half-life

The Crowbar and the Trigger Finger

  • Reading time:10 mins read

by [name redacted]

A somewhat edited version of this was published by Game Career Guide, under the title “Phantom Fingers“; here is the article in full.

We make communication so darned difficult. We create languages, manners, rules, syntax, subtext, irony… We learn to love the language and its artifice – and the more we cherish our tools, the more signal that gets lost in transmission. Soon we get so caught up in what we’re saying that we no longer have any anchor in our surroundings, the foundations give way, and all our facades collapse around us.

Ubisoft’s Adam Thiery Talks Camera Theory

  • Reading time:2 mins read

by [name redacted]

Adam Thiery, a designer for Ubisoft Montreal, gave a short talk today on interactive cinematography. His basic point was that game cinematography is player-driven. Simple it may sound; real application is always trickier. One of the big sticking points is that camerawork, being player-driven, is limited by current understanding of game design and player psychology.

A modern camera knows when to change state, explained Thiery. In Ghost Recon Advanced Warfighter, when the player is pressed against a wall, the standard tracking camera shifts from a behind-the-character perspective to show the player character left-of-center, and focus the player’s attention to the right, around the given barrier.

Thiery said that a good game camera is a matter of functionality, rather than cinematography – yet given that, it pays to consider the visual composition within each camera state. The reason is that any action a player takes is generally guided by what he has been shown to do.

The original Half-Life takes places in a disorienting sci-fi setting; to drive the player forward, it uses huge stripes painted on the walls, like a trail of breadcrumbs or an arrow. Though this is an artificial and somewhat clumsy application, that same principle applies to any 2D screen composition.

( Continue reading at GamaSutra )

Five That Didn’t Fall

  • Reading time:53 mins read

by [name redacted]

Part nine of my ongoing culture column for Next Generation. After the popularity of my earlier article, I pitched a companion piece about companies that had lived past their remit, yet technically were still with us. On publication we lost the framing conceit and the article was split into five pieces, each spun as a simple bottled history. In turn, some of those were picked up by BusinessWeek Online. Here’s the whole thing, in context.

A few weeks ago we published a list of five developers that made a difference, helped to shape the game industry, then, one way or another (usually at the hands of their parent companies), ceased to exist. One theme I touched on there, that I got called on by a few readers, is that although in practical terms all the listed companies were indeed defunct, several continued on in name (Atari, Sierra, and Origin), living a sort of strange afterlife as a brand detached from its body.

This was an deliberate choice; although Infogrames has been going around lately with a nametag saying “HELLO my name is Atari” – and hey, why not; it’s a good name – that doesn’t make Infogrames the historical Atari any more than the creep in the purple spandex with the bowling ball is the historical Jesus. (Not that I’m relating Infogrames to a fictional sex offender – though he is a pretty cool character.) The question arises, though – what about those companies which live on in both name and body, yet which we don’t really recognize anymore? You know who I’m talking about; the cool rebels you used to know in high school, who you see ten years later working a desk job, or in charge of a bank. You try to joke with them, and they don’t get a word you’re saying. You leave, feeling a mix of fear and relief that (as far as you know) you managed to come out of society with your personality intact.

The same thing happens in the videogame world – hey, videogames are people; all our sins are handed down. This article is a document of five great companies – that started off so well, ready to change the world – that… somehow we’ve lost, even as they trundle on through the successful afterlife of our corporate culture. And somehow that just makes us miss them all the more.

This Fortnight’s Releases (May 1-12, 2006)

  • Reading time:8 mins read

by [name redacted]

Weeks thirty-eight-and-nine of my ongoing, irreverent news column; originally posted at Next Generation

Game of Early May:

SiN Episodes: Emergence – Episode 1
Ritual/Valve
PC
Tuesday

It’s kind of weird; back in mid-1998, everyone was waiting for SiN – then the very day it arrived, Half-Life sprang out of nowhere, and took all the attention. That didn’t stop SiN from becoming a cult hit; it’s just hard to escape such a poor case of timing. Over the past eight years, the game has built up a reputation as perhaps the pinnacle of the old “Duke Nukem“-style FPS, before Half-Life changed everything. Traditional genre fans, who just like to charge forward and shoot stuff, have been waiting a long time for a sequel – and here it comes, via the Half-Life 2 engine, via Steam, and via the episodic template that Valve has set out.

This first episode brings back all the major characters from the 1998 original, to do much the same business as before: run forward and shoot. The difference is in the method; aside from the obvious enhancements in physics and envionmental interaction allowed by the Source engine (and the consequences thereof), the game now automatically adjusts itself to the player’s skill level and playing tendencies. If you get good at head shots, apparently, enemies might start wearing helmets. According to Ritual, the game will take experts about as long as new players to play through.

Emergence, being only one of at least nine planned episodes, will only last about six to eight hours; on the other hand, it only costs about eighteen bucks. Something tells me this episodic download thing is going to take off. It’s almost like a revised take on the early-’90s Shareware scene. The difference with shareware was that people got a whole episode for free, then typically had to pay full price for another several episodes. Now you pay pocket cash up-front for each episode. Same thing; just reorganized for efficiency on both ends. Tie in Steam, and you’ve even got the return of online distribution. It’s obvious, in retrospect.

Now if only we’d come up with this ten years ago – if we’d just adapted and kept up with the Internet – just imagine where the PC development scene would be today.