[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:04.28,0:00:08.74,Default,,0000,0000,0000,,Imagine a version of Bioshock without cutscenes.
Dialogue: 0,0:00:08.74,0:00:12.03,Default,,0000,0000,0000,,Without Andrew Ryan’s bathysphere Powerpoint.
Dialogue: 0,0:00:12.03,0:00:13.73,Default,,0000,0000,0000,,Without Atlas yapping in your ear.
Dialogue: 0,0:00:13.73,0:00:17.18,Default,,0000,0000,0000,,And without those juicy audio diaries.
Dialogue: 0,0:00:17.18,0:00:21.68,Default,,0000,0000,0000,,Do you think players would still understand\Nwhat the game was all about?
Dialogue: 0,0:00:21.68,0:00:25.56,Default,,0000,0000,0000,,Well, I think they’d actually have a pretty\Ngood idea.
Dialogue: 0,0:00:25.56,0:00:29.27,Default,,0000,0000,0000,,Because all you have to do is look at your\Nsurroundings.
Dialogue: 0,0:00:29.27,0:00:33.87,Default,,0000,0000,0000,,The game is set in a massive city at the very\Nbottom of the ocean.
Dialogue: 0,0:00:33.87,0:00:39.82,Default,,0000,0000,0000,,One clearly made for those in high society,\Nconsidering the fancy bars, apartment complexes,
Dialogue: 0,0:00:39.82,0:00:40.96,Default,,0000,0000,0000,,and theatre districts.
Dialogue: 0,0:00:40.96,0:00:45.50,Default,,0000,0000,0000,,And it’s a place built on lofty philosophical\Nideals.
Dialogue: 0,0:00:45.50,0:00:48.66,Default,,0000,0000,0000,,But it’s also a place of ruin and despair.
Dialogue: 0,0:00:48.66,0:00:51.28,Default,,0000,0000,0000,,There was obviously a moment of downfall.
Dialogue: 0,0:00:51.28,0:00:56.10,Default,,0000,0000,0000,,Some people split into violent factions, and\Nothers just lost their minds.
Dialogue: 0,0:00:56.10,0:01:01.01,Default,,0000,0000,0000,,And this all went down on New Year’s Day,\N1959.
Dialogue: 0,0:01:01.01,0:01:06.53,Default,,0000,0000,0000,,Bioshock is a wonderful example of how a game’s\Nenvironment can be an effective method of
Dialogue: 0,0:01:06.53,0:01:07.53,Default,,0000,0000,0000,,storytelling.
Dialogue: 0,0:01:07.53,0:01:12.34,Default,,0000,0000,0000,,And how embedding narrative elements into\Nthe very spaces and places that we visit throughout
Dialogue: 0,0:01:12.34,0:01:17.19,Default,,0000,0000,0000,,the game, can speak just as loudly as more\Ntraditional forms of storytelling.
Dialogue: 0,0:01:17.19,0:01:21.98,Default,,0000,0000,0000,,And that is exactly what this episode of Game\NMaker’s Toolkit is all about.
Dialogue: 0,0:01:21.98,0:01:26.70,Default,,0000,0000,0000,,In this video I’m going to focus on three\Nways that the environment can be used for
Dialogue: 0,0:01:26.70,0:01:33.55,Default,,0000,0000,0000,,storytelling - and talk about how level design\Ncan drive our understanding, feeling, and identity.
Dialogue: 0,0:01:33.55,0:01:37.50,Default,,0000,0000,0000,,Starting, with understanding.
Dialogue: 0,0:01:37.50,0:01:44.70,Default,,0000,0000,0000,,So the signs, stiffs, and scribbles in Bioshock\Nare examples of “environmental storytelling”
Dialogue: 0,0:01:44.70,0:01:50.20,Default,,0000,0000,0000,,- the use of set dressing to create small,\Noptional, and self-contained vignettes.
Dialogue: 0,0:01:50.20,0:01:55.16,Default,,0000,0000,0000,,Like warnings written in blood, or the many,\Nmany skeletons in the Fallout games, who have
Dialogue: 0,0:01:55.16,0:02:00.51,Default,,0000,0000,0000,,been deliberately posed by the game’s designers\Nto suggest humorous or melancholy ways that
Dialogue: 0,0:02:00.51,0:02:01.90,Default,,0000,0000,0000,,people have died.
Dialogue: 0,0:02:01.90,0:02:07.58,Default,,0000,0000,0000,,The term was first coined, as far as I can\Ntell, by former Disneyland designer Don Carson,
Dialogue: 0,0:02:07.58,0:02:13.86,Default,,0000,0000,0000,,who wrote an influential article in 2000 about\Nwhat game developers can learn from theme parks.
