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Free Assets - 360+ piece 2D maze-based game (CC BY 4.0)

Good news, everybody (Gamedev), we have new works from the Devil's Garage!
Since the last few months, I've been focusing on creating 3D, and 2D game assets for the open-source game development community. Here's my latest development for a maze-based game.
If you do download this, or have download the last pack, feel free to send me requests.
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Asset Pack Information
This 360+ piece Low Poly 2D arcade maze-based game asset pack contains * hero animation cycles (i.e - Idle, Walk, Hit, Win) rendered in 4 directions * two enemy types * an explosive barrel prop * two collectible animated gems * and a bunch of background tiles to build a variety of levels
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2D Specifications
Image Format: png 32 (with alpha transparency) Tried and Tested in: Unity 5+, Adobe Animate, Construct 2, Stencyl, Game Maker. License: CC by 4.0 - commercial and non-commercial free
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The ZIP file contains the following assets:
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[Discussion] Screenwriter's Cheat Sheet (Aki)

I've always wondered what a script "doctor" or a producer did with your script. I mean, the great ones, I'm told, can take a look at your script and, somehow, be it due to divine, natural gift or an infernal contract they've signed with the Dark Prince, they know where you done fudged up!
How?! Like, for serious, how?
What do they look for? What questions do they ask? And, what are these questions that they ask consistently, for every story?
Well, fam, that's what we'll try and figure out today. Today, we're gonna put together a list of questions that you should ask yourself whenever you have a story idea, an outline, or even a finished script. Today, we're putting together the Screenwriter's Cheat Sheet!
Keep in mind, I'm putting these questions in no particular order; since, you know, they're all important and stuffs.
Is your story made for independent film or a studio production?
I open with this question because it is one of the first things I was exposed to in almost every single one of my screenwriting classes; and because, if you're reading this, you're likely an fellow ambitious whipper-snapper trying to create some serious art and not Wes Anderson.
Moving on.
You always have to consider your resources, especially if you're starting out.
If you're a college student with little capital and writing your first short film, I doubt you'll have the budget to fund a script loaded with visual effects, multiple exotic locations, Dwayne "The Rock" Johnson as your lead and Hans Zimmer to score.
Your best bet is to see what locations you yourself have access to with ease; i.e., your house, a park, a friend's house, etc... Or, ask your friend's permission to use their house or whatever you need and see if they're gracious enough to let you. Beyond that, you can ask local businesses, as well. If they agree to let you use their location, be very grateful and show them how much you appreciate it; just make sure you aren't taken advantage of in the process.
Then, you hit up your local schools, JCs and theaters in search of actors that want to boost up their resumes by working pro-bono. You'll find a lot of opportunity there and will build up a good list of contacts.
As far as equipment, you ask if you can rent some, or--and you'll be surprised how effective this can be-- you post on your Facebook page if anyone has insert film equipment here that you can borrow for a day-shoot. If someone steps up and offers their gear, again, be very thankful and, just as importantly, don't be a douche and damage their equipment.
Then, once you spend however long playing producer and gathering up your crew, nail down locations and set your schedules, you put your directing hat on and shoot the film in a day or two. Try not to go over that if you're just starting out.
I'm doing the art of directing and cinematography a great injustice here by skipping over them this way, but just know that they're crazy important and you'll learn a lot from jumping in a trying to practice them as a film student. They're not the point of this specific article, is all.
This is also the part where I tell you to start learning how to edit/use Adobe Premiere and After Effects. There are a ton of great YouTube channels that teach you that (check out this link, or, you can check out sites like Lynda.com for courses.
Bonus tip: For those of you that live in Sonoma County, getting a Sonoma County library card will grant you access to Lynda.com's entire library for free; which includes far more than just editing/filmmaking content. It's honestly a fucking steal.
What's the genre?
This is a question I never really consider when I write my scripts; and it always bites me in the ass. I usually end up going for the fantasy/Sin City style of gritty action without realizing it. Sometime it works, sometime it doesn't; either way, the story is affected.
Every genre has its own specific convention, and I'm going to write something on each of the major genres soon. But, consider the horror genre for now. Regardless what sub-genre it is--slasher, zombie, etc...--the story requires a "monster." Can't have a horror film without a Big Bad Wolf.
The romance genre dictates that you have a love interest to your protag, or multiple love interests, even. Believe it or not, you're love interest will probably end up being your protag's "monster"/antagonist.
Action stories need a badass, "my hands are registered weapons" lead that will probably end up in a shoot-em-up extravaganza with the bad guy.
Fantasy stories use quests, wizards, races and might heavily draw from Campbell's ever-popular mono-myth.
Superhero stories might also draw from the mono-myth, but also demand that you have superpowers, costumes, potentially a side-kick and a world-saving scheme.
