subtitles key always null on JSON data

[ghost]

When I read JSON data of --dump-json (or) --write-info-json. I got always null value for subtitles key.

I'm also checking with subtitles video. But this key always returned with null value.

Example subtitles video link:
http://www.youtube.com/watch?v=X6p5AZp7r_Q

I think this key is useless. Is it right?

[jaimeMF]

It seems to work fine:

$youtube-dl 'http://www.youtube.com/watch?v=X6p5AZp7r_Q' --write-sub  --dump-json | jq .subtitles
{
  "en": "1\n00:00:00,242 --> 00:00:02,171\n\"Mario!\"\n\n2\n00:00:03,049 --> 00:00:04,810\n\"Ah! Help!\"\n\n3\n00:00:25,151 --> 00:00:30,082\nWelcome to our multi-part video series exploring the roles and representations of women in video games\n\n4\n00:00:30,082 --> 00:00:36,447\nThis project will examine the tropes, plot devices and patterns most commonly associated with women in gaming\n\n5\n00:00:36,447 --> 00:00:39,410\nfrom a systemic, big picture perspective.\n\n6\n00:00:39,410 --> 00:00:43,079\nThis series will include critical analysis of many beloved games and characters\n\n7\n00:00:43,079 --> 00:00:46,463\nbut remember, that it's both possible, and even necessary\n\n8\n00:00:46,463 --> 00:00:52,672\nto simultaneously enjoy media, while also being critical of its more problematic or pernicious aspects.\n\n9\n00:00:52,672 --> 00:00:56,917\nSo, without further ado, let's jump right into the Damsel In Distress.\n\n10\n00:00:58,134 --> 00:01:01,259\nLet's start with the story of a game that no one ever got to play\n\n11\n00:01:01,259 --> 00:01:08,665\nBack in 1999, game developer 'Rare' was hard at work on a new original title for the Nintendo 64 called Dinosaur Planet.\n\n12\n00:01:08,665 --> 00:01:14,193\nThe game was to star a 16 year old hero named Krystal as one of two playable protagonists.\n\n13\n00:01:14,193 --> 00:01:19,326\nShe was tasked with travelling through time, fighting prehistoric monsters with her magical staff\n\n14\n00:01:19,326 --> 00:01:24,408\nand saving the world. She was strong, she was capable and she was heroic.\n\n15\n00:01:24,408 --> 00:01:27,109\n\"And who might you be, animal girl?\"\n\n16\n00:01:27,109 --> 00:01:28,860\n\"My name is Krystal\"\n\n17\n00:01:40,214 --> 00:01:41,820\nPretty cool right?\n\n18\n00:01:41,820 --> 00:01:44,904\nWell, it would have been except the game never got released.\n\n19\n00:01:44,920 --> 00:01:49,720\nAs development on the project neared completion, legendary game designer, Shigeru Miyamoto\n\n20\n00:01:49,720 --> 00:01:54,766\njoked about how he thought it should be the third installment in his Star Fox franchise instead.\n\n21\n00:01:54,766 --> 00:01:57,451\nOver the next two years, he and Nintendo did just that.\n\n22\n00:01:57,451 --> 00:02:03,462\nThey rewrote and redesigned the game and released it as Star Fox Adventures for the Game Cube in 2002.\n\n23\n00:02:03,462 --> 00:02:08,961\nIn this revamped version, the would-be protagonist Krystal, has been transformed into a Damsel in Distress\n\n24\n00:02:08,961 --> 00:02:12,502\nand spends the vast majority of the game trapped inside a crystal prison\n\n25\n00:02:12,502 --> 00:02:15,699\nwaiting to be rescued by the new hero, Fox McCloud.\n\n26\n00:02:15,699 --> 00:02:19,259\nThe in-game actions sequences that were originally built for Krystal\n\n27\n00:02:19,259 --> 00:02:21,802\nwere converted to feature Fox instead.\n\n28\n00:02:21,802 --> 00:02:25,317\nKrystal is given a skimpier, more sexualized outfit.\n\n29\n00:02:26,470 --> 00:02:29,102\n\"Wow! She's beautiful!!\"\n\n30\n00:02:35,796 --> 00:02:38,072\n\"What am I doing?\"\n\n31\n00:02:38,072 --> 00:02:43,516\nAnd, yes. That is cheesy saxophone music playing to make sure it's crystal clear\n\n32\n00:02:43,516 --> 00:02:47,824\nthat she is now an object of desire, even while in suspended animation.\n\n33\n00:02:47,824 --> 00:02:56,003\nTo add insult to injury, Fox is now using her magical staff to fight his way through the game to save her.\n\n34\n00:02:56,003 --> 00:02:59,173\nThe tale of how Krystal went from protagonist of her own epic adventure\n\n35\n00:02:59,173 --> 00:03:01,516\nto the passive victim in someone else's game\n\n36\n00:03:01,516 --> 00:03:05,735\nillustrates how the Damsel-in-Distress trope disempowers female characters\n\n37\n00:03:05,735 --> 00:03:09,237\nand robs them of the chance to be heroes in their own rite.