Dialogue: 0,0:02:13.86,0:02:19.34,Default,,0000,0000,0000,,The term was then made even more popular in\Na GDC talk by Harvey Smith and Matthias Worch,
Dialogue: 0,0:02:19.34,0:02:24.22,Default,,0000,0000,0000,,where they described the technique as “staging\Nplayer-space with environmental properties
Dialogue: 0,0:02:24.22,0:02:30.24,Default,,0000,0000,0000,,that can be interpreted as a meaningful whole,\Nfurthering the narrative of the game”.
Dialogue: 0,0:02:30.24,0:02:35.66,Default,,0000,0000,0000,,The cool thing about environmental storytelling\Nis that it requires a certain level of deductive
Dialogue: 0,0:02:35.66,0:02:39.99,Default,,0000,0000,0000,,reasoning, as we connect up details to create\Nan overall story.
Dialogue: 0,0:02:39.99,0:02:45.53,Default,,0000,0000,0000,,We use investigative and archaeological skills\Nto determine relationships, cause and effect,
Dialogue: 0,0:02:45.53,0:02:46.58,Default,,0000,0000,0000,,and history.
Dialogue: 0,0:02:46.58,0:02:52.42,Default,,0000,0000,0000,,This makes us an active participant in the\Nstorytelling process, and not just a passive viewer.
Dialogue: 0,0:02:52.42,0:02:56.34,Default,,0000,0000,0000,,Plus, if you just want to focus on the \Nshooty stuff, you can do that
Dialogue: 0,0:02:56.34,0:02:58.76,Default,,0000,0000,0000,,without the story getting in your way.
Dialogue: 0,0:02:58.76,0:03:03.26,Default,,0000,0000,0000,,For the most part, environmental storytelling\Nis about static objects - but it can also
Dialogue: 0,0:03:03.26,0:03:08.20,Default,,0000,0000,0000,,stretch to things like overheard conversations,\Nanimations happening in the level, and of
Dialogue: 0,0:03:08.20,0:03:14.73,Default,,0000,0000,0000,,course… text, in things like books, item\Ndescriptions, scans, notes, and emails.
Dialogue: 0,0:03:14.73,0:03:19.33,Default,,0000,0000,0000,,And while it is generally used to describe\Nwhat happened before you even got to a space,
Dialogue: 0,0:03:19.33,0:03:24.40,Default,,0000,0000,0000,,it can also be used as a way of highlighting\Nhow your actions have impacted the environment
Dialogue: 0,0:03:24.40,0:03:26.61,Default,,0000,0000,0000,,in the time since you visited.
Dialogue: 0,0:03:26.61,0:03:32.49,Default,,0000,0000,0000,,So if you kill a shop keeper in Deus Ex: Mankind\NDivided, later in the game the shop will be
Dialogue: 0,0:03:32.49,0:03:36.62,Default,,0000,0000,0000,,a police crime scene, and then permanently\Nclosed to the public.
Dialogue: 0,0:03:36.62,0:03:41.23,Default,,0000,0000,0000,,It’s also worth noting that environmental\Nstorytelling isn’t just for narrative, but
Dialogue: 0,0:03:41.23,0:03:42.96,Default,,0000,0000,0000,,can have gameplay uses too.
Dialogue: 0,0:03:42.96,0:03:48.63,Default,,0000,0000,0000,,A saw blade stuck in a sliced-up zombie suggests\Nusing these saws with your Gravity Gun to
Dialogue: 0,0:03:48.63,0:03:49.83,Default,,0000,0000,0000,,defeat enemies.
Dialogue: 0,0:03:49.83,0:03:54.45,Default,,0000,0000,0000,,An enemy fried on a fence warns us about the\Ndangers of touching it.
Dialogue: 0,0:03:54.45,0:03:58.22,Default,,0000,0000,0000,,Maps and signage can help us navigate complex\Nspaces.
Dialogue: 0,0:03:58.22,0:04:01.98,Default,,0000,0000,0000,,And props can suggest puzzle hints in a non-intrusive\Nway.
Dialogue: 0,0:04:08.58,0:04:09.86,Default,,0000,0000,0000,,But here’s the thing.
Dialogue: 0,0:04:09.86,0:04:13.90,Default,,0000,0000,0000,,“Environmental storytelling” - if we’re\Nusing the term specifically to mean those
Dialogue: 0,0:04:13.90,0:04:20.59,Default,,0000,0000,0000,,micro-narrative vignettes - is just one part of\Na larger structure of using the environment
Dialogue: 0,0:04:20.59,0:04:21.82,Default,,0000,0000,0000,,to suggest narrative.
Dialogue: 0,0:04:21.82,0:04:24.88,Default,,0000,0000,0000,,It’s the high level stuff.
Dialogue: 0,0:04:24.88,0:04:28.27,Default,,0000,0000,0000,,Below that, then, is the individual places\Nin a game.
Dialogue: 0,0:04:28.27,0:04:33.45,Default,,0000,0000,0000,,You know, a farmer’s market, a bar, a medical\Npavilion, and a theatre district.
Dialogue: 0,0:04:33.45,0:04:36.65,Default,,0000,0000,0000,,And beyond that, the individual rooms in those\Nzones.
