ABSTRACT
The chapter begins with the painter and ends on the question of realism. The artist designing games from the ground up for systems with motion controls must consider, as a painter considers brushes and pallet knives, the materials the apprentice has to work with. The artist forms an image that an apprentice can work with and do things to. The apprentice does not simply work with an artist and the various objects littering the diegetic field, they also compose with other apprentices. The computer-controlled allies and adversaries in Left 4 Dead are the artist's affective body, except here the body, whether organic or inorganic, is a force-sign that reacts to the apprentice. Games involving two or more apprentices occupying the same physical space operate in parallax. The chapter also examines how the apprentice develops the skill to intensify or liberate the forces of the ludo-diagram.
