In this episode of Every Frame a Painting, Tony discusses the idea of showing character choice rather than just talking about it, using Snowpiercer as an example:
In nearly every blockbuster you've watched or tell-tale game that you've played, you've seen moments like this: the protagonist has to make a choice and there's no way to reverse it.
Just to be clear, I think moments like these are great and a foundation of good storytelling but I do wish in movies they weren't presented through dialog. So today I look at one possible alternative. In fact it's one of the oldest traditions in cinema. How do you show character choice? Left or right. That's it.In a similar fashion as many blockbuster and video game protagonists software architects regularly encounter complex choices that often can't be easily reversed. Or rather, the architecture we're designing experiences those complex choices (since in this metaphor we're working behind the camera and the architecture is the character on screen). But, unlike blockbusters and video games, software architects don't have the luxury of an audience that can simply watch the architecture evolve with each design decision made.
Even on small teams, generally only a few people at a time are in the room or at the whiteboard when a key decision about the architecture is made. In some ways it's as if we are asking downstream designers to watch only the last 10 minutes of Snowpiercer and then try to figure out why it's such a big deal for Chris Evan's character, Curtis, to do what he does. Without the context of these critical decision points that are constantly happening throughout a character's/architecture's journey, the audience/downstream designer loses significant rationale that could help explain a lot.