[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.36,0:00:03.54,Default,,0000,0000,0000,,Okay, so during the development of Alien:
Dialogue: 0,0:00:03.54,0:00:06.90,Default,,0000,0000,0000,,Isolation, the game had a \Npretty basic save system.
Dialogue: 0,0:00:06.90,0:00:11.34,Default,,0000,0000,0000,,It would automatically cache your data \Nwhenever you tripped invisible checkpoints,
Dialogue: 0,0:00:11.34,0:00:13.14,Default,,0000,0000,0000,,which were dotted throughout each level.
Dialogue: 0,0:00:13.14,0:00:17.70,Default,,0000,0000,0000,,It was added because it was easy to \Nimplement, simple to understand - and,
Dialogue: 0,0:00:17.70,0:00:21.78,Default,,0000,0000,0000,,in truth, because that's how saving \Nworked in pretty much every game.
Dialogue: 0,0:00:21.78,0:00:25.44,Default,,0000,0000,0000,,Design director Gary Napper \Nsaid "like any development team,
Dialogue: 0,0:00:25.44,0:00:28.62,Default,,0000,0000,0000,,we all play a lot of games \Nand each have our favourites.
Dialogue: 0,0:00:28.62,0:00:32.64,Default,,0000,0000,0000,,Often our decisions and choices \Nare coloured by the games we play".
Dialogue: 0,0:00:32.64,0:00:33.66,Default,,0000,0000,0000,,But...
Dialogue: 0,0:00:33.66,0:00:36.78,Default,,0000,0000,0000,,as development went along, \Nthe team started to question
Dialogue: 0,0:00:36.78,0:00:39.78,Default,,0000,0000,0000,,if this save system was actually the right choice.
Dialogue: 0,0:00:39.78,0:00:44.94,Default,,0000,0000,0000,,You see, because players knew that if they died \Nthey'd only lose a couple minutes of progress,
Dialogue: 0,0:00:44.94,0:00:49.26,Default,,0000,0000,0000,,they would just waltz around the space \Nstation without a care in the world.
Dialogue: 0,0:00:49.26,0:00:50.40,Default,,0000,0000,0000,,Not ideal...
Dialogue: 0,0:00:50.40,0:00:51.72,Default,,0000,0000,0000,,in a horror game.
Dialogue: 0,0:00:51.72,0:00:53.40,Default,,0000,0000,0000,,*Alien scream*
Dialogue: 0,0:00:53.40,0:00:56.94,Default,,0000,0000,0000,,So while these checkpoints might \Nhave worked in Call of Duty and
Dialogue: 0,0:00:56.94,0:01:00.60,Default,,0000,0000,0000,,Bioshock - Napper says it was "not \Nthe right approach when making a
Dialogue: 0,0:01:00.60,0:01:05.28,Default,,0000,0000,0000,,game that is designed from its core \Nto terrify and put people on edge".
Dialogue: 0,0:01:05.28,0:01:06.78,Default,,0000,0000,0000,,Because here's the thing.
Dialogue: 0,0:01:06.78,0:01:09.96,Default,,0000,0000,0000,,It's totally fine to take \Ninfluence from other games.
Dialogue: 0,0:01:09.96,0:01:14.82,Default,,0000,0000,0000,,Many designers borrow mechanics from \Ntheir favourite titles - often evolving,
Dialogue: 0,0:01:14.82,0:01:17.52,Default,,0000,0000,0000,,combining, and remixing them into something new.
Dialogue: 0,0:01:17.52,0:01:21.84,Default,,0000,0000,0000,,But: it’s essential to understand \Nwhy those mechanics work in one game,
Dialogue: 0,0:01:21.84,0:01:24.78,Default,,0000,0000,0000,,before copying and pasting them into yours.
Dialogue: 0,0:01:24.78,0:01:30.78,Default,,0000,0000,0000,,How do you do that? Well, I'm Mark \NBrown, and this is Game Maker's Toolkit.
Dialogue: 0,0:01:33.09,0:01:34.20,Default,,0000,0000,0000,,Alright, so...
Dialogue: 0,0:01:34.20,0:01:39.78,Default,,0000,0000,0000,,way way back in 2004, , three game designers \Ngot together and wrote an academic paper,
Dialogue: 0,0:01:39.78,0:01:44.64,Default,,0000,0000,0000,,featuring a framework that would prove to be \Nperfect for analysing the mechanics in games.