\n\n38\n00:03:10,222 --> 00:03:14,947\nThe term 'Damsel in Distress' is a translation of the French 'demoiselle en détresse'.\n\n39\n00:03:14,947 --> 00:03:17,358\n'Demoiselle' simply means 'young lady'\n\n40\n00:03:17,358 --> 00:03:23,778\nwhile 'détresse' means, roughly, anxiety or despair caused by a sense of abandonment, helplessness or danger.\n\n41\n00:03:23,778 --> 00:03:27,142\nAs a trope, the Damsel in Distress is a plot device\n\n42\n00:03:27,142 --> 00:03:30,149\nin which a female character is placed in a perilous situation\n\n43\n00:03:30,149 --> 00:03:34,628\nfrom which she cannot escape on her own and must be rescued by a male character,\n\n44\n00:03:34,628 --> 00:03:38,910\nusually providing the core incentive or motivation for the protagonist's quest.\n\n45\n00:03:38,910 --> 00:03:42,231\nIn video games, this is most often accomplished via kidnapping\n\n46\n00:03:42,231 --> 00:03:46,483\nbut it can also take the form of petrification or demon possession for example.\n\n47\n00:03:46,483 --> 00:03:51,490\nTraditionally, the woman in distress is a family member or a love interest of the hero -\n\n48\n00:03:51,490 --> 00:03:56,673\nprincesses, wives, girlfriends and sisters are all commonly used to fill the role.\n\n49\n00:03:57,458 --> 00:04:01,985\nOf course the Damsel in Distress predates the invention of video games by several thousand years.\n\n50\n00:04:01,985 --> 00:04:06,578\nThe trope can be traced back to Ancient Greek mythology with the tale of Perseus.\n\n51\n00:04:06,578 --> 00:04:10,536\nAccording to the myth, Andromeda is about to be devoured by a sea monster\n\n52\n00:04:10,536 --> 00:04:14,081\nafter being chained naked to a rock as human sacrifice.\n\n53\n00:04:14,081 --> 00:04:18,929\nPerseus slays the beast, rescues the princess and then claims her as his wife.\n\n54\n00:04:18,929 --> 00:04:25,065\nIn the middle ages, the Damsel in Distress was a common feature in many medieval songs, legends and fairy tales.\n\n55\n00:04:25,065 --> 00:04:28,736\nThe saving of a defenseless woman was often portrayed as the raison d'être\n\n56\n00:04:28,736 --> 00:04:33,223\nor reason for existence in romance tales and poems of the era,\n\n57\n00:04:33,223 --> 00:04:38,853\ninvolving a knight-errant, the wandering knight adventuring to prove his chivalry, prowess and virtue.\n\n58\n00:04:38,856 --> 00:04:42,992\nAt the turn of the twentieth century, victimized young women became the cliché of choice\n\n59\n00:04:43,002 --> 00:04:48,752\nfor the nascent American film industry as it provided an easy and sensational plot device for the silver screen.\n\n60\n00:04:48,752 --> 00:04:55,355\nA famous early example is the 1913 Keystone Cops short \"Barney Oldfield's Race for a Life'\"\n\n61\n00:04:55,356 --> 00:05:01,256\nwhich features the now iconic scene of a woman being tied to the railway tracks by an evil mustache twirling villain.\n\n62\n00:05:03,563 --> 00:05:07,426\nAround the same time, the motif of a giant monkey, carrying away a screaming woman\n\n63\n00:05:07,426 --> 00:05:11,611\nbegan to gain widespread popularity in media of all kinds.\n\n64\n00:05:11,611 --> 00:05:15,387\nNotably Tarzan's love interest Jane is captured by a broodish primate\n\n65\n00:05:15,404 --> 00:05:20,440\nin Edgar Rice Burroughs' 1912 pulp adventure Tarzan and the Apes\n\n66\n00:05:20,440 --> 00:05:24,276\nIn 1930, Walt Disney used this meme in an early Mickey Mouse cartoon\n\n67\n00:05:24,276 --> 00:05:26,237\ncalled The Gorilla Mystery.\n\n68\n00:05:28,897 --> 00:05:34,787\nThe imagery was even exploited by the US military in this recruitment poster for World War I.\n\n69\n00:05:34,787 --> 00:05:38,918\nBut it was in 1933 that two things happened, which 50 years later,\n\n70\n00:05:38,918 --> 00:05:45,590\nwould set the stage for the Damsel in Distress trope to become a foundational element in video games as a media.\n\n71\n00:05:45,590 --> 00:05:51,581\nFirst, Paramount Pictures introduced their animated series, Popeye the Sailor to cinema audiences.