[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:01.20,0:00:06.56,Default,,0000,0000,0000,,Okay, so video game stories are unique \Nbecause you get to make decisions.
Dialogue: 0,0:00:06.56,0:00:09.44,Default,,0000,0000,0000,,Like, whether or not you \Nshould mock this preacher.
Dialogue: 0,0:00:09.44,0:00:13.36,Default,,0000,0000,0000,,GERALT: “How many people’s lives have \Nyou saved? From bruxae? From leshens?”
Dialogue: 0,0:00:13.36,0:00:17.92,Default,,0000,0000,0000,,PREACHER: “That has no bearing—“\NGERALT: “Asked you a question. How many?”
Dialogue: 0,0:00:18.48,0:00:21.36,Default,,0000,0000,0000,,Those choices might cause an immediate reaction…
Dialogue: 0,0:00:21.36,0:00:24.80,Default,,0000,0000,0000,,GERALT: “There’s something to think about, folks”.
Dialogue: 0,0:00:24.80,0:00:26.80,Default,,0000,0000,0000,,Or, in some cases, the game might
Dialogue: 0,0:00:26.80,0:00:30.88,Default,,0000,0000,0000,,remember your decision and issue some \Nkind of consequence later down the line.
Dialogue: 0,0:00:30.88,0:00:35.76,Default,,0000,0000,0000,,GUARD 1: “Geralt of Rivia. Witcher”.\NGUARD 2: “You stand accused of offending
Dialogue: 0,0:00:35.76,0:00:40.16,Default,,0000,0000,0000,,religious sentiment. We’ve orders \Nto take you in for interrogation”
Dialogue: 0,0:00:40.16,0:00:44.80,Default,,0000,0000,0000,,Now, these sorts of choices have \Nhistorically been associated with RPGs,
Dialogue: 0,0:00:44.80,0:00:49.36,Default,,0000,0000,0000,,interactive fiction, and… whatever we’re \Ncalling these Telltale-style games.
Dialogue: 0,0:00:49.36,0:00:52.88,Default,,0000,0000,0000,,And I think that’s partly because \Nof their lineage that stretches
Dialogue: 0,0:00:52.88,0:00:57.20,Default,,0000,0000,0000,,back to improvisational tabletop games, and \Nbranching Choose Your Own Adventure books.
Dialogue: 0,0:00:57.20,0:01:01.76,Default,,0000,0000,0000,,But I think it’s also just an interface thing. \NThese are games where your primary mode of
Dialogue: 0,0:01:01.76,0:01:07.20,Default,,0000,0000,0000,,interaction is to pick options from a menu - \Nlike a dialogue tree or a list of next moves.
Dialogue: 0,0:01:07.76,0:01:12.08,Default,,0000,0000,0000,,So making choices about the \Nnarrative is a perfectly natural fit.
Dialogue: 0,0:01:12.08,0:01:17.68,Default,,0000,0000,0000,,But what if your game doesn’t have that? \NWhat if it’s a shooter, or survival horror,
Dialogue: 0,0:01:17.68,0:01:22.32,Default,,0000,0000,0000,,or an action game? How do you let players \Nmake choices in those sorts of games?
Dialogue: 0,0:01:22.96,0:01:28.00,Default,,0000,0000,0000,,Well, one way to do it can be seen in \NBioshock. This is a first-person shooter,
Dialogue: 0,0:01:28.00,0:01:32.32,Default,,0000,0000,0000,,but it features an infamous moral choice: \Neach time you meet a Little Sister,
Dialogue: 0,0:01:32.32,0:01:37.28,Default,,0000,0000,0000,,you need to decide whether to save her - or \Nharvest her lifeblood for magic super-juice.
Dialogue: 0,0:01:37.84,0:01:42.88,Default,,0000,0000,0000,,And, in these moments, the game slows \Ndown, takes away your normal controls,
Dialogue: 0,0:01:42.88,0:01:48.96,Default,,0000,0000,0000,,and just slaps a big ol’ pair of button prompts \Non screen. Press X to harvest. Press Y to rescue.