Dialogue: 0,0:04:36.65,0:04:42.89,Default,,0000,0000,0000,,That’s the medium level, which might be\Nmost accurately called, well, level design.
Dialogue: 0,0:04:42.89,0:04:48.66,Default,,0000,0000,0000,,And this can also be used for narrative because\Nthings like architecture, layout, materials,
Dialogue: 0,0:04:48.66,0:04:52.96,Default,,0000,0000,0000,,and scale can tell us a lot about the people\Nwho use those spaces.
Dialogue: 0,0:04:52.96,0:04:59.22,Default,,0000,0000,0000,,For example, in Dishonored 2’s Dust District,\Nthe level designers at Arkane use verticality
Dialogue: 0,0:04:59.22,0:05:03.91,Default,,0000,0000,0000,,to show how the working class are literally\Nunderneath the people in power.
Dialogue: 0,0:05:03.91,0:05:09.73,Default,,0000,0000,0000,,And the sheer opulence of Talos I in Prey\Ntells a very different story about its use,
Dialogue: 0,0:05:09.73,0:05:14.16,Default,,0000,0000,0000,,compared to the more utilitarian Sevastopol\Nin Alien Isolation.
Dialogue: 0,0:05:14.16,0:05:19.80,Default,,0000,0000,0000,,And this also provides gameplay hints, too:\Nlike in Lord Bafford’s Mansion in Thief,
Dialogue: 0,0:05:19.80,0:05:23.91,Default,,0000,0000,0000,,where all the gold is naturally found in the\Nlord's chambers - but there’s little of
Dialogue: 0,0:05:23.91,0:05:26.57,Default,,0000,0000,0000,,value in the servant’s quarters.
Dialogue: 0,0:05:26.57,0:05:31.21,Default,,0000,0000,0000,,By making the place a believable location,\Nthe player can use real-world knowledge to
Dialogue: 0,0:05:31.21,0:05:33.55,Default,,0000,0000,0000,,help orient themselves in the space.
Dialogue: 0,0:05:33.55,0:05:38.02,Default,,0000,0000,0000,,Of course, one big challenge of making spaces\Nwhere people can actually live or work, is
Dialogue: 0,0:05:38.02,0:05:42.49,Default,,0000,0000,0000,,crafting locations that can actually logically\Nexist with all the bedrooms, bathrooms, kitchens,
Dialogue: 0,0:05:42.49,0:05:45.24,Default,,0000,0000,0000,,and so on to support hundreds of people.
Dialogue: 0,0:05:45.24,0:05:50.51,Default,,0000,0000,0000,,I asked the IO Interactive designers\Nabout this when I did my Hitman 2 video and
Dialogue: 0,0:05:50.51,0:05:56.02,Default,,0000,0000,0000,,they said they focus on levels that are “credible”,\Nwhich means the level meets your basic expectations
Dialogue: 0,0:05:56.02,0:06:00.30,Default,,0000,0000,0000,,for how a space works - but it doesn’t have\Nto make perfect sense.
Dialogue: 0,0:06:00.30,0:06:06.33,Default,,0000,0000,0000,,To finish off our pyramid, we need the low\Nlevel - which is the overall setting of the world.
Dialogue: 0,0:06:06.33,0:06:11.24,Default,,0000,0000,0000,,This is world building, and is where the developers\Nand narrative designers set things like the
Dialogue: 0,0:06:11.24,0:06:15.62,Default,,0000,0000,0000,,factions, the major plot points for the world’s\Nhistory, and the main players in the story.
Dialogue: 0,0:06:15.62,0:06:20.82,Default,,0000,0000,0000,,All three parts of this structure should work\Nin concert, and - ideally - ideas should echo
Dialogue: 0,0:06:20.82,0:06:22.47,Default,,0000,0000,0000,,up and down the stack.
Dialogue: 0,0:06:22.47,0:06:26.17,Default,,0000,0000,0000,,Here’s an example of that working in practice.
Dialogue: 0,0:06:26.17,0:06:31.86,Default,,0000,0000,0000,,In Deus Ex: Mankind Divided, the low level\Nsetting is a futuristic Prague where augmented
Dialogue: 0,0:06:31.86,0:06:35.79,Default,,0000,0000,0000,,humans face oppression from those without\Nmodifications.
Dialogue: 0,0:06:35.79,0:06:40.74,Default,,0000,0000,0000,,This is represented in the mid level by places\Nlike train stations with different cars for
Dialogue: 0,0:06:40.74,0:06:46.67,Default,,0000,0000,0000,,naturals and augs, and a slum-like city where\Naugs are kept in dire conditions.
Dialogue: 0,0:06:46.67,0:06:52.13,Default,,0000,0000,0000,,And then the smaller narrative moments on\Nthe high level also talk about oppression and
Dialogue: 0,0:06:52.13,0:06:57.69,Default,,0000,0000,0000,,racism, though anti-aug graffiti, and emails\Nabout being kicked out of the capital.