\n\n72\n00:05:51,581 --> 00:05:58,853\nThe formula for most shorts would involved Popeye rescuing a kidnapped Olive Oyl.\n\n73\n00:05:58,853 --> 00:06:05,082\nSecond, in March of that year, RKO pictures releases its groundbreaking hit film King Kong\n\n74\n00:06:05,082 --> 00:06:11,116\nin which a giant ape abducts a young woman and is eventually killed while trying to keep possession of her.\n\n75\n00:06:13,436 --> 00:06:16,994\nFast forward to 1981, when a Japanese company named Nintendo\n\n76\n00:06:16,994 --> 00:06:20,172\nentrusted a young designer named Shigeru Miyamoto\n\n77\n00:06:20,172 --> 00:06:23,802\nwith the task of creating a new arcade game for the American market.\n\n78\n00:06:23,802 --> 00:06:28,264\nOriginally, the project was conceived of as a game starring Popeye the sailor\n\n79\n00:06:28,264 --> 00:06:30,676\nbut when Nintendo wasn't able to secure the rights\n\n80\n00:06:30,676 --> 00:06:36,683\nMiyamoto created his own characters to fill the void, heavily influenced by the movie King Kong.\n\n81\n00:06:39,775 --> 00:06:44,106\nThe game's hero 'Jump Man' was tasked with rescuing a damsel named 'The Lady',\n\n82\n00:06:44,106 --> 00:06:47,157\nafter she is carried off by a giant ape.\n\n83\n00:06:47,157 --> 00:06:50,506\nIn later versions, she's renamed 'Pauline'.\n\n84\n00:06:51,906 --> 00:06:56,619\nAlthough Donkey Kong is perhaps the most famous early arcade game to feature the Damsel in Distress\n\n85\n00:06:56,619 --> 00:06:59,455\nit wasn't the first time Miyamoto employed the trope.\n\n86\n00:06:59,455 --> 00:07:04,957\nTwo years earlier, he had a hand in designing a 1979 arcade game called Sheriff.\n\n87\n00:07:04,957 --> 00:07:07,803\nIn it, a vague female shaped collection of pixels\n\n88\n00:07:07,803 --> 00:07:12,218\nreferred to as 'The Beauty', must be rescued from a pack of bandits.\n\n89\n00:07:12,218 --> 00:07:17,848\nThe hero is then rewarded with a 'smooch of victory' for his bravery in the end.\n\n90\n00:07:17,848 --> 00:07:21,228\nA few years later, Miyamoto recycled his Donkey Kong character designs\n\n91\n00:07:21,228 --> 00:07:25,312\nPauline became the template for a new damsel named Princess Toadstool\n\n92\n00:07:25,312 --> 00:07:28,961\nand 'Jump Man' became a certain very famous plumber.\n\n93\n00:07:39,541 --> 00:07:45,126\nPrincess Peach is in many ways the quintessential stock character version of the Damsel in Distress.\n\n94\n00:07:45,126 --> 00:07:50,506\nThe ill-fated princess appears in fourteen of the core Super Mario Bros platformer games\n\n95\n00:07:50,506 --> 00:07:53,093\nand she's kidnapped in thirteen of them.\n\n96\n00:08:01,648 --> 00:08:05,028\nThe North American release of Super Mario Bros 2 in 1988\n\n97\n00:08:05,028 --> 00:08:09,689\nremains the only game in the core series in which Peach is not kidnapped\n\n98\n00:08:09,689 --> 00:08:12,495\nand also the only game in which she 's a playable character,\n\n99\n00:08:12,495 --> 00:08:16,372\nthough it should be noted it wasn't originally created to be Mario game at all.\n\n100\n00:08:16,372 --> 00:08:20,119\nThe game was originally released in Japan under a completely different title\n\n101\n00:08:20,119 --> 00:08:22,499\ncalled Yume Kōjō: Doki Doki Panic\n\n102\n00:08:22,499 --> 00:08:27,200\nwhich roughly translates to Dream Factory: Heart Pounding Panic\n\n103\n00:08:38,468 --> 00:08:45,926\nNintendo of American thought that the original Japanese release of Super Mario Bros 2 was too difficult and too similar to the first game\n\n104\n00:08:45,936 --> 00:08:51,226\nso they re-skinned and redesigned <i>Doki Doki Panic</i> to star Mario and Luigi instead.\n\n105\n00:08:51,236 --> 00:08:54,907\nHowever, the Japanese game already had four playable characters.\n\n106\n00:08:59,260 --> 00:09:04,411\nSo the designers opted to include Toad and the Princess to fill the two remaining slots\n\n107\n00:09:04,411 --> 00:09:07,801\nbuilding directly on top of the pre-existing character models.\n\n108\n00:09:07,801 --> 00:09:12,798\nSo really, if we're honest, Peach is kinda accidentally playable in this one.\n\n109\n00:09:12,798 --> 00:09:15,566\nStill, she had the awesome ability to float for short distances\n\n110\n00:09:15,566 --> 00:09:19,744\nwhich came in really handy, especially in the ice levels.