Dialogue: 0,0:01:44.64,0:01:48.84,Default,,0000,0000,0000,,It's called MDA, and it \Nbreaks games down into three,
Dialogue: 0,0:01:48.84,0:01:53.40,Default,,0000,0000,0000,,neat sections: mechanics, \Ndynamics, and aesthetics.
Dialogue: 0,0:01:53.40,0:01:58.98,Default,,0000,0000,0000,,Mechanics describes the actual workings \Nof the game: like the rules, the systems,
Dialogue: 0,0:01:58.98,0:02:02.40,Default,,0000,0000,0000,,what the buttons do, and all of \Nthe individual stats and numbers.
Dialogue: 0,0:02:02.40,0:02:06.60,Default,,0000,0000,0000,,For example, one mechanic could be the \Nmaximum amount of ammo the player can
Dialogue: 0,0:02:06.60,0:02:09.42,Default,,0000,0000,0000,,hold - and we could set that number really high.
Dialogue: 0,0:02:10.14,0:02:15.42,Default,,0000,0000,0000,,Then, dynamics is how the player acts and \Nbehaves, in response to those mechanics.
Dialogue: 0,0:02:15.42,0:02:20.22,Default,,0000,0000,0000,,So because the player has tonnes of \Nammo, they may storm into battle,
Dialogue: 0,0:02:20.22,0:02:24.18,Default,,0000,0000,0000,,and shoot wildly in the general \Ndirection of every enemy they spot.
Dialogue: 0,0:02:24.18,0:02:29.28,Default,,0000,0000,0000,,And, finally, aesthetics - not to be \Nconfused with the graphics or the art style.
Dialogue: 0,0:02:29.28,0:02:33.78,Default,,0000,0000,0000,,Here, aesthetics is how the player \Nfeels when acting in that way.
Dialogue: 0,0:02:33.78,0:02:35.82,Default,,0000,0000,0000,,Their emotional response.
Dialogue: 0,0:02:35.82,0:02:38.94,Default,,0000,0000,0000,,So this wild shooting could \Nmake you feel reckless,
Dialogue: 0,0:02:38.94,0:02:42.39,Default,,0000,0000,0000,,powerful, unstoppable - basically, like this.
Dialogue: 0,0:02:42.39,0:02:44.70,Default,,0000,0000,0000,,*Machine gun fire*
Dialogue: 0,0:02:44.70,0:02:50.22,Default,,0000,0000,0000,,To put it another way - mechanics happen in the \Ncode, dynamics happen in the player's actions,
Dialogue: 0,0:02:50.22,0:02:52.98,Default,,0000,0000,0000,,and aesthetics happen in the player's feelings.
Dialogue: 0,0:02:52.98,0:02:57.36,Default,,0000,0000,0000,,Now, unfortunately, game\Ndesigners can't just go inside the player's head
Dialogue: 0,0:02:57.36,0:03:00.30,Default,,0000,0000,0000,,and directly alter their actions or feelings.
Dialogue: 0,0:03:00.30,0:03:04.80,Default,,0000,0000,0000,,But they can change the code -\Nand because MDA describes a casual
Dialogue: 0,0:03:04.80,0:03:10.32,Default,,0000,0000,0000,,relationship, these changes will cascade \Ndown and alter the dynamics and aesthetics.
Dialogue: 0,0:03:10.32,0:03:14.76,Default,,0000,0000,0000,,For example, if we tweak that knob \Nthe other way, and massively limit
Dialogue: 0,0:03:14.76,0:03:18.60,Default,,0000,0000,0000,,the player's ammo stash, that's definitely \Ngoing to change the player's behaviour.
Dialogue: 0,0:03:18.60,0:03:24.18,Default,,0000,0000,0000,,Now, they will act cautiously before heading \Ninto battle, or might not engage enemies at all.
Dialogue: 0,0:03:24.18,0:03:27.12,Default,,0000,0000,0000,,Every shot fired will be done \Nwith careful consideration,
Dialogue: 0,0:03:27.12,0:03:30.54,Default,,0000,0000,0000,,and more time will be spent hunting \Nfor ammo in the environment.