Dialogue: 0,0:01:48.96,0:01:52.64,Default,,0000,0000,0000,,LITTLE SISTER: “No, no! No no!”
Dialogue: 0,0:01:52.64,0:01:56.80,Default,,0000,0000,0000,,So that’s one way to do it. Just kinda \Nborrow the interaction systems of these
Dialogue: 0,0:01:56.80,0:02:01.44,Default,,0000,0000,0000,,more suitable genres - whether that’s \Nbutton prompts. A list of options.
Dialogue: 0,0:02:01.44,0:02:05.84,Default,,0000,0000,0000,,Or a dialogue wheel. I’m going \Nto call these “explicit choices”.
Dialogue: 0,0:02:06.88,0:02:09.28,Default,,0000,0000,0000,,But there’s actually another way to do it.
Dialogue: 0,0:02:09.28,0:02:13.28,Default,,0000,0000,0000,,Let’s look at another shooter - \Nthis time, Spec Ops: The Line.
Dialogue: 0,0:02:13.28,0:02:16.72,Default,,0000,0000,0000,,Here, we come across two men, \Nstrung up by their hands - with
Dialogue: 0,0:02:16.72,0:02:20.64,Default,,0000,0000,0000,,snipers aiming at their bodies. \NAnd you have to make a decision.
Dialogue: 0,0:02:20.64,0:02:23.28,Default,,0000,0000,0000,,WALKER: “I get it, we’re meant to choose”
Dialogue: 0,0:02:23.28,0:02:27.28,Default,,0000,0000,0000,,But this time, there are \Nno button prompts and there's no menu.
Dialogue: 0,0:02:27.28,0:02:32.56,Default,,0000,0000,0000,,Instead, you decide which person Walker will \Nshoot… by literally, just shooting them.
Dialogue: 0,0:02:32.56,0:02:33.28,Default,,0000,0000,0000,,*Gunfire*
Dialogue: 0,0:02:33.28,0:02:38.48,Default,,0000,0000,0000,,So that’s a very different way to do it. Instead \Nof leaning on the systems of a different genre,
Dialogue: 0,0:02:38.48,0:02:43.28,Default,,0000,0000,0000,,Spec Ops lets players express their intent by \Nusing the basic tools they use elsewhere in
Dialogue: 0,0:02:43.28,0:02:48.00,Default,,0000,0000,0000,,the game. This is a game about shooting \N- and so you make choices by shooting.
Dialogue: 0,0:02:48.00,0:02:51.36,Default,,0000,0000,0000,,I call this, you guessed \Nit, an, “invisible choice”.
Dialogue: 0,0:02:52.08,0:02:57.92,Default,,0000,0000,0000,,And I think these, rare beasts have some \Nincredibly exciting advantages. And so, in this
Dialogue: 0,0:02:57.92,0:03:03.84,Default,,0000,0000,0000,,video I’m going to share four key reasons why you \Nshould think about making your choices… disappear.
Dialogue: 0,0:03:06.16,0:03:11.12,Default,,0000,0000,0000,,Okay. Advantage number one - invisible \Nchoices can make the options ambiguous.
Dialogue: 0,0:03:11.68,0:03:16.80,Default,,0000,0000,0000,,So in Bioshock Infinite, you’re told to \Nthrow a ball at an interracial couple. But
Dialogue: 0,0:03:16.80,0:03:20.72,Default,,0000,0000,0000,,did you know you can actually throw it at the \Nracist announcer inste… oh, right, it says it
Dialogue: 0,0:03:20.72,0:03:24.56,Default,,0000,0000,0000,,right there on the screen. That kinda spoiled \Nit, didn’t it? That’s what happens when your
Dialogue: 0,0:03:24.56,0:03:28.64,Default,,0000,0000,0000,,input system demands you list every \Npossible action the player can take.
Dialogue: 0,0:03:28.64,0:03:33.36,Default,,0000,0000,0000,,Back to that choice in Spec Ops, though, and \Nwhile the guy on the radio asks you to shoot
Dialogue: 0,0:03:33.36,0:03:37.92,Default,,0000,0000,0000,,one of the two men… you can also decide to \Nshoot the ropes that they’re being hung with.