\n\n111\n00:09:19,744 --> 00:09:23,599\nSadly, Peach has never been a playable character again in the main franchise.\n\n112\n00:09:23,599 --> 00:09:29,249\nEven with newer games that feature four player options like the new Super Mario Bros Wii and WiiU\n\n113\n00:09:29,249 --> 00:09:32,063\nthe Princess is still excluded from the action.\n\n114\n00:09:32,063 --> 00:09:34,746\nShe's been replaced with another Toad instead\n\n115\n00:09:34,746 --> 00:09:39,698\nas to allow Nintendo to force her back into the Damsel role again and again.\n\n116\n00:09:39,698 --> 00:09:42,158\nPeach does of course appear in many spin offs\n\n117\n00:09:42,158 --> 00:09:45,371\nsuch as the Mario Party, Mario Sports and Mario Kart series\n\n118\n00:09:45,371 --> 00:09:50,240\nas well as the Super Smash Bros Nintendo universe cross-over fighting games.\n\n119\n00:09:50,240 --> 00:09:55,662\nHowever all of these spin offs fall well outside of the core Super Mario series of platformers.\n\n120\n00:09:55,662 --> 00:10:00,157\nShe is the star of only one adventure, and we'll get to that a little later.\n\n121\n00:10:00,727 --> 00:10:05,077\nOne way to think about Damsel'd characters is via what's called the subject/object dichotomy.\n\n122\n00:10:05,077 --> 00:10:09,493\nIn the simplest terms subjects act and objects are acted upon.\n\n123\n00:10:09,493 --> 00:10:13,580\nThe subject is the protagonist; the one who the story is centered on\n\n124\n00:10:13,580 --> 00:10:15,349\nand the one doing most of the action.\n\n125\n00:10:15,349 --> 00:10:18,822\nIn video games this is almost always the main playable character\n\n126\n00:10:18,822 --> 00:10:21,909\nand the one from whose perspective most of the story is seen.\n\n127\n00:10:21,909 --> 00:10:25,035\nSo the Damsel trope typically makes men the subject of narratives\n\n128\n00:10:25,035 --> 00:10:27,581\nwhile relegating women to the role of object.\n\n129\n00:10:27,581 --> 00:10:32,502\nThis is a form of objectification because as objects Damsel'd women are being acted upon,\n\n130\n00:10:32,502 --> 00:10:39,723\nmost often becoming or reduced to a prize to be won, a treasure to be found or a goal  to be achieved.\n\n131\n00:10:39,723 --> 00:10:43,018\nThe brief into sequence accompanying many classic arcade games\n\n132\n00:10:43,018 --> 00:10:47,874\ntends to reinforce the framing of women as a possession that's been stolen from the protagonist.\n\n133\n00:11:07,738 --> 00:11:14,293\nThe hero's fight to retrieve his stolen 'property' then provides lazy justification for the actual gameplay.\n\n134\n00:11:14,293 --> 00:11:17,588\nAt its heart, the Damsel trope is not really about women at all.\n\n135\n00:11:17,588 --> 00:11:21,342\nShe simply becomes the central object in a competition between men,\n\n136\n00:11:21,342 --> 00:11:23,677\nat least in its traditional incarnations.\n\n137\n00:11:23,677 --> 00:11:28,182\nI've heard it said that, in the game of patriarchy, women are not the opposing team,\n\n138\n00:11:28,182 --> 00:11:29,767\nthey are the ball.\n\n139\n00:11:29,767 --> 00:11:33,833\nSo for example, we can think of the Super Mario franchise as a grand game being played\n\n140\n00:11:33,833 --> 00:11:38,108\nbetween Mario and Bowser and Princess Peach's role is essentially that of the ball.\n\n141\n00:11:42,200 --> 00:11:45,467\nThe two men are tossing her back and forth over the course of the main series,\n\n142\n00:11:45,475 --> 00:11:48,709\neach trying to keep and take possession of the 'Damsel Ball'.\n\n143\n00:11:55,126 --> 00:11:58,135\nEven though Nintendo certainly didn't invent the Damsel in Distress,\n\n144\n00:11:58,135 --> 00:12:03,425\nthe popularity of their 'save the princess' formula, essentially set the standard for the industry.\n\n145\n00:12:03,425 --> 00:12:07,072\nThe trope quickly became the go-to motivational hook for developers\n\n146\n00:12:07,072 --> 00:12:11,906\nas it provided an easy way to tap into adolescent male power fantasies\n\n147\n00:12:11,906 --> 00:12:15,107\nin order to sell more games to young straight boys and men.\n\n148\n00:12:15,107 --> 00:12:16,770\n\"Help Me!