Dialogue: 0,0:03:30.54,0:03:33.84,Default,,0000,0000,0000,,And this will lead to \Ncompletely different aesthetics:
Dialogue: 0,0:03:33.84,0:03:37.20,Default,,0000,0000,0000,,like disempowerment, fear, and caution.
Dialogue: 0,0:03:37.74,0:03:42.84,Default,,0000,0000,0000,,So, this MDA framework takes mechanics - \Nand then puts them into a wider context,
Dialogue: 0,0:03:42.84,0:03:47.46,Default,,0000,0000,0000,,which asks 'how do they make the player \Nact, and how do they make the player feel?'
Dialogue: 0,0:03:47.46,0:03:51.90,Default,,0000,0000,0000,,And we can use these questions to analyse \Nthe mechanics in the games we play.
Dialogue: 0,0:03:51.90,0:03:56.94,Default,,0000,0000,0000,,Like, we could ask 'why do swords \Nbreak in Zelda: Breath of the Wild?'.
Dialogue: 0,0:03:56.94,0:04:03.36,Default,,0000,0000,0000,,Well - how does that change player behaviour? \NMaybe players will rely less on direct attacks,
Dialogue: 0,0:04:03.36,0:04:08.94,Default,,0000,0000,0000,,and so spend more time sneaking past enemies, \Nor finding creative ways to ambush foes.
Dialogue: 0,0:04:08.94,0:04:10.80,Default,,0000,0000,0000,,It will certainly encourage players
Dialogue: 0,0:04:10.80,0:04:14.40,Default,,0000,0000,0000,,to use different weapons - and \Nconstantly seek out new ones.
Dialogue: 0,0:04:14.40,0:04:20.40,Default,,0000,0000,0000,,It can also lead to exciting moments of \Ndrama in the middle of a fight - (so far
Dialogue: 0,0:04:20.40,0:04:24.12,Default,,0000,0000,0000,,I've used dynamics to refer to player \Nactions, but dynamics can also be used
Dialogue: 0,0:04:24.12,0:04:27.36,Default,,0000,0000,0000,,to describe consequences that might \Nbubble out of the game's systems).
Dialogue: 0,0:04:27.36,0:04:32.22,Default,,0000,0000,0000,,So how does that feel? Well, it \Ncould make you feel underpowered,
Dialogue: 0,0:04:32.22,0:04:37.56,Default,,0000,0000,0000,,it could make you feel crafty and creative, and \Nit will likely make you feel like an explorer...
Dialogue: 0,0:04:37.56,0:04:40.62,Default,,0000,0000,0000,,in a world that's decaying, and falling apart.
Dialogue: 0,0:04:40.62,0:04:44.04,Default,,0000,0000,0000,,If there's one hard part of this analysis process,
Dialogue: 0,0:04:44.04,0:04:48.24,Default,,0000,0000,0000,,it can be putting words to the subconscious \Nfeelings that arise when playing games.
Dialogue: 0,0:04:48.24,0:04:53.16,Default,,0000,0000,0000,,We're looking for way more than just "this \Ngame was fun", - we're looking for strong,
Dialogue: 0,0:04:53.16,0:04:57.54,Default,,0000,0000,0000,,emotive feelings like, this game \Nmade me feel powerful, creative,
Dialogue: 0,0:04:57.54,0:05:03.66,Default,,0000,0000,0000,,sneaky, tense, intimidated, curious, \Ndeceitful, cooperative, flustered.
Dialogue: 0,0:05:04.74,0:05:10.56,Default,,0000,0000,0000,,So MDA lets us see game mechanics as powerful \Nvessels for delivering emotions to players.
Dialogue: 0,0:05:10.56,0:05:15.12,Default,,0000,0000,0000,,And so when borrowing mechanics from \Nother games - or making entirely
Dialogue: 0,0:05:15.12,0:05:19.08,Default,,0000,0000,0000,,new ones - you can pick ones with \Nassociated dynamics and aesthetics
Dialogue: 0,0:05:19.08,0:05:23.28,Default,,0000,0000,0000,,that will compliment the rest of your \Ndesign - and avoid ones that will clash.
