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Introduction – Who Are We?

Introduction – Who Are We?. Marty Stoltz Studio Cinematic Director, Midway Chicago Stranglehold, The Suffering: Ties That Bind, Mortal Kombat: Armageddon/Deception/Shaolin Monks, Psi-Ops, Sanitarium Richard Rouse III Director of Game Design, Midway

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Introduction – Who Are We?

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  1. Introduction – Who Are We? Marty Stoltz Studio Cinematic Director, Midway Chicago Stranglehold, The Suffering: Ties That Bind, Mortal Kombat: Armageddon/Deception/Shaolin Monks, Psi-Ops, Sanitarium Richard Rouse III Director of Game Design, Midway The Suffering, The Suffering: Ties That Bind, Drakan: The Ancients’ Gates, Odyssey, Game Design: Theory & Practice

  2. Introduction – Cinematic Games • What are “Cinematic Games?” • Often people mean: • Better/more cut-scenes • Better story/dialog • More custom-scripted • High drama moments • High production values • A highly immersive experience

  3. Introduction – Cinematic Games • Heavily loaded term • Avoid “Hollywood Envy” • Don’t want • Interactive movies • Uninteractive games "One day soon, calling a game ‘cinematic’ will be a backhanded compliment, like calling a movie ‘stagy.’" • Prince of Persia creator Jordan Mechner

  4. Introduction – Cinematic Games • A new definition of “Cinematic Game Design” • Draw from cinema’s 100-year-old library of techniques • Integrate these devices into actual gameplay • Not just copying, expands our medium

  5. Cinematic Technique #1: Character Framing • Rule of thirds creates good compositions • Mental map allows audience to take fragments and make sense of them • Careful use of eye-lines • Example from: The Good, The Bad, and The Ugly

  6. Character Framing: Gameplay Application • Same rules of scene composition apply • For third person games, avoid placing the character dead-center • Examples from: Splinter Cell Shadow of the Colossus

  7. Cinematic Technique #2: Camera Following a Character • When tracking a character, principles of photography apply to the cinema • Still obey the rule of thirds • Avoid “computer” camera moves • Example from: Goodfellas

  8. Camera Following a Character: Gameplay Application • Wherever the player moves the camera, always keep the avatar well framed • Avoiding fading out/making the avatar disappear • Balance player control with good shot composition • Example from: Max Payne 2

  9. Cinematic Technique # 3: Slow Motion • Many films have used slow motion to emphasize the beauty/brutality of a scene • Can also be used to slow/quicken an event where the audience won’t notice • Simulates real-life dramatic events seeming slow • Example from: Aliens

  10. Slow Motion: Gameplay Application • Lots of games have stylishly used slow motion as a game mechanic or an FX component • Slow motion can also be a tool for storytelling • Could also be used more subtly • Example from: FEAR

  11. Cinematic Technique #4: Visual Storytelling • Inform the viewer about person and place • Scene works without dialog/exposition • Start wide and end close: close shots at end for progression and impact • Example from: Rear Window

  12. Visual Storytelling: Gameplay Application • Player should learn about the fiction through play • Every element is important: art, animation, voice, audio, etc • Repetition of key details is necessary • Example from: Half Life 2

  13. Cinematic Technique #5: Subjective P.O.V. • Often multiple non-realistic effects can be combined to make the audience see a scene from a particular character’s POV • Effects include: FOV adjustment, slow motion, exaggerated lighting, screen filters, audio mix • Example from: Raging Bull

  14. Subjective P.O.V.: Gameplay Application • Used for literal sensory changes: • Drunk (GTA) • Drugged/Stoned (Rise of the Triad/Narc) • Dream Sequences (Max Payne) • Shell Shocked (Mercenaries) • Could be used more subtly to indicate emotional state of the main character

  15. Cinematic Technique #6: Parallel Editing • Inter-cuts two scenes that are happening at the same time • Great way to build suspense • Example from: The Silence of the Lambs

  16. Parallel Editing: Gameplay Application • Underused technique in games • Not the same as plot-driven cut-aways • Perfect for breaking up long navigational sections, if kept short & quick • Has to be done carefully to not frustrate or confuse the player • Example from: Karateka

  17. Cinematic Technique #7: Split Screen • Similar to parallel editing, but different pacing • Can be used for suspense or emotional juxtaposition • Example from: Kill Bill

  18. Split Screen: Gameplay Application • Also underused in games • Excellent for in-game storytelling • Do not force the player to intently watch multiple views simultaneously • Example from: Indigo Prophecy

  19. Cinematic Technique #8: Picture Within Picture • Mini-story that happens in the background of a scene • Can be used to juxtapose two narratives or themes • Example from: Citizen Kane

  20. Picture Within Picture: Gameplay Application • Depending on a game’s camera & perspective, differently techniques apply • Careful placement makes scenes non-disruptive but also likely to be seen • Example from: Another World / Out of this World

  21. Cinematic Technique #9: Building Tension • Keep the pace changing but maintain a general direction • Don’t be afraid to slow things down in an action sequence • Use audio to keep the audience on edge • Example from: Alien

  22. Building Tension: Gameplay Application • Design game mechanics in ways that will give the player some information, but not all of it • Motion sensor in Marathon and AvP • Radio static in Silent Hill 2 • Audio design in System Shock games • Interactive music perfect for building tension in gameplay

  23. Cinematic Technique #10: (Mis)Leading the Audience • If audience figures out the story: bored • If audience can’t figure anything out: confused (Both are bad.) • Hitchcock said: audience likes to be one step ahead of the story • Mislead audience away from what will actually happen • Example from: A Clockwork Orange

  24. (Mis)Leading the Audience: Gameplay Application • Games have repetitive mechanics • Players expect them to work consistently • Thus players are susceptible to being misled • Be clever/devious in how you mislead, but don’t go for “cheap shots” • Example from: The Suffering

  25. Cinematic Game Design: Ten Techniques • Character Framing • Camera Following a Character • Slow Motion • Visual Storytelling • Subjective P.O.V. • Parallel Editing • Split Screen • Picture Within Picture • Building Tension • (Mis)Leading the Audience

  26. Questions? • Contact: Richard: rr3@paranoidproductions.com Marty: mstoltz@midway.com • Final slides available at: http://www.paranoidproductions.com/writings.html

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