It's really funny. You mentioned that a director would never let you choose the shot, but for a while, they were trying to do that with DVDs. Ultimately, that only wound up in the realm of porn, and then it's gone. So it's really funny that it made its way down the ranks.
DD: It was a blip on the radar. I remember the multiple angle thing, and I remember going, "I don't even care." It's a lot more work, too, to do the multiple angle stuff. I really think that we're in such a hardcore state when people say, "I want to control the camera. I must control the camera." It's only because we haven't found sophisticated enough ways to remove that from the player so far. That's hopefully what we're trying to do with some of the stuff we're doing.
If we are the eighth artform, and we're the next step from film, which was the seventh art, you'd think everyone should know what Griffith did and what films he did and why they were good and why they were bad. That's why we created the Academy Of Interactive Arts & Sciences -- to give that foundation to people, so they can build from it and hopefully be able to expand and go and stand on the shoulders of giants. That's what I think it's all about. There's literature that we can draw from. There's radio, television, and movies. It's just really, really strong.
It's weird to me that the language of film -- as you mentioned in your talk just now -- is something that people can understand intuitively. But the language of games -- all that we've created so far -- seems to be based off of technology, except for genre things and stuff like that. Our language is like parallax maps, and procedural X and Y, and things like that. We haven't really come to an agreement on what things are, and I think it's because we have a lack of proper criticism.
DD: I totally agree.
Which is a fault of people like me for not doing it, but I haven't had time!
DD: That's an amazing tangent, and we could go on for ages, I'm sure.