Dialogue: 0,0:05:23.28,0:05:28.62,Default,,0000,0000,0000,,For instance, designer Jenova Chen says that \Nthe game Flower once had a level-up system,
Dialogue: 0,0:05:28.62,0:05:31.44,Default,,0000,0000,0000,,spells you could cast, resource management,
Dialogue: 0,0:05:31.44,0:05:35.70,Default,,0000,0000,0000,,and time limitations - expected \Nfeatures of other video games.
Dialogue: 0,0:05:35.70,0:05:37.14,Default,,0000,0000,0000,,But they all had to go,
Dialogue: 0,0:05:37.14,0:05:42.06,Default,,0000,0000,0000,,because they went against the intended \Nemotions of relaxation, calm, and peace.
Dialogue: 0,0:05:42.06,0:05:46.20,Default,,0000,0000,0000,,Chen says "we’ve played so many games \Ngrowing up these bad habits form.
Dialogue: 0,0:05:46.20,0:05:48.96,Default,,0000,0000,0000,,A lot of the time we like to make things very fun,
Dialogue: 0,0:05:48.96,0:05:52.32,Default,,0000,0000,0000,,but fun doesn’t always help the \Nemotion you want to deliver".
Dialogue: 0,0:05:52.32,0:05:55.62,Default,,0000,0000,0000,,That's why it's useful to truly understand your
Dialogue: 0,0:05:55.62,0:06:00.60,Default,,0000,0000,0000,,game's vision - the overarching feeling \Nor experience you want to give the player.
Dialogue: 0,0:06:00.60,0:06:05.76,Default,,0000,0000,0000,,Because if you know you want to make the player \Nfeel, say, scared, then you know you'll want
Dialogue: 0,0:06:05.76,0:06:10.98,Default,,0000,0000,0000,,to pick mechanics that induce feelings of \Nfear, dread, isolation, and disempowerment.
Dialogue: 0,0:06:10.98,0:06:15.78,Default,,0000,0000,0000,,That vision could be a single \Nstatement: Subnautica was based
Dialogue: 0,0:06:15.78,0:06:20.34,Default,,0000,0000,0000,,around the phrase "thrill of the unknown", \Nand every mechanic had to suit this idea.
Dialogue: 0,0:06:20.34,0:06:25.32,Default,,0000,0000,0000,,Resident Evil Village was built under the \Nbanner of "struggle to survive" - and so
Dialogue: 0,0:06:25.32,0:06:30.96,Default,,0000,0000,0000,,when playtesters hated the game's messy combat, \Nthe designers could use that phrase as, like,
Dialogue: 0,0:06:30.96,0:06:34.98,Default,,0000,0000,0000,,a lodestar to rebalance and \Nrethink the game's mechanics.
Dialogue: 0,0:06:34.98,0:06:38.70,Default,,0000,0000,0000,,The vision could also be a fantasy \Nthat you're trying to deliver.
Dialogue: 0,0:06:38.70,0:06:43.98,Default,,0000,0000,0000,,Perhaps you want the player to feel like \NBatman, or an assassin, or a world leader.
Dialogue: 0,0:06:43.98,0:06:47.52,Default,,0000,0000,0000,,It could be a feeling - like how \NFlower tried to make you feel relaxed.
Dialogue: 0,0:06:47.52,0:06:52.68,Default,,0000,0000,0000,,Or it could be a specific experience \N- when making FTL, the devs said their
Dialogue: 0,0:06:52.68,0:06:56.88,Default,,0000,0000,0000,,starting point was "we wanted to recreate \Nthe atmosphere of commanding a starship".
Dialogue: 0,0:06:56.88,0:07:00.84,Default,,0000,0000,0000,,With a strong vision in mind, \Nit becomes easier to evaluate
Dialogue: 0,0:07:00.84,0:07:03.90,Default,,0000,0000,0000,,whether game mechanics are the right \Nchoice for the game you're making.
Dialogue: 0,0:07:03.90,0:07:06.96,Default,,0000,0000,0000,,And, of course, it goes beyond game mechanics.
Dialogue: 0,0:07:06.96,0:07:13.32,Default,,0000,0000,0000,,All the other elements in the game, like \Nvisual style, music, animation, story,
Dialogue: 0,0:07:13.32,0:07:18.06,Default,,0000,0000,0000,,colour, camera framing, \Nand so on - those all create aesthetics too.