\"\n\n149\n00:12:16,770 --> 00:12:18,138\n\"Help Me!\"\n\n150\n00:12:18,138 --> 00:12:19,140\n\"Help Me!\"\n\n151\n00:12:19,140 --> 00:12:20,324\n\"Help Me!\"\n\n152\n00:12:20,324 --> 00:12:21,408\n\"Save Me!\"\n\n153\n00:12:21,408 --> 00:12:22,574\n\"Help!\"\n\n154\n00:12:22,574 --> 00:12:25,075\n\"Please help me Blade!\"\n\n155\n00:12:25,075 --> 00:12:27,624\nThroughout the 80's and 90's the trope became so prevalent,\n\n156\n00:12:27,624 --> 00:12:30,409\nthat it would be nearly impossible to mention them all.\n\n157\n00:12:30,409 --> 00:12:33,236\nThere were literally hundreds of examples showing up in platformers\n\n158\n00:12:33,236 --> 00:12:35,250\nside scrolling beat-em-ups,\n\n159\n00:12:35,250 --> 00:12:36,834\nfirst person shooters\n\n160\n00:12:36,834 --> 00:12:38,910\nand role playing games alike.\n\n161\n00:12:45,926 --> 00:12:49,428\nLet's take a quick moment to clear up some common misconceptions about this trope.\n\n162\n00:12:49,428 --> 00:12:53,857\nAs a plot device the Damsel in Distress is often grouped with other separate tropes,\n\n163\n00:12:53,857 --> 00:12:58,063\nincluding 'The Designated Victim', 'The Heroic Rescue' and 'The Smooch of Victory'.\n\n164\n00:12:58,063 --> 00:13:01,578\nHowever, it's important to remember that these associated conventions\n\n165\n00:13:01,578 --> 00:13:05,112\nare not necessarily a part of the Damsel in Distress trope itself.\n\n166\n00:13:05,112 --> 00:13:09,740\nSo the woman in question may or may not play the victim role for the entire game or series\n\n167\n00:13:09,740 --> 00:13:14,076\nwhile our brave hero may or may not be successful in his rescue attempts.\n\n168\n00:13:16,415 --> 00:13:19,551\nAll that is really required to fulfill the Damsel in Distress trope\n\n169\n00:13:19,551 --> 00:13:23,005\nis for a female character to be reduced to a state of helplessness\n\n170\n00:13:23,005 --> 00:13:28,571\nfrom which she requires rescuing by a typically male hero for the benefit of his story arc.\n\n171\n00:13:29,344 --> 00:13:32,347\nThis brings us to the other famous Nintendo princess.\n\n172\n00:13:32,347 --> 00:13:36,769\nIn 1986, Shigeru Miyamoto doubled down on his Damsel in Distress formula\n\n173\n00:13:36,769 --> 00:13:39,780\nwith the NES release of The Legend of Zelda.\n\n174\n00:13:39,780 --> 00:13:45,055\nThis was the first in what would become one of the most beloved action adventure game franchises of all time.\n\n175\n00:13:45,290 --> 00:13:46,110\n\"Zelda!\"\n\n176\n00:13:46,110 --> 00:13:48,313\n\"The Legend of Zelda continues.\"\n\n177\n00:13:48,313 --> 00:13:49,101\n\"Zelda!\"\n\n178\n00:13:49,101 --> 00:13:52,549\n\"Find the crystals, rescue the princess.\"\n\n179\n00:13:52,549 --> 00:13:53,887\n\"Zelda!\" <i>\"Zelda!\"</i>\n\n180\n00:13:53,887 --> 00:13:55,888\n\"Zelda II: The Adventure of Link\"\n\n181\n00:13:55,888 --> 00:13:58,955\n\"Nintendo! Now you're playing with power.\"\n\n182\n00:13:58,955 --> 00:14:02,324\nOver the course of more than a dozen games, spanning a quarter century,\n\n183\n00:14:02,324 --> 00:14:07,681\nall of the incarnations of Princess Zelda have been kidnapped, cursed, possessed, turned to stone\n\n184\n00:14:07,681 --> 00:14:10,138\nor otherwise disempowered at some point.\n\n185\n00:14:31,865 --> 00:14:37,293\nZelda has never been the star in her own adventure nor been a true playable character in the core series.\n\n186\n00:14:37,293 --> 00:14:40,163\nHowever, it must be said that not all Damsels are created equal\n\n187\n00:14:40,163 --> 00:14:46,164\nand Zelda is occasionally given a more active or integral role to play than her counter part in the Mushroom Kingdom.\n\n188\n00:14:46,164 --> 00:14:51,927\nUnlike Peach, Zelda is not completely defined by her role as Ganondorf's perpetual  kidnap victim\n\n189\n00:14:51,927 --> 00:14:56,438\nand in a few later games, she even rides the line between Damsel and Sidekick.\n\n190\n00:14:56,438 --> 00:15:00,826\nRemember, the Damsel in Distress as plot device is something that happens <i>to</i> a female character\n\n191\n00:15:00,826 --> 00:15:04,534\nand not necessarily something a character <i>is</i> from start to finish.