Dialogue: 0,0:06:57.69,0:07:03.80,Default,,0000,0000,0000,,Every level is talking about the same theme\N- from a grand, systemic level on the high level, to
Dialogue: 0,0:07:03.80,0:07:07.49,Default,,0000,0000,0000,,to more intimate and specific stories on the low level.
Dialogue: 0,0:07:07.49,0:07:12.49,Default,,0000,0000,0000,,Of course, easter eggs and moments of humour\Nare fine too - but storytelling like this
Dialogue: 0,0:07:12.49,0:07:18.62,Default,,0000,0000,0000,,is at its best when all aspects are marching\Ntowards the same thematic goal.
Dialogue: 0,0:07:18.62,0:07:22.85,Default,,0000,0000,0000,,This can be quite challenging in practice\Nbecause, on many large games, each level is
Dialogue: 0,0:07:22.85,0:07:25.32,Default,,0000,0000,0000,,looked after by a completely different person.
Dialogue: 0,0:07:25.32,0:07:29.37,Default,,0000,0000,0000,,So it’s vitally important for teams to come\Ntogether to make sure the vision is being
Dialogue: 0,0:07:29.37,0:07:31.98,Default,,0000,0000,0000,,shared across the game as a whole.
Dialogue: 0,0:07:34.49,0:07:39.42,Default,,0000,0000,0000,,So designers can use world building, level\Ndesign, and environmental storytelling to
Dialogue: 0,0:07:39.44,0:07:43.65,Default,,0000,0000,0000,,convey literal and specific information about\Nthe world and its inhabitants.
Dialogue: 0,0:07:43.65,0:07:49.28,Default,,0000,0000,0000,,But, the design of a world can also be used\Nin a more evocative and emotional sense.
Dialogue: 0,0:07:49.28,0:07:54.14,Default,,0000,0000,0000,,Game designers can use things like scale,\Nshape, and colour to evoke certain feelings
Dialogue: 0,0:07:54.14,0:07:55.14,Default,,0000,0000,0000,,in the player.
Dialogue: 0,0:07:55.14,0:08:02.17,Default,,0000,0000,0000,,Here’s Naughty Dog level designer Emilia\NSchatz talking about how she did this in Uncharted 4
Dialogue: 0,0:08:02.17,0:08:06.78,Default,,0000,0000,0000,,EMILIA: “If i want to have the player feel\Ntriumphant at the end and scared towards the
Dialogue: 0,0:08:06.78,0:08:11.08,Default,,0000,0000,0000,,beginning, I might make the environment create\Na lot of pressure on the player.
Dialogue: 0,0:08:11.08,0:08:17.06,Default,,0000,0000,0000,,I might make the ceiling very low, might make\Nthe walls come in, so you feel tight and constrained.
Dialogue: 0,0:08:17.06,0:08:23.43,Default,,0000,0000,0000,,And eventually as we get to the end of the\Nlevel, bring you out way into the open and
Dialogue: 0,0:08:23.43,0:08:25.39,Default,,0000,0000,0000,,give you this giant vista”.
Dialogue: 0,0:08:25.39,0:08:31.13,Default,,0000,0000,0000,,The shape of the cave doesn’t give us any\Nfurther understanding of the backstory in Uncharted.
Dialogue: 0,0:08:31.13,0:08:33.48,Default,,0000,0000,0000,,It’s just a cave, after all.
Dialogue: 0,0:08:33.48,0:08:38.31,Default,,0000,0000,0000,,Instead, it creates emotion - which helps\Nthe player better understand how the character
Dialogue: 0,0:08:38.31,0:08:39.31,Default,,0000,0000,0000,,is feeling.
Dialogue: 0,0:08:39.31,0:08:43.14,Default,,0000,0000,0000,,Here’s a good example of just that in the\Nmost recent God of War.
Dialogue: 0,0:08:43.14,0:08:48.62,Default,,0000,0000,0000,,The story beat is that Kratos starts to panic\Nbecause Atreus has run off and may be in danger.
Dialogue: 0,0:08:48.62,0:08:53.27,Default,,0000,0000,0000,,Here’s how the designers manipulate the\Nenvironment to ensure that you, as the player,
Dialogue: 0,0:08:53.27,0:08:54.93,Default,,0000,0000,0000,,also feel this sense of tension.
Dialogue: 0,0:08:54.93,0:08:58.64,Default,,0000,0000,0000,,So, the space constricts to narrow pathways.
Dialogue: 0,0:08:58.64,0:09:01.90,Default,,0000,0000,0000,,There are dead ends, forcing you to turn around\Nand backtrack.
Dialogue: 0,0:09:01.90,0:09:05.31,Default,,0000,0000,0000,,Your visibility is reduced thanks to a thick\Ngrey fog.
Dialogue: 0,0:09:05.31,0:09:09.13,Default,,0000,0000,0000,,And the final squeeze between rocks completely\Nslows Kratos down.