Dialogue: 0,0:03:37.92,0:03:42.40,Default,,0000,0000,0000,,Or refuse to make a choice at all. \NOr fire at the snipers instead.
Dialogue: 0,0:03:42.40,0:03:48.16,Default,,0000,0000,0000,,Because the choice is invisible, the game can \Nhide additional options that are only found if
Dialogue: 0,0:03:48.16,0:03:52.88,Default,,0000,0000,0000,,enterprising players really think about the \Nsituation and the tools at their disposal.
Dialogue: 0,0:03:52.88,0:03:57.04,Default,,0000,0000,0000,,Spec Ops is actually full of these things. \NLater, an angry mob of civilians descends
Dialogue: 0,0:03:57.04,0:04:01.36,Default,,0000,0000,0000,,on Walker and you’re encouraged to shoot \Nthem - but you can also fire into the air,
Dialogue: 0,0:04:01.36,0:04:04.96,Default,,0000,0000,0000,,or just do a non-lethal melee \Nattack to diffuse the situation.
Dialogue: 0,0:04:04.96,0:04:10.08,Default,,0000,0000,0000,,There’s also a memorable one in Far Cry 4 - \NPagan Min asks you to wait for his return,
Dialogue: 0,0:04:10.08,0:04:12.48,Default,,0000,0000,0000,,giving you a chance to escape from his fortress.
Dialogue: 0,0:04:12.48,0:04:16.88,Default,,0000,0000,0000,,But if you actually just wait for his \Nreturn, you’ll unlock a secret ending.
Dialogue: 0,0:04:16.88,0:04:21.20,Default,,0000,0000,0000,,These hidden options can make players \Nfeel smart. And it makes the game feel
Dialogue: 0,0:04:21.20,0:04:25.68,Default,,0000,0000,0000,,less like a rigid sequence of choices - and \Nmore like an organic and believable world.
Dialogue: 0,0:04:27.12,0:04:31.36,Default,,0000,0000,0000,,Advantage two. The choices don’t have to be equal.
Dialogue: 0,0:04:31.36,0:04:37.04,Default,,0000,0000,0000,,So back to Bioshock for a second - when it \Ncomes to rescuing or harvesting a Little Sister,
Dialogue: 0,0:04:37.04,0:04:40.96,Default,,0000,0000,0000,,the choice is equal. I mean, sure, \Nthe consequences are different.
Dialogue: 0,0:04:40.96,0:04:46.24,Default,,0000,0000,0000,,And one might make you feel bad. But the \Nphysical act of making the choice is identical:
Dialogue: 0,0:04:46.24,0:04:49.04,Default,,0000,0000,0000,,press one button on your controller, or the other.
Dialogue: 0,0:04:50.24,0:04:54.80,Default,,0000,0000,0000,,But then consider a game like Undertale. \NHere, you can choose whether to kill all the
Dialogue: 0,0:04:54.80,0:04:59.36,Default,,0000,0000,0000,,monsters and bosses in the game - or \Nspare them. But it’s far from equal,
Dialogue: 0,0:04:59.36,0:05:04.72,Default,,0000,0000,0000,,and it’s - usually - a lot harder to save the \Ncreatures than it is to simply wipe them out.
Dialogue: 0,0:05:04.72,0:05:08.40,Default,,0000,0000,0000,,So that means you need to put in \Neffort if you want the better outcome.
Dialogue: 0,0:05:08.40,0:05:12.56,Default,,0000,0000,0000,,And you might decide to make a certain choice… \Nsimply because it would be too difficult,
Dialogue: 0,0:05:12.56,0:05:15.68,Default,,0000,0000,0000,,or cost too many resources, to do the other thing.
Dialogue: 0,0:05:16.32,0:05:21.84,Default,,0000,0000,0000,,Like, there’s a bit in Deus Ex: Human Revolution \Nwhere your pilot Faridah is pinned down by enemies
Dialogue: 0,0:05:21.84,0:05:27.28,Default,,0000,0000,0000,,and it’s possible to save her - as long as you are \Nable to defeat a bunch of baddies in record time.
