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Something I've noticed from reading listening watching hundreds of seminars is that "exposition" means something different in video games than in novels and films. In Video Games, "exposition" (I don't agree with this terminology) is the transmission of any information to the audience. In books and film it's all about the story, but in games there are quests and lore to add depth to the 10-40 hour immersive experience. I always think of exposition as a narrative tool, because well that's what the word means. From latin expositionem , an explanation, interpretation, or narrative; but not all games have a narrative. So it's frustrating to read a list of expository "techniques" for video games that say things like: Use Codex entries. Put it in the manual. Screen captions. Loading screens and Cover illustrations.

What I really want to focus on is exposition through dialogue. The art of scene writing. I've found there are many ways of informing the player of things while leaving the Player-character in the dark. But fewer ways of illuminating the player-character in their own light.
And by "illumination" I mean a scene that both motivates the character and characterizes them.
I guess I'll cover the typical dialogue exposition techniques.

Most commonly you'll have 2 characters where one knows more than the other. A teacher, a professional, an expert. These types of characters will naturally explain things to another character, for the benefit of an audience. And nobody questions how they know or why they're explaining it because it's part of who they are.

It's considered bad form when characters talk about things they already know. "As you know..." But the exception to this is in situations with conflict, tension, and frustration. Rubbing it in another character's face.
"You. Know. This."
"I know! I'm sorry. But where were you, huh? Not here. "
This also characterizes relationships as well. Friends and Family will naturally reminisce about the past, communicating historical reference points.
"You remember what happened last time?"
"This is different. I'm wearing clothes this time and there aren't any nuns around."

If the time era allows, you can always have a scene with a news reporter to explain what's happening.
"It's been 6 months since the alien mothership blocked out the sun..."

Some things can't be explained fully in just one scene. So you have to leave a trail of bread crumbs.
The pitfalls I run into are situations where the characters are complete strangers and they're not in control of being there. The obvious first step is introductions, but they may have reservations about introducing themselves because they want to keep their identity a secret. Now, that situation I can express in dialogue.
"Hey, aren't you the guy on the wanted poster?"
and the other character could try maintaining a lie for however long for the sake of continuing tension.
The trouble is moving the scene beyond that. Or rather, to what end?

There is a term called "French Scenes"; I believe it comes from stage writing. Basically whenever a character exits the room or a new characters comes into the room - that marks a scene division and a change in the conversation.
So I could just end the scene like "Well, nice meeting you. Goodbye." But it feels like not enough has happen to justify the scene. And the same goes for introducing another character.

This pitfall I've described might not sound all that far out there. There are lots of stories were characters meet as strangers by total accident. But this is usually an underlining narrative thread that connects them.
An example I found would be the meeting between Ralph and Vanellope in Wreck it Ralph.
Ralph just crash landed in "Sugar Rush". And Vanellope just happens to be there. They don't know it yet but they are kindred spirits and they both have eyes on the medal. The scene ends with Vanellope running off with the Medal leaving Ralph no choice but to chase after her.

If it were me writing this encounter I'm sure it would be dead in the water. I wouldn't have a narrative thread connecting them. I have nothing against the medal McGuffin or kindred spirits perspective. It clearly works, I just wouldn't think of it. I'd probably have them thrown in jail so they'd break out in parallel - he breaks down walls, she glitches through them.

I'm in love with the juxtaposition, but I'd be banging my head against a wall trying to make the contrast itself meaningful.

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