Dialogue: 0,0:09:09.13,0:09:14.25,Default,,0000,0000,0000,,It’s only when you get through that the\Nworld opens up, the fog lifts, and colour
Dialogue: 0,0:09:14.25,0:09:18.92,Default,,0000,0000,0000,,returns, letting you know that Atreus is safe\Nand that this mysterious person is probably
Dialogue: 0,0:09:18.92,0:09:22.63,Default,,0000,0000,0000,,not there to hurt you or your boy.
Dialogue: 0,0:09:22.63,0:09:24.47,Default,,0000,0000,0000,,Or take the original Portal.
Dialogue: 0,0:09:24.47,0:09:29.43,Default,,0000,0000,0000,,The first half of the game takes place in\Na test lab, and the second half has you escaping
Dialogue: 0,0:09:29.43,0:09:33.86,Default,,0000,0000,0000,,from an evil AI and darting through a maintenance\Narea.
Dialogue: 0,0:09:33.86,0:09:37.65,Default,,0000,0000,0000,,This dramatic shift in the game’s story\Nis emphasised through
Dialogue: 0,0:09:37.65,0:09:39.82,Default,,0000,0000,0000,,all sorts of environmental choices.
Dialogue: 0,0:09:39.82,0:09:43.35,Default,,0000,0000,0000,,The lab is white, sterile, and lacking in\Ndetail.
Dialogue: 0,0:09:43.35,0:09:49.38,Default,,0000,0000,0000,,The maintenance area is bathed in warmer orange\Ntones, and looks lived in and used.
Dialogue: 0,0:09:49.38,0:09:55.07,Default,,0000,0000,0000,,In a talk in 2017, former Crystal Dynamics\Nart designer Brian Horton talks about this
Dialogue: 0,0:09:55.07,0:09:57.02,Default,,0000,0000,0000,,part in the Tomb Raider reboot.
Dialogue: 0,0:09:57.02,0:10:02.73,Default,,0000,0000,0000,,At the start, Lara is low down, with the environment\Nbearing down from above her.
Dialogue: 0,0:10:02.73,0:10:06.20,Default,,0000,0000,0000,,Everything is plunged in an ominous dark green\Ncolour.
Dialogue: 0,0:10:06.20,0:10:10.21,Default,,0000,0000,0000,,As you become level with the environment,\Nthe colours begin to lighten up.
Dialogue: 0,0:10:10.21,0:10:15.27,Default,,0000,0000,0000,,And then as you climb, you’re actually high\Nabove the level, and Lara is bathed in a warm,
Dialogue: 0,0:10:15.27,0:10:16.81,Default,,0000,0000,0000,,orange sunlight.
Dialogue: 0,0:10:16.81,0:10:22.24,Default,,0000,0000,0000,,Her journey of survival - from a point of\Ndespair to a point of hope - is emphasised
Dialogue: 0,0:10:22.24,0:10:24.54,Default,,0000,0000,0000,,through the level design.
Dialogue: 0,0:10:24.54,0:10:29.97,Default,,0000,0000,0000,,As a practical method of achieving this, I\Nwant to point to a GDC talk by former BioWare
Dialogue: 0,0:10:29.97,0:10:35.13,Default,,0000,0000,0000,,level designer Dave Feltham who talks about\Ntwo tools they used when making the levels
Dialogue: 0,0:10:35.13,0:10:40.44,Default,,0000,0000,0000,,for Mass Effect 3: Emotion Charts and Intensity\NCharts.
Dialogue: 0,0:10:40.44,0:10:45.67,Default,,0000,0000,0000,,So the level in question is set on the planet\NTuchanka, and involves providing a cure for
Dialogue: 0,0:10:45.67,0:10:50.22,Default,,0000,0000,0000,,the Genophage - a biological weapon deployed\Nagainst the Krogan.
Dialogue: 0,0:10:50.22,0:10:55.32,Default,,0000,0000,0000,,The level sees you landing at the hollows,\Ndriving towards the shroud tower, having your
Dialogue: 0,0:10:55.32,0:11:01.08,Default,,0000,0000,0000,,convoy get blown up, sneak through some catacombs,\Npop up in the city, take down your first reaper,
Dialogue: 0,0:11:01.08,0:11:04.94,Default,,0000,0000,0000,,and - well - I won’t spoil the mission anymore\Nthan that.
Dialogue: 0,0:11:04.96,0:11:08.34,Default,,0000,0000,0000,,So the designers broke the level down into\Na bunch of sections.
Dialogue: 0,0:11:08.34,0:11:12.62,Default,,0000,0000,0000,,They then decided what theme needed to be\Nrepresented in each part.
Dialogue: 0,0:11:12.62,0:11:16.41,Default,,0000,0000,0000,,And then decided what emotion the player should\Nfeel at that time.