Sci-fi might employ alternate timelines, spaceships aliens and/or multiple dimensions.
These are quick, surface-level examples, but you get the point.
Consider the genre your story will be in, because it will influence your world-building, character archetypes and general aesthetic.
Who is your audience?
Much like your consideration of genre, deciding your demographic will dictate, at the very least, the tone of your film, the medium in which you deliver it in, how you articulate your theme, the complexity of your plot and whether or not you can have and show butt-stuff.
Consider Batman, my dear reader; hell, we could've picked other superheroes, but Bats is the best example.
Anywho...Batman has been portrayed in comics, animated features, cartoons, glorious 1960's live-action and even MORE glorious, Christopher-Nolan-live-action. Each of these mediums is influenced by and influences both the story and the audience consuming it.
Generally, animated features will be geared towards younger audience members; but we've all seen some that deliver incredibly mature and thought provoking themes. Live-action is subject to the same spectrum that spans from goofy, yet light-hearted, to gritty-but-sprinkled-with-comedy. The point is, realizing the type of audience member you're speaking to will help you better determine the type of dramatic language to best serve as your vehicle for your story. And you want to give your story the best chance you can to be best experienced by your audience.
What is the thematic question?
Theme was a mess of mystery to me for a long time, having studied and been exposed to different 'gurus's different, even conflicting, definitions of it. But, the simplest way I can put it is:
Theme is the point of your story.
Every joke has a punch-line. Every story has a message. Every film has a point. Every telling has a theme.
If we consider your theme as the lesson you're trying to teach your audience, then your story is how you do it. Think about it, what is the best way humans learn? Seriously, take a quick second to come up with an answer.
As far as I'm concerned, it's experience.
If someone told me "war is awful," I would nod my head and go, "sure;" not really understanding the depth of meaning in those words. But, if I was dropped smack-dab in the middle of Iraq with a band of soldiers facing off against insurgents, I would have a far better, incredibly more visceral understanding of "war is awful."
Now, as writers, stories are the closest thing we have to experience. We can flat-out tell our audience the message behind our story: "War sucks donkey balls, bruh." But, it's far better for our audience if we showed them.
Now, we can't fly them to the Death Star or walk them to Mordor, but we can show them characters that can/will. We can show them who these characters are, what they care about, how they risk everything for their personal purpose, how they suffer and overcome, and, ultimately, if they succeed or fail.
What I'm trying to say is, your theme needs to be dramatized for it to be internalized and understood. That's what stories do, they show us the wisdom inherent in our actions.
"Country above self," "love conquers all," "bacon is king."
For those of you thinking that last one was a real theme, it wasn't; but it totally should be.
Your thematic question is one posed in every scene of your story; and, more than that, it's answered by your theme.
For example, if your thematic question is, "how can you best honor your family?," then your theme can/will be, "by putting their needs before your own." This should be shown to the audience through your characters actions; be it in the positive/the character did put family first, or the negative/the character didn't put family first.
Since showing the answer to the thematic question--showing the theme--is the point of you telling this story, it would make sense that the more your hero fails in accomplishing this answer, the further away they get from their goal and the more they suffer.
Let's say your hero wants to get that big promotion in their company; that's their Bull's Eye, which we'll talk about in a later question. So, they're after this big promotion, but, at a point in the film, you, the brilliant writer that you are, force them to decide between betraying their sister and guaranteeing that they'd fall into their boss's good graces, or, honor their sister and jeopardize all the work they've done towards getting that promotion.
Now, if your protag doesn't betray their family, they'll either get the job through different means or won't get the job but realize that what they really needed was something else entirely and will get that instead; depending on how you write it.
If the protag does screw their sister over, they'll have the job, but realize that having it tastes bland, even disgusting, now that they've compromised their character and shit on this all-too-important bond.
Write down your thematic question and its theme/answer and keep it in front of you at all times when you write. It'll keep your writing focused and your scenes tight.
Who is your protagonist?
Your protagonist is the character most connected to the audience. Theirs is the purpose we root for. Whatever they want to achieve, we want them to achieve. They're the character we most care about, the character who is most active/moves the storyline forward, and the character with the most screen-time. Your protagonist is your main character.
That being said, and beyond their structural/story role, your protagonist can be anyone. They can be a literal lowly ant or God herself; it doesn't matter, actually. It only matters insofar as how they relate to the story. Their story has to be the most interesting one in that story world; which implies that they themselves must be the most interesting character in that story world.
This point is crucial for two reasons. The first is for the sake of the audience. If you don't give the audience your 'best' character--in this case, the character that will evoke the most emotion in them--then you're severely underselling your story and shortchanging your audience.
The second is for your own sake as a writer. If you don't choose a character that excites you, impresses you, even surprises you during the long writing process, you're going to find yourself hard-pressed to keep writing. You're going to be spending a lot of time with this character. So much so that you'll likely get to know them more than you know anyone; maybe even yourself. So, it's a good idea to take a second to pick a character that, to you, is very fun; and to also be willing to change your main character if they don't fit this criteria.
