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I know some folks see the yellow paint discourse as repeating old discussions. But do you have any idea how much of a repeat it actually is? Here is a video from Egoraptor explaining why players feel terrible about being handheld in less than a minute. Can you guess when this video was released?

But wait, there's more! It's all the same arguments everyone is still having all these years, again explained within one minute, and this was made by a non-gamedev at the time!

And for the arguments of "Well, 20% of players will always get stuck, so we just have to have incredibly ham-fisted and immersion breaking UX in our games.", alright, but if: 1. You do not mind the other 80% are now annoyed as hell. 2. You are crunching to get it done. bsky.app/profile/ryst...

Robin-Yann Storm@rystorm.com

And many designers know this. But when an exec comes in and throws away months of hard work on a whim, and then tells you to redesign something better in 1 month, you throw some paint on there and add some self talk to save it. So, it’s a combo of yellow paint and this: bsky.app/profile/mary...

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Its bleakly funny how TV discourse is having a moment around Netflix exec's going "what if someone is cooking pasta while watching this show, maybe the characters should announce what they are doing" and people mock it, meanwhile games discourse is often doing a weird defence of the same thing.

hardly the same. you can't get lost in a tv show or a movie. it's not a spatial reasoning thing. you're either paying attention or you're not in games it can be very easy to get stuck even if you *are* paying attention, this is why signposting exists, and why it's mostly done in 3D games

There's different qualities of signposting for different situations, the yellow paint is just a low bar "what if the character says their feelings out loud in case the audience misses it" type of thing—not in itself wrong, just changes who it is for; like some shows are now for people cooking pasta.

"you can't get lost in a tv show or a movie. it's not a spatial reasoning thing." It depends on what you mean by 'spatial' in this case. If you watch the 'Every Frame A Painting' episode I link down in the thread, he mentions how in fighting scenes the viewer *can* get spatially confused by bad cuts

And that for example in the fight scene with the larger spiral staircase, it is visually 'set up' in an earlier frame, much as how videogames 'set up' a mechanic, like we saw with the megaman platforms that drop down. So, I would say the design langauge is very similar, if not the same.

The 20% number is as grabbed from thin air as the 80% is, so it's a vibe answered with a vibe. You would have to research for actual numbers. For the 2.5% who are loud: Yes, but that does not negate the other folks who are quietly disappointed. As with any creative work: bsky.app/profile/ryst...

Robin-Yann Storm@rystorm.com

Of course this isn't tied to just game development, which is especially why I find the 'Only game devs should be part of this conversation' train of thought so terrible. All creative endeavors have these problems. Every Frame A Painting did a great job explaining this with Jackie Chan:

In most cases the correct answer is "The level design and game design are not meshing together well, and we cannot resolve this for time, political, or expertise reasons. So, just slap some paint on that thing and call it done." and you feel this when you play it. Not your fault, but you do feel it.

Of course this isn't tied to just game development, which is especially why I find the 'Only game devs should be part of this conversation' train of thought so terrible. All creative endeavors have these problems. Every Frame A Painting did a great job explaining this with Jackie Chan:

The amount of effort put into the development of the creative product does not matter. It is an emotional argument. The end product matters, as that is the only thing the audience sees. Or will you go to every theatre and explain yourself?