Dialogue: 0,0:11:16.41,0:11:20.77,Default,,0000,0000,0000,,Finally, they used environment design to evoke\Nthose emotions.
Dialogue: 0,0:11:20.77,0:11:26.33,Default,,0000,0000,0000,,For example, in the pre-crash you should feel\Na sense of hope and confidence about defeating
Dialogue: 0,0:11:26.33,0:11:27.33,Default,,0000,0000,0000,,the reaper.
Dialogue: 0,0:11:27.33,0:11:31.53,Default,,0000,0000,0000,,So there’s a huge convoy of vehicles at\Nyour back to make you feel strong, and the
Dialogue: 0,0:11:31.53,0:11:34.64,Default,,0000,0000,0000,,Krogan are happily lazing about to suggest\Nnonchalance.
Dialogue: 0,0:11:34.64,0:11:37.76,Default,,0000,0000,0000,,After the crash, you should feel a sense of\Nchaos.
Dialogue: 0,0:11:37.76,0:11:41.90,Default,,0000,0000,0000,,So there’s flames, explosions, and your\Nconvoy is destroyed.
Dialogue: 0,0:11:41.90,0:11:46.28,Default,,0000,0000,0000,,In the catacombs, you should feel a sense\Nof mystery - which is driven by the statues
Dialogue: 0,0:11:46.28,0:11:51.69,Default,,0000,0000,0000,,and murals of ancient Krogan life, And then\Nthe triumphant reveal of the city is supposed
Dialogue: 0,0:11:51.69,0:11:57.13,Default,,0000,0000,0000,,to make you feel awe at what the Krogan empire\Ngrew to become before the Genophage.
Dialogue: 0,0:11:57.13,0:12:00.41,Default,,0000,0000,0000,,And make you feel guilty if you were planning\Nto betray them.
Dialogue: 0,0:12:00.41,0:12:06.74,Default,,0000,0000,0000,,The contrast from the dark catacombs to the\Nopen city emphasises the reveal.
Dialogue: 0,0:12:06.74,0:12:11.25,Default,,0000,0000,0000,,Finding the right environmental tricks to\Nconvey the necessary emotion can be tough,
Dialogue: 0,0:12:11.25,0:12:14.10,Default,,0000,0000,0000,,but here’s how a few other games have done\Nit.
Dialogue: 0,0:12:14.10,0:12:19.86,Default,,0000,0000,0000,,Half Life 2 creates a feeling of oppression\Nthrough claustrophobic corridors, tall buildings,
Dialogue: 0,0:12:19.86,0:12:22.04,Default,,0000,0000,0000,,cages, and security cameras.
Dialogue: 0,0:12:22.04,0:12:27.25,Default,,0000,0000,0000,,PT creates fear by asking you to repeatedly\Nturn the same corner, but you’re never sure
Dialogue: 0,0:12:27.25,0:12:29.03,Default,,0000,0000,0000,,what will be on the other side.
Dialogue: 0,0:12:29.03,0:12:34.45,Default,,0000,0000,0000,,It’s important to note that these environmental\Nchoices have to gel with the game’s mechanics,
Dialogue: 0,0:12:34.45,0:12:35.45,Default,,0000,0000,0000,,though.
Dialogue: 0,0:12:35.45,0:12:40.17,Default,,0000,0000,0000,,For example, in a horror game, darkness is\Nobviously intended to evoke feelings of fear.
Dialogue: 0,0:12:40.17,0:12:45.56,Default,,0000,0000,0000,,But in a stealth game, darkness might actually\Nprovide feelings of power and safety.
Dialogue: 0,0:12:45.56,0:12:50.38,Default,,0000,0000,0000,,After picking the environmental details, BioWare\Nuses intensity charts.
Dialogue: 0,0:12:50.38,0:12:56.72,Default,,0000,0000,0000,,Basically, the designers have a desired intensity\Nlevel - hoping for low moments for story beats,
Dialogue: 0,0:12:56.72,0:12:58.47,Default,,0000,0000,0000,,and high moments for combat.
Dialogue: 0,0:12:58.47,0:13:04.10,Default,,0000,0000,0000,,But this has to be checked against play-testers\Nwho describe how intense each area feels.
Dialogue: 0,0:13:04.10,0:13:07.34,Default,,0000,0000,0000,,If the chart is off, changes must be made.
Dialogue: 0,0:13:07.34,0:13:12.77,Default,,0000,0000,0000,,For example, the catacombs initially had enemies\N- but fighting monsters by torchlight was
Dialogue: 0,0:13:12.77,0:13:18.08,Default,,0000,0000,0000,,found to be extremely intense, and pulled\Naway from the intended feeling, so the monsters
Dialogue: 0,0:13:18.08,0:13:20.61,Default,,0000,0000,0000,,were scrapped to bring the level in line.
Dialogue: 0,0:13:20.61,0:13:25.95,Default,,0000,0000,0000,,Also, a cutscene of friendly bombers was added\Non the road towards the reaper, just to give
Dialogue: 0,0:13:25.95,0:13:28.91,Default,,0000,0000,0000,,the player slightly more hope that they might\Nwin.