Dialogue: 0,0:05:27.28,0:05:31.92,Default,,0000,0000,0000,,It’s not a moral choice whether she lives \Nor dies - it’s a test of your skill.
Dialogue: 0,0:05:31.92,0:05:36.40,Default,,0000,0000,0000,,Also, picking immoral and selfish choices \Nfrom a menu can make you feel pretty
Dialogue: 0,0:05:36.40,0:05:41.12,Default,,0000,0000,0000,,icky - but it’s even worse when you have to \Nphysically carry out those actions yourself.
Dialogue: 0,0:05:41.12,0:05:47.28,Default,,0000,0000,0000,,When you slowly, manually, personally steal \Nfrom this elderly couple in This War of Mine…
Dialogue: 0,0:05:47.28,0:05:52.16,Default,,0000,0000,0000,,it makes you, the player, feel even \Nmore complicit in these awful actions.
Dialogue: 0,0:05:53.28,0:05:58.32,Default,,0000,0000,0000,,Okay! That was a bummer. Uh, \Nadvantage three! Fine-grain choices.
Dialogue: 0,0:05:59.04,0:06:04.56,Default,,0000,0000,0000,,So, when we think about more explicit choices, \Nwe usually think about quite significant decision
Dialogue: 0,0:06:04.56,0:06:10.00,Default,,0000,0000,0000,,points. Picking between the lives of two \Ncharacters. Or the fate of an entire town.
Dialogue: 0,0:06:10.00,0:06:11.84,Default,,0000,0000,0000,,Or, uh, what to have for breakfast.
Dialogue: 0,0:06:11.84,0:06:16.88,Default,,0000,0000,0000,,But when a game is tracking invisible choices, \Nit can build up a massive, and highly detailed
Dialogue: 0,0:06:16.88,0:06:22.56,Default,,0000,0000,0000,,databank of everything the player is doing - and \Nuse all of that to shape the rest of the game.
Dialogue: 0,0:06:23.20,0:06:26.96,Default,,0000,0000,0000,,This can lead to a game feeling \Nvery personalised - like how the
Dialogue: 0,0:06:26.96,0:06:31.52,Default,,0000,0000,0000,,Orks in Shadow of War can recall the \Nprecise nature of your previous run-in.
Dialogue: 0,0:06:31.52,0:06:36.24,Default,,0000,0000,0000,,Or how the characters in Hades discuss \Nthe exact details of your most recent run.
Dialogue: 0,0:06:36.24,0:06:39.36,Default,,0000,0000,0000,,HYPNOS: “Daw, one of those Wretched Louts \Njust killed you dead that last time,
Dialogue: 0,0:06:39.36,0:06:43.92,Default,,0000,0000,0000,,those mean old slappy guys? Maybe try \Nkilling them beforehand, I don’t know!”
Dialogue: 0,0:06:43.92,0:06:48.40,Default,,0000,0000,0000,,It means the game can comment on tiny \Nthings like where you’ve been - which
Dialogue: 0,0:06:48.40,0:06:53.04,Default,,0000,0000,0000,,is why JC Denton gets chewed out for \Nentering the women’s bathroom in Deus Ex.
Dialogue: 0,0:06:53.04,0:06:58.08,Default,,0000,0000,0000,,Or how long you take to do something - waste \Ntoo much time before rescuing your pals in
Dialogue: 0,0:06:58.08,0:07:03.36,Default,,0000,0000,0000,,Mass Effect 2, and you’ll find the Normandy \Ncrew has been reduced to a gooey grey paste.