Dialogue: 0,0:07:18.06,0:07:19.74,Default,,0000,0000,0000,,(Just, without the dynamics bit).
Dialogue: 0,0:07:19.74,0:07:24.48,Default,,0000,0000,0000,,For example, Dead Space composer Jason \NGraves said that EA originally requested
Dialogue: 0,0:07:24.48,0:07:28.80,Default,,0000,0000,0000,,a predictable sci-fi soundtrack for the \Ngame - full of electronics and drums.
Dialogue: 0,0:07:28.80,0:07:32.22,Default,,0000,0000,0000,,"After we did that first little \Npiece of gameplay," says Graves,
Dialogue: 0,0:07:32.22,0:07:34.80,Default,,0000,0000,0000,,"EA came back and said that \Nit wasn’t scary enough.
Dialogue: 0,0:07:34.80,0:07:39.48,Default,,0000,0000,0000,,The music made players feel heroic, \Nand they wanted them [to feel] scared."
Dialogue: 0,0:07:39.48,0:07:43.20,Default,,0000,0000,0000,,And ultimately I think games are most clear and
Dialogue: 0,0:07:43.20,0:07:46.92,Default,,0000,0000,0000,,coherent when absolutely everything \Nis pointing in the same direction.
Dialogue: 0,0:07:46.92,0:07:52.20,Default,,0000,0000,0000,,Jenova Chen says "all the elements have to \Nsing the same notes to make the impact strong".
Dialogue: 0,0:07:52.20,0:07:57.18,Default,,0000,0000,0000,,Perhaps the best example of this \N- for me - is DOOM, from 2016.
Dialogue: 0,0:07:57.18,0:08:02.16,Default,,0000,0000,0000,,It also had a strong vision statement \N- in this case, "push forward combat".
Dialogue: 0,0:08:02.16,0:08:05.70,Default,,0000,0000,0000,,And pretty much everything in \Nthe game supports this statement.
Dialogue: 0,0:08:05.70,0:08:09.54,Default,,0000,0000,0000,,You can see it in the game mechanics \N- from the rapid movement speed,
Dialogue: 0,0:08:09.54,0:08:14.16,Default,,0000,0000,0000,,to the way you pounce on enemies to get health, \Nto the way certain demons are told to run away
Dialogue: 0,0:08:14.16,0:08:18.84,Default,,0000,0000,0000,,from you - every feature pushes you to race \Ntowards enemies like an unstoppable predator.
Dialogue: 0,0:08:18.84,0:08:22.74,Default,,0000,0000,0000,,And that's supported by the non-game \Nelements, like the heavy metal soundtrack,
Dialogue: 0,0:08:22.74,0:08:27.42,Default,,0000,0000,0000,,the violent animations, and the Doom \NSlayer's visual design and personality.
Dialogue: 0,0:08:27.42,0:08:32.46,Default,,0000,0000,0000,,Of course, none of this as easy as \NI'm making it sound - and there are
Dialogue: 0,0:08:32.46,0:08:35.58,Default,,0000,0000,0000,,so many other considerations \Nto make when designing a game.
Dialogue: 0,0:08:35.58,0:08:39.42,Default,,0000,0000,0000,,For starters, a game isn't just one mechanic - but
Dialogue: 0,0:08:39.42,0:08:43.08,Default,,0000,0000,0000,,hundreds, perhaps thousands if \Nyou want to go super granular.
Dialogue: 0,0:08:43.08,0:08:45.72,Default,,0000,0000,0000,,My interactive video essay, Platformer Toolkit,
Dialogue: 0,0:08:45.72,0:08:50.70,Default,,0000,0000,0000,,shows how a single character can be defined by \Ndozens of distinct stats - which could change
Dialogue: 0,0:08:50.70,0:08:54.48,Default,,0000,0000,0000,,the game from feeling like Inside, \Nto feeling like Super Meat Boy.
Dialogue: 0,0:08:54.48,0:08:59.22,Default,,0000,0000,0000,,And these mechanics interact, overlap, \Nand can even undermine each other.