\n\n192\n00:15:04,534 --> 00:15:08,527\nOnce in a while, she might be given the opportunity to have a slightly more active role\n\n193\n00:15:08,527 --> 00:15:13,198\nin facilitating the hero's quest, typically by opening doors, giving hints, power-ups\n\n194\n00:15:13,198 --> 00:15:15,951\nand other helpful items.\n\n195\n00:15:15,951 --> 00:15:18,794\nI call this variant on the theme, The Helpful Damsel.\n\n196\n00:15:18,794 --> 00:15:24,918\nIndeed Zelda is at her best when she takes the form of Sheik in Ocarina of Time and Tetra in The Wind Waker.\n\n197\n00:15:24,918 --> 00:15:29,761\nIn Ocarina of Time, Zelda avoids capture for the first three quarters of the game.\n\n198\n00:15:29,761 --> 00:15:33,677\nDisguised as Sheik, she is a helpful and active participant in the adventure\n\n199\n00:15:33,677 --> 00:15:36,103\nand she is shown to be more than capable.\n\n200\n00:15:37,595 --> 00:15:43,928\nHowever, as soon as she transforms back into her more stereotypically feminine form of Princess Zelda\n\n201\n00:15:43,928 --> 00:15:45,856\nshe's captured within three minutes.\n\n202\n00:15:45,856 --> 00:15:49,333\nLiterally three minutes. I timed it.\n\n203\n00:15:52,287 --> 00:15:55,740\nHer rescue then becomes central to the end of Link's quest.\n\n204\n00:15:55,740 --> 00:16:00,704\nSimilarly, in the Wind Waker, Tetra is a feisty and impressive young pirate captain\n\n205\n00:16:00,704 --> 00:16:06,828\nbut as soon as she is revealed to be, and transformed into her more stereotypically feminine form of Princess Zelda\n\n206\n00:16:06,828 --> 00:16:10,120\nshe's told that she's no longer allowed to accompany Link on the adventure\n\n207\n00:16:10,120 --> 00:16:13,544\nbecause it is suddenly too dangerous for her.\n\n208\n00:16:13,544 --> 00:16:15,392\nShe's ordered to wait in the castle,\n\n209\n00:16:15,392 --> 00:16:20,432\nwhich she does until she is eventually kidnapped, while waiting obediently in the same spot.\n\n210\n00:16:22,462 --> 00:16:25,426\nIt is noteworthy that, in the very last stage of the boss battle,\n\n211\n00:16:25,426 --> 00:16:30,179\nshe does help Link fight Ganondorf for a few brief minutes, which is a refreshing change.\n\n212\n00:16:31,440 --> 00:16:36,161\nHowever the next time Tetra's incarnation appears in 2007's The Phantom Hourglass\n\n213\n00:16:36,161 --> 00:16:38,404\nshe is kidnapped immediately during the intro.\n\n214\n00:16:38,404 --> 00:16:42,248\nLater she is turned to stone and then kidnapped for a second time.\n\n215\n00:16:42,248 --> 00:16:46,500\nIt’s disappointing that even with her moments of heroism, Zelda is still damsel’ed\n\n216\n00:16:46,500 --> 00:16:48,543\nshe is removed from the action, pushed aside,\n\n217\n00:16:48,543 --> 00:16:51,698\nand made helpless at least once in every game she appears in.\n\n218\n00:17:10,023 --> 00:17:15,741\nThis brings us to one of the core reasons why the trope is so problematic and pernicious for women’s representations.\n\n219\n00:17:15,741 --> 00:17:18,699\nThe damsel in distress is not just a synonym for “weak”,\n\n220\n00:17:18,699 --> 00:17:24,913\ninstead it works by ripping away the power from female characters, even helpful or seemingly capable ones.\n\n221\n00:17:24,913 --> 00:17:28,969\nNo matter what we are told about their magical abilities, skills or strengths\n\n222\n00:17:28,969 --> 00:17:34,805\nthey're still ultimately captured or otherwise incapacitated and then must wait for rescue.\n\n223\n00:17:34,805 --> 00:17:39,512\nDistilled down to its essence, the plot device works by trading the disempowerment of female characters\n\n224\n00:17:39,512 --> 00:17:42,316\nfor the empowerment of male characters.\n\n225\n00:17:50,564 --> 00:17:53,521\nLet’s compare the Damsel to the archetypal Hero Myth,\n\n226\n00:17:53,521 --> 00:17:57,694\nin which the typically male character may occasionally also be harmed,\n\n227\n00:17:57,694 --> 00:18:02,496\nincapacitated or briefly imprisoned at some point during their journey.\n\n228\n00:18:05,418 --> 00:18:12,112\nIn these situations, the character relies on their intelligence, cunning, and skill to engineer their own escape\n\n229\n00:18:12,112 --> 00:18:13,211\n\"That's better\"\n\n230\n00:18:17,348 --> 00:18:20,722\n— or, you know, just punching a hole in the prison wall works too.