Dialogue: 0,0:07:03.36,0:07:08.64,Default,,0000,0000,0000,,This makes you think about the effects of every \Naction you perform - and not just the big,
Dialogue: 0,0:07:08.64,0:07:14.40,Default,,0000,0000,0000,,obvious choices. So, in Dishonored, for example, \Nevery time you kill an enemy you’re adding to the
Dialogue: 0,0:07:14.40,0:07:19.20,Default,,0000,0000,0000,,chaos meter - which can change the outcome of \Nthe narrative, shift how characters see you,
Dialogue: 0,0:07:19.20,0:07:24.16,Default,,0000,0000,0000,,and add more rats to the world. And so because \Nevery combat encounter has the opportunity
Dialogue: 0,0:07:24.16,0:07:28.72,Default,,0000,0000,0000,,to change the future, you end up playing \Nin a more deliberate and thoughtful way.
Dialogue: 0,0:07:28.72,0:07:32.72,Default,,0000,0000,0000,,Same goes for Metal Gear Solid V, and \Nhow the enemies adapt to your play style
Dialogue: 0,0:07:32.72,0:07:36.00,Default,,0000,0000,0000,,by popping on helmets or \Ninstalling more floodlights.
Dialogue: 0,0:07:37.12,0:07:41.68,Default,,0000,0000,0000,,And finally, advantage four. Surprising outcomes.
Dialogue: 0,0:07:41.68,0:07:46.32,Default,,0000,0000,0000,,One of the biggest problems with explicit choices \Nis that they make it really obvious that you’re
Dialogue: 0,0:07:46.32,0:07:50.50,Default,,0000,0000,0000,,making a decision.\NAnd just in case it wasn’t completely obvious,
Dialogue: 0,0:07:50.50,0:07:53.44,Default,,0000,0000,0000,,let’s put a notification on screen to back that up.
Dialogue: 0,0:07:53.44,0:07:58.24,Default,,0000,0000,0000,,So, it’s pretty hard to surprise players \Nwith the consequences of their decisions.
Dialogue: 0,0:07:58.24,0:08:03.44,Default,,0000,0000,0000,,But with invisible choices, the game \Ncan secretly and silently track your
Dialogue: 0,0:08:03.44,0:08:08.72,Default,,0000,0000,0000,,actions without you ever realising it - and then \Nsurprise you with an outcome later down the line.
Dialogue: 0,0:08:09.28,0:08:14.08,Default,,0000,0000,0000,,Like, in Metal Gear Solid, when you encounter \Nthe mind-reading weirdo, Psycho Mantis.
Dialogue: 0,0:08:14.08,0:08:20.80,Default,,0000,0000,0000,,PSYCHO-MANTIS: “You are a very methodical man. The \Ntype who always kicks his tyres before he leaves.
Dialogue: 0,0:08:21.52,0:08:25.52,Default,,0000,0000,0000,,And yet you’re rather ineffective in battle.”
Dialogue: 0,0:08:25.52,0:08:30.64,Default,,0000,0000,0000,,What’s actually happening here is that all along, \Nthe game has been secretly tracking things like
Dialogue: 0,0:08:30.64,0:08:36.32,Default,,0000,0000,0000,,how often you save, how many traps you’ve sprung, \Nand even the contents of your PS1 memory card.
Dialogue: 0,0:08:36.32,0:08:41.44,Default,,0000,0000,0000,,And then Psycho-Mantis can give the appropriate \Nvoice line. It’s a typical Kojima party trick,
Dialogue: 0,0:08:41.44,0:08:46.08,Default,,0000,0000,0000,,but a neat example of how invisible \Nchoices can surprise the player.
Dialogue: 0,0:08:46.08,0:08:48.80,Default,,0000,0000,0000,,Other examples might include \Nsaving Biorr from this cell,
Dialogue: 0,0:08:48.80,0:08:52.72,Default,,0000,0000,0000,,only for him to come to your aid in \Nthe fight against Penetrator. Or your
Dialogue: 0,0:08:52.72,0:08:56.40,Default,,0000,0000,0000,,actions at the start of Chrono Trigger \Ngetting brought up in the game’s trial.