Personally, I like to learn as much about my lead as possible: Favorite pastime, books, songs, color, music, who their idols are, their brand of humor, how they choose to solve problems, are they a toilet-paper-roll-rolls-over or rolls-under kinda person...you know, important stuff. Butt, when it comes down to it, there are three basic elements that you must know about your protagonist. If you don't know those three, it doesn't matter if you know what your character weighed when they were born or which hand they jack-off with. If you don't know those three elements, you don't know your character.
Those three elements are: The character's Bull's Eye, their Wound, and their Flaw.
What is your protag's Bull's Eye?
Bull's Eye is a term I use to better illustrate, for myself, what other's call Outer Motivation, Goal, External Motivation, and anything that means what your hero is after.
You need to know what your hero will be chasing throughout your story because, if you're hazy on that detail, your story will fall apart.
Are they trying to stop a meteor hurdling towards Earth or find their long lost home? Are they trying to win that dance competition or climb Mount Everest? And so on.
The thing to remember about your protag's Bull's Eye is that it needs to be both specific and visual; otherwise, it won't work.
If I told you that my protag's Bull's Eye is to save the city, your response will probably be, "uh, how? From what?" These questions demand details. There are a lot of things that a person can "save the city" from. Poverty, the plague, awful fashion fads, the damn Kardashians.
A Bull's Eye needs to be specific so we know when the protag finally achieves or hits it; otherwise, the audience won't know when the story is over.
Batman's Bull's Eye is to save Gotham by stopping Ra's/the JokeBane.
Jessica Jones's Bull's Eye is to stop/kill Kilgrave.
Wreck-It Ralph's Bull's Eye is to get back his (stolen) Hero's Medal.
Dory's Bull's Eye is to find her family.
All those Bull's Eyes are visual and specific, and we can easily tell if the protag hits or misses them/is getting closer or further away from them at any point in the story.
You'll also notice that they're goals that can be broken down into mini/many smaller goals, as well as being open to evolving.
Batman's main Bull's Eye (stopping the Joker) is broken down into several smaller battles throughout the film; which include finding the Joker, ending his killing spree, saving Rachael, maintaining Dent's reputation as Gotham's White Knight, and, finally, stopping the Joker. All those are minor, albeit emotional skirmishes that make up the protag's Bull's Eye.
The protag will lose a lot, if not most, of those 'battles,' but that will only better enforce how difficult it the antagonist was as an obstacle, and how heroic they were in besting said antagonist.
I prefer to think of the protag-antag relationship in terms of warfare, because their confrontation must be so intense and have so many loses and reversals that the protag baaaarely comes out on top, and almost never unscathed.
What's your protag's Wound and resulting Flaw?
We all have Wounds. By "Wounds" I mean, defining traumatic moments. Getting physically and emotionally bullied by Mark Bateson in 6th grade (Wound) resulted in us--the royal 'us'--being afraid of confrontation (Flaw).
Losing our pants during 10th grade P.E. in front of our--royal 'our'--class (Wound) resulted in 'us' being cripplingly uncomfortable with our bodies, not just in a "let's go swimming" setting, but overall.
What I'm hoping you notice here is not my run-of-the-mill high school trauma, but that Wounds are experiences that dictate what emotional battles we must engage in within ourselves on a daily basis in order to be our best selves.
Your protag, and, believe it or not, antag, can and should have Wounds and Flaws to overcome; because, that's what it means to have a character arc, or, to put it in other terms, growth. Or, even better, a character having a Wound and Flaw not only makes them relatable, but it makes them just like us: human.
In Anger Management, a young Dave Buznik has his shorts and underwear pulled by a bully while trying to kiss a girl in public (Wound). The embarrassment and accompanying emotional trauma stays with him well into his adult life and leaves him unable to be affectionate towards his girlfriend in public, and causes him to repress any and all emotion; ergo, making him Hulk-levels of angry under the seemingly quiet surface.
Once Dave is transformed by the events of the story and undergoes character growth as a result/survives Jack Nicholson, the pivotal moment of him kissing someone in public--which he experienced in the beginning in the film--is repeated again with his girlfriend near the end. Except, this time, Dave, now changed, succeeds/gives her a "five-second Frencher."
One thing to take note of:
Despite Dave being a fully-developed human being (as the writer artfully portrayed), the story only addresses ONE of his Wounds and the ONE resulting Flaw of said Wound. Why? Because the story could only handle solving a single traumatic event/emotional scar combo at a time. Having any more would be too much for both the writer and the audience to handle.
One story. One Wound. One Flaw. That's it.
What is your antagonist's Bull's Eye, Wound and Flaw?