\n\n231\n00:18:20,722 --> 00:18:24,097\nThe point is, they're ultimately able to gain back their own freedom.\n\n232\n00:18:24,097 --> 00:18:26,516\nIn fact that process of overcoming the ordeal\n\n233\n00:18:26,516 --> 00:18:31,159\nis an important step in the protagonist's transformation into an heroic figure.\n\n234\n00:18:31,159 --> 00:18:35,692\nA Damsel'd woman on the other hand, is shown as incapable of escaping the predicament on her own\n\n235\n00:18:35,692 --> 00:18:39,118\nand then must wait for a savior to come and do it for her.\n\n236\n00:18:39,118 --> 00:18:41,782\nIn this way, the Damsel's ordeal is not her own,\n\n237\n00:18:41,782 --> 00:18:45,915\ninstead it's framed as a trial for the hero to overcome.\n\n238\n00:18:45,915 --> 00:18:51,083\nConsequently the trope robs women in peril from the opportunity of being the architects of their own escape\n\n239\n00:18:51,083 --> 00:18:55,378\nand therefore prevents them from becomig archetypal heroes themselves.\n\n240\n00:18:55,794 --> 00:19:01,382\nToday, many old school Damsel games are being resurrected for modern platform services and mobile devices\n\n241\n00:19:01,382 --> 00:19:05,097\nas publishers are in a rush to cash in on gaming nostalgia\n\n242\n00:19:05,097 --> 00:19:08,806\nand capitalise on any recognisable characters from years gone by.\n\n243\n00:19:08,806 --> 00:19:14,161\nFor example, Sega's 1993 platformer, Sonic CD, featuring a Damsel'ed Amy Rose\n\n244\n00:19:14,161 --> 00:19:19,149\nhas been enhanced and made available for download on a wide variety of modern platforms.\n\n245\n00:19:19,611 --> 00:19:22,832\nJordan Mechner's famous <i>Karateka</i> and <i>Prince of Persia</i> games,\n\n246\n00:19:22,832 --> 00:19:26,663\noriginally released for the Apple II home computer in the 1980's,\n\n247\n00:19:26,663 --> 00:19:29,373\nhave both seen modern HD remakes.\n\n248\n00:19:36,960 --> 00:19:40,054\nAnd the 1983 animated laser disk game, <i>Dragon's Lair<i>, </i></i>\n\n249\n00:19:40,054 --> 00:19:45,053\nwith ditzy Princess Daphne has been ported to just about every system imaginable.\n\n250\n00:19:45,053 --> 00:19:47,383\n\"Please save me!\"\n\n251\n00:19:47,383 --> 00:19:50,898\n\"The cage is locked. With a key.\"\n\n252\n00:19:50,898 --> 00:19:53,848\n\"The dragon keeps it around his neck.\"\n\n253\n00:19:53,848 --> 00:19:57,711\n\"To slay the dragon use the magic sword.\"\n\n254\n00:19:58,358 --> 00:20:02,584\nRemember Pauline? Damsel of the classic Donkey Kong arcade?\n\n255\n00:20:02,584 --> 00:20:04,444\nWell she's also been revived.\n\n256\n00:20:04,444 --> 00:20:07,707\nFirst in 1994's Donkey Kong for the Game Boy\n\n257\n00:20:07,707 --> 00:20:11,580\nand later in the Mario versus Donkey Kong series for the Nintendo DS.\n\n258\n00:20:11,580 --> 00:20:14,633\nEach game features a rehashing of the old excuse plot\n\n259\n00:20:14,633 --> 00:20:19,428\nwith Pauline being whisked away by the giant ape during the opening credits.\n\n260\n00:20:19,428 --> 00:20:23,052\n<i>\"Mario! Please help me!\"</i>\n\n261\n00:20:23,584 --> 00:20:28,582\nThe now iconic opening seconds of the 1987 beat-em-up arcade game <i>Double Dragon</i>\n\n262\n00:20:28,582 --> 00:20:33,276\nhas Marian being punched in the stomach, thrown over the shoulder of a thug, and carried away.\n\n263\n00:20:33,276 --> 00:20:37,787\nIn several versions, her panties are clearly shown to the player while she's being abducted.\n\n264\n00:20:38,187 --> 00:20:43,361\nThe game has been remade, released, and ported to dozens of systems over the past 25 years\n\n265\n00:20:43,361 --> 00:20:48,435\nensuring that Marian will be battered and Damsel'ed for each new generation to enjoy.\n\n266\n00:20:48,435 --> 00:20:55,044\nMost recently Double Dragon Neon in 2012 reintroduced new gamers to this regressive crap, yet again\n\n267\n00:20:55,044 --> 00:20:56,708\nthis time in full HD.\n\n268\n00:21:00,879 --> 00:21:06,104\nThe pattern of presenting women as fundamentally weak, ineffective or ultimately incapable\n\n269\n00:21:06,104 --> 00:21:11,807\nhas larger ramifications beyond the characters themselves and the specific games they inhabit.