Dialogue: 0,0:08:57.12,0:09:01.84,Default,,0000,0000,0000,,The other thing is - because explicit \Nchoices are given such prominence,
Dialogue: 0,0:09:01.84,0:09:06.88,Default,,0000,0000,0000,,I think players quite rightly expect for them \Nto have equally significant consequences for the
Dialogue: 0,0:09:06.88,0:09:14.08,Default,,0000,0000,0000,,storyline. And to be disappointed when, typically, \Nthey don’t. But when choices are invisible,
Dialogue: 0,0:09:14.08,0:09:18.64,Default,,0000,0000,0000,,even tiny consequences are impressive \Nand memorable by comparison.
Dialogue: 0,0:09:19.68,0:09:23.84,Default,,0000,0000,0000,,Now, if I’m going to be listing advantages… \NI should probably also touch on the
Dialogue: 0,0:09:23.84,0:09:26.24,Default,,0000,0000,0000,,challenges of implementing invisible choices.
Dialogue: 0,0:09:26.80,0:09:31.84,Default,,0000,0000,0000,,For one, it can be hard to honour every choice the \Nplayer might make. There’s a scene in Firewatch
Dialogue: 0,0:09:31.84,0:09:36.24,Default,,0000,0000,0000,,where you have to deal with some skinny-dipping \Nteenagers and the game will react to loads of
Dialogue: 0,0:09:36.24,0:09:40.72,Default,,0000,0000,0000,,different actions - including tossing their \Nboombox into the water. But the programmers
Dialogue: 0,0:09:40.72,0:09:46.16,Default,,0000,0000,0000,,had to create a very complex and robust system \Nto account for all of these different actions.
Dialogue: 0,0:09:46.16,0:09:50.48,Default,,0000,0000,0000,,Interested devs can find some resources to \Nhelp with implementing invisible choices
Dialogue: 0,0:09:50.48,0:09:52.08,Default,,0000,0000,0000,,in the description for this video.
Dialogue: 0,0:09:52.72,0:09:57.76,Default,,0000,0000,0000,,Also, this system doesn’t really work for \Nevery type of choice. If your only way of
Dialogue: 0,0:09:57.76,0:10:02.16,Default,,0000,0000,0000,,communicating to the game is down the barrel \Nof a gun, that’s not going to work for more
Dialogue: 0,0:10:02.16,0:10:07.36,Default,,0000,0000,0000,,nuanced decisions. But it doesn’t have to \Nbe either / or. Back to Firewatch, again,
Dialogue: 0,0:10:07.36,0:10:11.76,Default,,0000,0000,0000,,that game tracks actions like picking up \Nobjects - but it also has a full dialogue
Dialogue: 0,0:10:11.76,0:10:16.72,Default,,0000,0000,0000,,system through the walkie-talkie. That gives \Nyou two very different ways to express yourself.
Dialogue: 0,0:10:17.28,0:10:21.52,Default,,0000,0000,0000,,Another challenge is that when choices are \Nmade ambiguous, players might not know that
Dialogue: 0,0:10:21.52,0:10:25.76,Default,,0000,0000,0000,,they even had access to certain options \N- and feel cheated when they find out.
Dialogue: 0,0:10:25.76,0:10:30.96,Default,,0000,0000,0000,,I made a video about Fort Frolic in Bioshock, \Nand mentioned how you can leave the area without
Dialogue: 0,0:10:30.96,0:10:36.40,Default,,0000,0000,0000,,killing Sander Cohen. But according to my comment \Nsection, plenty of people didn’t know that walking
Dialogue: 0,0:10:36.40,0:10:42.40,Default,,0000,0000,0000,,away was a valid choice. So, you may need to \Nteach players that other actions are available.
Dialogue: 0,0:10:42.40,0:10:46.64,Default,,0000,0000,0000,,And, finally, players may not realise \Nthat they’re seeing the consequences
Dialogue: 0,0:10:46.64,0:10:52.80,Default,,0000,0000,0000,,of previous actions. The nice thing about explicit \Nchoices is that they are, well, explicit about
Dialogue: 0,0:10:52.80,0:10:59.68,Default,,0000,0000,0000,,the fact you’re having an impact on the game. But \Ninvisible choices can easily be missed altogether.