Dialogue: 0,0:13:28.91,0:13:33.56,Default,,0000,0000,0000,,The ultimate goal for BioWare was to create\Na mission that matches a sort of typical three
Dialogue: 0,0:13:33.56,0:13:34.86,Default,,0000,0000,0000,,act structure.
Dialogue: 0,0:13:34.86,0:13:40.93,Default,,0000,0000,0000,,With rising action, a low moment of despair,\Nand a final climb to victory.
Dialogue: 0,0:13:40.93,0:13:46.23,Default,,0000,0000,0000,,This three act structure is used wonderfully\Nby 2D platformer Celeste, where the actual
Dialogue: 0,0:13:46.23,0:13:49.88,Default,,0000,0000,0000,,topology of your climb mirrors that graph.
Dialogue: 0,0:13:49.88,0:13:54.81,Default,,0000,0000,0000,,Level after level you climb higher up the\Nmountain, hitting small set-backs and climb-downs
Dialogue: 0,0:13:54.81,0:13:57.39,Default,,0000,0000,0000,,but ultimately heading forever upwards.
Dialogue: 0,0:13:57.39,0:14:02.59,Default,,0000,0000,0000,,That is until the stage Reflections which\Nsends you plummeting back down to the base.
Dialogue: 0,0:14:02.59,0:14:09.19,Default,,0000,0000,0000,,The story’s lowest point is also the environment’s\Nlowest point.
Dialogue: 0,0:14:09.19,0:14:14.10,Default,,0000,0000,0000,,If there’s one game that truly uses the\Nenvironment to tell a story, though, it’s Journey.
Dialogue: 0,0:14:14.10,0:14:18.50,Default,,0000,0000,0000,,It uses moments when you’re climbing to\Nevoke feelings of strength and progression,
Dialogue: 0,0:14:18.50,0:14:23.12,Default,,0000,0000,0000,,and moments where you’re plummeting down\Nto create a sense of loss and hopelessness.
Dialogue: 0,0:14:23.12,0:14:28.28,Default,,0000,0000,0000,,And notice how the team at thatgamecompany\Nuses colour to express different sensations
Dialogue: 0,0:14:28.28,0:14:34.44,Default,,0000,0000,0000,,- orange for the calm mystery of the desert,\Ndark green for the spooky underground graveyard,
Dialogue: 0,0:14:34.44,0:14:39.08,Default,,0000,0000,0000,,white for the biting cold, and bright blue\Nfor the moment of rebirth.
Dialogue: 0,0:14:39.08,0:14:43.93,Default,,0000,0000,0000,,This game doesn’t need any words to tell\Nyou what to feel, because the environment
Dialogue: 0,0:14:43.93,0:14:45.18,Default,,0000,0000,0000,,says it all.
Dialogue: 0,0:14:47.08,0:14:52.80,Default,,0000,0000,0000,,The final thing I want to touch on, is the\Nway environments influence our identity.
Dialogue: 0,0:14:52.80,0:14:58.34,Default,,0000,0000,0000,,Video games typically put us into the shoes\Nof a character, and ask us to perform as they would.
Dialogue: 0,0:14:58.34,0:15:03.58,Default,,0000,0000,0000,,As players, we’re constantly looking for\Nclues as to what sort of person we are inhabiting,
Dialogue: 0,0:15:03.59,0:15:07.89,Default,,0000,0000,0000,,and what sort of actions will be expected,\Npermitted, and punished.
Dialogue: 0,0:15:07.89,0:15:12.80,Default,,0000,0000,0000,,Of course, the heavy lifting is done by the\Navailable mechanics, the way systems react
Dialogue: 0,0:15:12.80,0:15:17.94,Default,,0000,0000,0000,,to our choices, and our preconceived notions\Nfrom the marketing and genre norms.
Dialogue: 0,0:15:17.94,0:15:21.91,Default,,0000,0000,0000,,But the environment can also play a large\Npart in this.
Dialogue: 0,0:15:21.91,0:15:27.64,Default,,0000,0000,0000,,For example, in the original Bioshock I found\Nit easy to murder people and steal from cash
Dialogue: 0,0:15:27.64,0:15:29.40,Default,,0000,0000,0000,,registers and safes.
Dialogue: 0,0:15:29.40,0:15:34.22,Default,,0000,0000,0000,,Whereas in Bioshock Infinite, i found these\Nactions a lot less comfortable.
Dialogue: 0,0:15:34.22,0:15:39.47,Default,,0000,0000,0000,,A large part of this comes from the fact that\NBioshock’s Rapture is in ruins, and the
Dialogue: 0,0:15:39.47,0:15:43.37,Default,,0000,0000,0000,,only people around are insane, bloodthirsty\Nsplicers.