Dialogue: 0,0:08:59.22,0:09:02.94,Default,,0000,0000,0000,,In The Callisto Protocol, \Nyou have very limited ammo,
Dialogue: 0,0:09:02.94,0:09:06.36,Default,,0000,0000,0000,,which is intended to make the player \Nfeel underpowered and fearful.
Dialogue: 0,0:09:06.36,0:09:10.56,Default,,0000,0000,0000,,Buuut, you also have a one-button, \Ninsta-kill stealth attack with a
Dialogue: 0,0:09:10.56,0:09:14.04,Default,,0000,0000,0000,,slick animation - which can make \Nyou feel powerful and unstoppable.
Dialogue: 0,0:09:14.04,0:09:20.04,Default,,0000,0000,0000,,Also, while you can make best guesses about how \Na player will act in response to a mechanic,
Dialogue: 0,0:09:20.04,0:09:23.52,Default,,0000,0000,0000,,you can't know for sure until \Nyou do a lot of play-testing.
Dialogue: 0,0:09:23.52,0:09:29.34,Default,,0000,0000,0000,,Players might misunderstand or ignore a mechanic \N- or do something completely unexpected.
Dialogue: 0,0:09:29.34,0:09:34.80,Default,,0000,0000,0000,,Sometimes that's a fun, emergent behaviour \N- like the flying cars in Rocket League,
Dialogue: 0,0:09:34.80,0:09:38.52,Default,,0000,0000,0000,,which suited the vision just fine, \Nand so could be kept in the game.
Dialogue: 0,0:09:38.52,0:09:43.80,Default,,0000,0000,0000,,But at other times it can create degenerate \Nstrategies that undermine your emotional goals.
Dialogue: 0,0:09:43.80,0:09:47.58,Default,,0000,0000,0000,,Going back to Alien: Isolation, the \Nautomatic checkpoints meant that if
Dialogue: 0,0:09:47.58,0:09:51.36,Default,,0000,0000,0000,,you got jumped by the Xenomorph, a \Nsmart strategy was to just beeline
Dialogue: 0,0:09:51.36,0:09:54.90,Default,,0000,0000,0000,,it towards to the next checkpoint, \Nget killed, and respawn in safety.
Dialogue: 0,0:09:54.90,0:09:59.94,Default,,0000,0000,0000,,Furthermore, sometimes you want to have different \Nemotions, at different times in the game.
Dialogue: 0,0:09:59.94,0:10:02.46,Default,,0000,0000,0000,,And so will need to change \Nthe mechanics accordingly.
Dialogue: 0,0:10:02.46,0:10:07.32,Default,,0000,0000,0000,,If the story depicts a character who \Nstarts out weak and naive - but ends the
Dialogue: 0,0:10:07.32,0:10:12.36,Default,,0000,0000,0000,,game feeling competent and powerful, how could \Nyou reflect that growth in the game mechanics?
Dialogue: 0,0:10:12.96,0:10:18.72,Default,,0000,0000,0000,,And finally - and perhaps most importantly \N- aesthetics are, ultimately, subjective.
Dialogue: 0,0:10:18.72,0:10:24.30,Default,,0000,0000,0000,,A scoring system might make one player feel \Ncompetitive - and eager to replay every level.
Dialogue: 0,0:10:24.30,0:10:29.28,Default,,0000,0000,0000,,But it could make another player feel \Njudged - and eager to get a Steam refund.
Dialogue: 0,0:10:29.28,0:10:35.52,Default,,0000,0000,0000,,Time pressure might feel fun and exhilarating \Nto one person - but anxiety-inducing to another.
Dialogue: 0,0:10:35.52,0:10:38.94,Default,,0000,0000,0000,,And this is often related to skill and ability.
Dialogue: 0,0:10:38.94,0:10:43.62,Default,,0000,0000,0000,,Take the new Tango game, Hi-Fi Rush: \Nit clearly wants you to feel like a
Dialogue: 0,0:10:43.62,0:10:48.78,Default,,0000,0000,0000,,rockstar as you brawl along to the beat - \Nbut as someone with zero musical ability,
Dialogue: 0,0:10:48.78,0:10:51.06,Default,,0000,0000,0000,,I just felt like a bumbling idiot.
Dialogue: 0,0:10:51.06,0:10:57.00,Default,,0000,0000,0000,,At the end, I’ll recommend a video about \Nbalancing a fantasy with differing player skills.