Dialogue: 0,0:10:59.68,0:11:04.32,Default,,0000,0000,0000,,In playtests of Dishonored, Arkane found \Nthat some players thought the game was
Dialogue: 0,0:11:04.32,0:11:09.68,Default,,0000,0000,0000,,incredibly linear - but only because those player \Ndidn’t even realise they were making choices.
Dialogue: 0,0:11:09.68,0:11:15.60,Default,,0000,0000,0000,,They were too subtle, too organic. Likewise, \Nit’s easy to get to the end of Silent Hill 2
Dialogue: 0,0:11:15.60,0:11:20.32,Default,,0000,0000,0000,,and have no understanding that the cutscene \Nyou receive is actually the result of some
Dialogue: 0,0:11:20.32,0:11:24.32,Default,,0000,0000,0000,,obscure and obtuse actions \Nyou’ve made throughout the game.
Dialogue: 0,0:11:24.32,0:11:29.60,Default,,0000,0000,0000,,It’s important, then, when using invisible \Nchoices, to be quite heavy handed with dialogue,
Dialogue: 0,0:11:29.60,0:11:34.24,Default,,0000,0000,0000,,and make it crystal clear to players that \Nthis is an outcome of their earlier actions.
Dialogue: 0,0:11:34.24,0:11:40.64,Default,,0000,0000,0000,,GHÛRA THE SINGER: “Like a little chorus he comes \Nback round. He usually dies is what I’ve found”.
Dialogue: 0,0:11:41.36,0:11:44.40,Default,,0000,0000,0000,,Too subtle, and all your hard work is wasted.
Dialogue: 0,0:11:45.36,0:11:46.80,Default,,0000,0000,0000,,So, there we have it.
Dialogue: 0,0:11:46.80,0:11:51.28,Default,,0000,0000,0000,,Action games don’t need to twist \Nthemselves into an RPG or a text adventure
Dialogue: 0,0:11:51.28,0:11:56.00,Default,,0000,0000,0000,,in order to react, remember, or \Nreflect on the player’s choices.
Dialogue: 0,0:11:56.00,0:12:02.24,Default,,0000,0000,0000,,These games already have ways for the player \Nto communicate - to express intent, and values,
Dialogue: 0,0:12:02.24,0:12:07.04,Default,,0000,0000,0000,,and decisions, and moral leanings. \NBy implementing invisible choices,
Dialogue: 0,0:12:07.04,0:12:12.00,Default,,0000,0000,0000,,players can speak using the verbs they’ve \Nalready been using as part of normal gameplay.
Dialogue: 0,0:12:12.00,0:12:15.92,Default,,0000,0000,0000,,And in doing so, games can make \Nthe options more ambiguous.
Dialogue: 0,0:12:15.92,0:12:21.12,Default,,0000,0000,0000,,One choice can be harder to make than another. \NThe game can track dozens of tiny actions that
Dialogue: 0,0:12:21.12,0:12:25.52,Default,,0000,0000,0000,,the player is making. And the consequences \Nof your decisions can be more surprising.
Dialogue: 0,0:12:26.56,0:12:29.92,Default,,0000,0000,0000,,Ultimately, we say that actions \Nspeak louder than words - and I
Dialogue: 0,0:12:29.92,0:12:34.00,Default,,0000,0000,0000,,reckon more games should make that \Na reality. Thanks for watching.
Dialogue: 0,0:12:35.52,0:12:40.16,Default,,0000,0000,0000,,Hey! Happy new year! So people who \Nback GMTK on Patreon get a monthly
Dialogue: 0,0:12:40.16,0:12:47.28,Default,,0000,0000,0000,,“reading list” of 20 articles and videos that \NI recommend. Here’s one from this January's list:
Dialogue: 0,0:12:47.28,0:12:51.20,Default,,0000,0000,0000,,why the superhero genre is \Nnot comparable to the western.
Dialogue: 0,0:12:51.20,0:12:55.33,Default,,0000,0000,0000,,You can check out the full list over on \NPatreon, a link is in the description.
Dialogue: 0,0:12:55.33,0:12:57.00,Default,,0000,0000,0000,,Thanks so much for your support.