\n\n270\n00:21:11,807 --> 00:21:14,768\nWe have to remember that these games don't exist in a vacuum.\n\n271\n00:21:14,768 --> 00:21:20,190\nThey are an increasingly important and influential part of our larger social and cultural ecosystem.\n\n272\n00:21:20,190 --> 00:21:23,578\nThe reality is, this trope is being used in a real world context\n\n273\n00:21:23,578 --> 00:21:26,696\nwhere backward, sexist attitudes are already rampant.\n\n274\n00:21:26,696 --> 00:21:31,917\nIt is a sad fact that a large percentage of the world's population still clings to the deeply sexist belief\n\n275\n00:21:31,917 --> 00:21:36,873\nthat women, as a group, need to be sheltered, protected, and taken care of by men.\n\n276\n00:21:36,873 --> 00:21:40,168\nThe belief that women are somehow a \"naturally weaker gender\"\n\n277\n00:21:40,168 --> 00:21:45,257\nis a deeply ingrained, socially constructed myth, which is of course completely false\n\n278\n00:21:45,257 --> 00:21:50,095\nbut the notion is reinforced and perpetuated when women are continuously portrayed\n\n279\n00:21:50,095 --> 00:21:53,766\nas frail, fragile and vulnerable creatures.\n\n280\n00:21:53,766 --> 00:21:57,855\nJust to be clear, I'm not saying that all games that use the Damsel in Distress as a plot device\n\n281\n00:21:57,855 --> 00:22:00,529\nare automatically sexist or have no value.\n\n282\n00:22:00,529 --> 00:22:04,199\nBut it is undeniable that popular culture is a powerful influence in our lives\n\n283\n00:22:04,199 --> 00:22:12,495\nand the Damsel in Distress trope as a recurring trend does help to normalize extremely toxic, patronizing and paternalistic attitudes about women.\n\n284\n00:22:13,141 --> 00:22:18,582\nNow I grew up on Nintendo. I've been a fan of the Mario and Zelda franchises for most of my life\n\n285\n00:22:18,582 --> 00:22:23,753\nand they'll always have a special place in my heart, as I'm sure is true for a great number of gamers out there.\n\n286\n00:22:23,753 --> 00:22:28,009\nBut it's still important to recognize and think critically about the more problematic aspects\n\n287\n00:22:28,009 --> 00:22:31,748\nespecially considering many of these franchises are as popular as ever\n\n288\n00:22:31,748 --> 00:22:34,750\nand the characters have become world wide icons.\n\n289\n00:22:34,750 --> 00:22:38,749\nThe good news is that there is nothing stopping developers from evolving their gender representations\n\n290\n00:22:38,749 --> 00:22:41,980\nand making more women heroes in their future games.\n\n291\n00:22:41,980 --> 00:22:47,077\nIt would be great to finally see Zelda, Sheik and Tetra as the protagonists of their own games.\n\n292\n00:22:47,077 --> 00:22:51,597\nAnd not just mobile DS games, I'm talking full-on console adventures.\n\n293\n00:22:52,336 --> 00:22:58,286\nOK, so we've established that the Damsel in Distress trope is one of the most widely used gendered cliches in the history video games\n\n294\n00:22:58,286 --> 00:23:02,584\nand has been core to the popularisation and development of gaming as a medium.\n\n295\n00:23:02,584 --> 00:23:06,630\nBut what about modern games? Has anything changed in the past 10 years?\n\n296\n00:23:06,630 --> 00:23:12,218\nWell stay tuned for Part Two, where I'll be looking at more contemporary examples of the Damsel in Distress trope.\n\n297\n00:23:12,218 --> 00:23:17,970\nWe'll look at all the dark and edgy twists and turns and see how the convention has been used and abused right up until today.\n\n298\n00:23:17,970 --> 00:23:22,231\nThen we'll check out some games where developers have tried to 'flip the script' on the Damsel.\n\n299\n00:23:23,647 --> 00:23:27,158\nI would like to extend a big thank you to all of my backers on Kickstarter\n\n300\n00:23:27,158 --> 00:23:31,636\nwho have continued to support me and helped make this video series a reality.\n\n"
}

Can you post the full output of youtube-dl 'http://www.youtube.com/watch?v=X6p5AZp7r_Q' --write-sub --verbose and the contents of the *.info.json and *.srt files.

[ghost]

I'm very sorry.

I'm tested my command lines on terminal. So, I got confuse.

It works perfectly.

Thank you very much for your awesome support.