Dialogue: 0,0:10:58.08,0:11:03.84,Default,,0000,0000,0000,,So, going back to Alien: Isolation - the team \Neventually tried a different save system.
Dialogue: 0,0:11:03.84,0:11:05.94,Default,,0000,0000,0000,,Something closer to older games.
Dialogue: 0,0:11:05.94,0:11:11.34,Default,,0000,0000,0000,,Now the game features a small number of save \Npoints that you have to operate manually.
Dialogue: 0,0:11:11.34,0:11:15.96,Default,,0000,0000,0000,,And - to make things worse - it takes \Na while for the save point to turn on,
Dialogue: 0,0:11:15.96,0:11:17.76,Default,,0000,0000,0000,,and for your game to actually save...
Dialogue: 0,0:11:17.76,0:11:21.66,Default,,0000,0000,0000,,giving the alien a chance \Nto sneak up and kill you.
Dialogue: 0,0:11:21.66,0:11:25.86,Default,,0000,0000,0000,,And this new mechanic changed \Neverything - completely altering
Dialogue: 0,0:11:25.86,0:11:27.90,Default,,0000,0000,0000,,the player's behaviours and emotions.
Dialogue: 0,0:11:27.90,0:11:31.02,Default,,0000,0000,0000,,"We were afraid," says Napper.
Dialogue: 0,0:11:31.02,0:11:35.22,Default,,0000,0000,0000,,"If we didn’t make it to the save point and \Nsuccessfully save, we would lose our progress.
Dialogue: 0,0:11:35.22,0:11:37.02,Default,,0000,0000,0000,,Saving became tense.
Dialogue: 0,0:11:37.02,0:11:41.04,Default,,0000,0000,0000,,Looking for a save became tense. The simple act of
Dialogue: 0,0:11:41.04,0:11:46.14,Default,,0000,0000,0000,,saving had become supportive to the game's \Ndriving factors of terror and isolation".
Dialogue: 0,0:11:46.14,0:11:51.60,Default,,0000,0000,0000,,So - it's fine to borrow game mechanics - \Nbut you need to understand why they work.
Dialogue: 0,0:11:51.60,0:11:56.52,Default,,0000,0000,0000,,MDA is a powerful tool for this because \Nit helps us predict how a game mechanic
Dialogue: 0,0:11:56.52,0:11:59.28,Default,,0000,0000,0000,,will make players act, and make players feel.
Dialogue: 0,0:11:59.28,0:12:03.30,Default,,0000,0000,0000,,If those feelings compliment the \Nvision for your game - then awesome.
Dialogue: 0,0:12:03.30,0:12:06.96,Default,,0000,0000,0000,,If they clash, then they probably need to go.
Dialogue: 0,0:12:06.96,0:12:13.26,Default,,0000,0000,0000,,Because, when it comes to picking, pinching, or \Nproducing game mechanics - you should listen to
Dialogue: 0,0:12:13.26,0:12:18.72,Default,,0000,0000,0000,,Shovel Knight studio Yacht Club Games, who says \N"it depends on the game you are trying to create,
Dialogue: 0,0:12:18.72,0:12:24.06,Default,,0000,0000,0000,,the emotions you’re trying to evoke, and the \Nexperience you want your players to have".
Dialogue: 0,0:12:26.46,0:12:31.02,Default,,0000,0000,0000,,Hey, thanks so much for watching! This \Nvideo was originally given as a lecture
Dialogue: 0,0:12:31.02,0:12:35.16,Default,,0000,0000,0000,,at universities in London, \NBreda, Boden, and Skellefteå.
Dialogue: 0,0:12:35.16,0:12:36.72,Default,,0000,0000,0000,,If you'd like me to visit your school,
Dialogue: 0,0:12:36.72,0:12:40.38,Default,,0000,0000,0000,,please get in touch - you can find \Nmy email in YouTube's about section.
Dialogue: 0,0:12:40.38,0:12:46.62,Default,,0000,0000,0000,,I'm also going to GDC next month, so if you \Nsee me - say hi! For now, though, click here
Dialogue: 0,0:12:46.62,0:12:52.08,Default,,0000,0000,0000,,to watch that video about delivering a specific \Nfantasy, to players of different abilities.