer Loyalty to the Brand, Which Is Worth a Fortune

  Reason 6: Consumer Loyalty to the Brand Which Is Worth a Fortune

• 25. Reason 7: So You Don t Burn Millions of Dollars of Potential Profit

  Reason 7: So You Don t Burn Millions of Dollars of Potential Profit

• 26. Reason 8: Competitive Advantage

  Reason 8: Competitive Advantage

• 27. Reason 9: So You Don t Come in Last

  A Little Baring of the Soul Reason 9: So You Don t Come in Last

• 28. Summary

  Summary

• 29. Chapter 1.4. 17 Things Screenwriters Don t Know About Games

  Chapter 1.4. 17 Things Screenwriters Don t Know About Games

• 30. What Screenwriters Need to Learn About Games

  What Screenwriters Need to Learn About Games

• 31. Putting It in Focus

  Putting It in Focus

• 32. Facing the Challenge: A Guide to Hiring a Screenwriter

  Facing the Challenge: A Guide to Hiring a Screenwriter

• 33. Final Thoughts

  Final Thoughts

• 34. Chapter 1.5. Why Game Designers Often Find Writing to Be So Challenging

  Chapter 1.5. Why Game Designers Often Find Writing to Be So Challenging

• 35. The Same Problem Often Besets Game Designers

  The Same Problem Often Besets Game Designers

• 36. Yes, But Games Aren t Movies, so That Isn t Relevant

  Yes But Games Aren t Movies so That Isn t Relevant

• 37. Final Thoughts

  Final Thoughts

• 38. Chapter 1.6. Why Writing Is a Bad Word and Emotioneering Is a Better One

  Chapter 1.6. Why Writing Is a Bad Word and Emotioneering Is a Better One

• 39. Chapter 1.7. How to Hopefully Be Unappreciated

  Chapter 1.7. How to Hopefully Be Unappreciated

• 40. Chapter 1.8. Where Screenwriting Leaves Off and Emotioneering Begins

  Chapter 1.8. Where Screenwriting Leaves Off and Emotioneering Begins

• 41. Deep Isn t Necessarily Interesting

  Deep Isn t Necessarily Interesting

• 42. From Screenwriting to Emotioneering

  From Screenwriting to Emotioneering

• 43. Part II: The 32 Categories of Emotioneering Techniques

• 44. Chapter 2.1. Emotioneering Techniques Category 1: NPC Interesting Techniques

  Chapter 2.1. Emotioneering Techniques Category 1: NPC Interesting Techniques

• 45. Major NPCs (NPCs Who Recur Throughout the Game)

  Major NPCs (NPCs Who Recur Throughout the Game)

• 46. More About Traits

  Notes on Game Scripts More About Traits

• 47. The Hypothetical Game

  The Hypothetical Game

• 48. The Hypothetical Game

  The Hypothetical Game

• 49. Final Thoughts

  Final Thoughts

• 50. Chapter 2.2. Emotioneering Techniques Category 2: NPC Deepening Techniques

  Chapter 2.2. Emotioneering Techniques Category 2: NPC Deepening Techniques

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