Since I've already discussed what Wound and Flaw are, I don't feel the need to go over it again.
But, let's talk about your antagonist's Bull's Eye; and, feel free to refer to what a Bull's Eye is by looking back at what I wrote.
The reason I want to stress your antag's Bull's Eye is because it's a defining attribute of any great villain.
To put it simply, your antagonist has to want exactly the same thing as your protagonist.
Let me give you an example.
Let's say you and I are protag and antag pairing (dibs on being the antag, my dude). And, let's say that we're both on the playground with a bunch of toys in front of us. Now, your Bull's Eye, as the protag, is to grab that sick, voice-activated Gamora action figure. What would happen between us if my Bull's Eye, as the antag, was to grab the equally-badass Deadpool action figure?
Short answer: Nothing.
Long answer: There would be no conflict, no drama, no story.
Why? Because we both want different things, and, we can both have what they want. It's a win-win for both of us.
But, if we both want one or both actions figures, it means that we'll be butting heads at every point in the story. It means that there will be a winner and there will be a loser. And, more profoundly, since we both feel the need to have said action figures, the stakes are personal; meaning, we will put everything on the line for a chance to have those action figures.
I've already given you the 'warfare' analogy to describe the protag-antag relationship. But you can also think of it in terms of conflict. If there is no conflict between your protag and antag, there is no drama, there is no emotion, there is no story.
Which brings us to our next question:
What is the main relationship driving the story?
As far as I'm concerned, your protag-antag relationship is the most important and main relationship of your story. But, that answer comes with nuances.
In a straight up action flick, the good guy-bad guy relationship is what's obviously driving the plot, since their gun-toting, explosion-ridden fights are a convention at the heart of the genre. I can almost hear some of you saying, "but, what about the hero's love-interest, amigo? That's pretty important."
To that I say, sure, fam, romance is important. But, in terms of character growth--the element that makes a character most relatable/human--which is more important: The protag and love-interest getting together, or, the protag realizing that they must overcome both their proverbial and literal demons (antag) before earning their place in paradise (love-interest)?
Let's shift gears for a second.
To my male audience out there: Fellas, do you know why women are so 'difficult?'
The answer is really pretty simple: Because we, as men, need them to be.
Picture a guy who isn't motivated, doesn't want to do anything, doesn't want to work for anything, has no values or standards, doesn't try to better himself in any personal or practical way, has no prospects of any sorts and still gets the perfect woman.
How realistic is that?
Shit, even in film that's asking too much. Personally, if I was sitting in that theater, it'd take all of thirty seconds for me to get my ass out of there and ask for my money back.
The point: Women test us to see if we're being, or at the very least trying to be, our best selves every single minute of the day.
In fiction, your protag's relationship with your antagonist is that test.
Your protag must overcome their greatest adversary, the one person that stands between them and their noblest self, before they can live their 'happy ever after.'
Now, I'm not saying that everyone is looking for love, though the argument can sure as hell be made; what I'm saying is, romance/love is a very powerful mechanism inside us humans and that makes it something that super-charges any story with emotional content.
Basically, love sells, boys and girls.
Ever hear of Titanic? The Notebook? Fifty Shades of Grey?
The most important relationship in your story is the one between your protag and antag; even if you, as an audience member, worship that gem of a love story at the heart of all the action.
Now, a caveat.
When it comes to romance films, you'll find that the antagonist is actually the love-interest. This is because both the protag and antagonist/love-interest are looking for love, in most cases, and the only thing standing in their way is each other.
Think of When Harry Met Sally. Or, What Women Want, Think Like A Man, Hitch, or any of the examples listed above. The character that makes the protag's life most difficult--a defining trait of the antag--is the one person they want most: their love-interest. It's actually a pretty brilliant dynamic to have in a story, and one you should always consider when designing the protag-antag relationship. Even Nolan did it in The Dark Knight Rises.
The good guy-bad guy and protag-love-interest relationships are just two examples that make for a driving relationship in story. There are a ton more that can be the heart of your telling. The most prominent one I've seen in recent years is the parent-child relationship; with examples like: Big Daddy, The Last of Us, Logan and the most recent God of War.
Nail down the most important relationship in your story so you can focus on it and draw as much emotional content from it as possible to entertain and connect with your audience.
Use this list to check any inconsistencies in your story, be it a fully-written script or just a germ of an idea. If something doesn't make sense or, fix it, obviously; or, get rid of it and start over.
Once you've ironed out the details, it's a good idea to write a synopsis of your story. I'd say a paragraph for each act addressing this checklist would do, generally. After that, you'll have a pretty air-tight script in terms of structure, character development and delivery of emotion. You can decide if it needs more pretty-ing up from there.
That's all I got for you this time around.
Keep writing.
More good stuff!
submitted by AAAslan to Screenwriting

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