Dialogue: 0,0:15:43.37,0:15:48.32,Default,,0000,0000,0000,,Bashing their skulls in and looting everything\NI can fit in my pockets just makes sense.
Dialogue: 0,0:15:48.32,0:15:52.100,Default,,0000,0000,0000,,Infinite’s Columbia, on the other hand,\Nis still a semi-functioning society when you
Dialogue: 0,0:15:52.100,0:15:56.58,Default,,0000,0000,0000,,get there, with working shops and innocent\Ncitizens.
Dialogue: 0,0:15:56.58,0:16:01.71,Default,,0000,0000,0000,,So violence and robbery just makes less sense\Nin that environment.
Dialogue: 0,0:16:01.71,0:16:06.84,Default,,0000,0000,0000,,Back down on Earth, the Hitman developers\Nuse this technique to subtly explain
Dialogue: 0,0:16:06.84,0:16:09.51,Default,,0000,0000,0000,,how the world will react to your presence.
Dialogue: 0,0:16:09.51,0:16:15.12,Default,,0000,0000,0000,,It’s often pretty obvious which areas you\Ncan casually stroll into, because of our understanding
Dialogue: 0,0:16:15.12,0:16:18.18,Default,,0000,0000,0000,,of real-world social behaviours and rules.
Dialogue: 0,0:16:18.18,0:16:22.85,Default,,0000,0000,0000,,This comes from a GDC talk by IO developer\NMette Andersen who says “when
Dialogue: 0,0:16:22.85,0:16:27.70,Default,,0000,0000,0000,,we design these spaces, we’re designing\Nrules of behaviour and we’re designing something
Dialogue: 0,0:16:27.70,0:16:31.85,Default,,0000,0000,0000,,that’s going to tap into your knowledge\Nof ‘how should I be in this space?’”.
Dialogue: 0,0:16:31.85,0:16:36.53,Default,,0000,0000,0000,,Mette splits the world into public spaces,\Nwhich are available from the get go and explorable
Dialogue: 0,0:16:36.53,0:16:37.92,Default,,0000,0000,0000,,in any costume.
Dialogue: 0,0:16:37.92,0:16:43.50,Default,,0000,0000,0000,,And private spaces, which require some ingenuity\Nto enter, and a costume to stay hidden.
Dialogue: 0,0:16:43.50,0:16:49.58,Default,,0000,0000,0000,,She then splits those further into sub categories,\Nwhere social rules go from vague to strict.
Dialogue: 0,0:16:49.58,0:16:56.37,Default,,0000,0000,0000,,The best levels in Hitman, says Mette, incorporate\Na rich mix of these area types.
Dialogue: 0,0:16:56.37,0:17:01.56,Default,,0000,0000,0000,,So video game environments can be a staggeringly\Neffective medium for storytelling.
Dialogue: 0,0:17:01.56,0:17:05.65,Default,,0000,0000,0000,,Whether they’re telling stories about events\Nthat happened before your arrival, giving
Dialogue: 0,0:17:05.65,0:17:10.63,Default,,0000,0000,0000,,clues about the people who live there, evoking\Nemotions through architecture, or providing
Dialogue: 0,0:17:10.63,0:17:15.72,Default,,0000,0000,0000,,context for player identity, these spaces\Ncan speak volumes.
Dialogue: 0,0:17:15.72,0:17:20.76,Default,,0000,0000,0000,,Let me know your favourite examples of storytelling\Nthrough the environment, in the comments down below.
Dialogue: 0,0:17:24.64,0:17:26.88,Default,,0000,0000,0000,,Hi, thanks for watching.
Dialogue: 0,0:17:26.88,0:17:32.63,Default,,0000,0000,0000,,As you might have noticed, this is a re-uploaded\Nversion of a previous video.
Dialogue: 0,0:17:32.63,0:17:37.55,Default,,0000,0000,0000,,Unfortunately, that video was labelled as\Nnot age-appropriate, because of some of the
Dialogue: 0,0:17:37.55,0:17:43.57,Default,,0000,0000,0000,,examples I gave - and so the video had a big\Nscary warning before you could watch.
Dialogue: 0,0:17:43.57,0:17:48.53,Default,,0000,0000,0000,,Ultimately, I want my channel to be accessible\Nto as many people as possible, and so I’m
Dialogue: 0,0:17:48.53,0:17:53.06,Default,,0000,0000,0000,,going to work hard in future to make sure\Nmy stuff is suitable for a general audience.
Dialogue: 0,0:17:53.06,0:17:57.96,Default,,0000,0000,0000,,I’m still going to talk about shooting people,\Nbecause, hey, my channel’s about video games.
Dialogue: 0,0:17:57.96,0:18:05.66,Default,,0000,0000,0000,,But, still, I’ll take care not to slip into\Ngratuitous depictions of violence and other icky stuff.
Dialogue: 0,0:18:05.66,0:18:10.00,Default,,0000,0000,0000,,If the original video made you feel uncomfortable,\Nthen I do apologise.