Introduction – Who Are We?

2. Introduction – Who Are We? Marty Stoltz Studio Cinematic Director, Midway Chicago Mortal Kombat: Deception/Shaolin Monks, Psi-Ops, The Suffering: Ties That Bind, 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

3. Introduction – Cinematic Games • What are “Cinematic Games?” • Often people mean: • Better/more cut-scenes • Better story/dialog • More custom-scripted • Over-the-top Hollywood action

4. Introduction – Cinematic Games • Heavily loaded term • Avoid “Hollywood Envy” • Don’t want • Interactive movies • Uninteractive games

5. Introduction – Cinematic Games • Our 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

6. Cinematic Technique #1: Rim Lighting • Used to “pop” a character from the background environment • Can also be used for specific emotional effect • Example from: Bride of Frankenstein

7. Rim Lighting: Gameplay Application • Useful in third-person games where the avatar should not disappear in a dark environment • Slightly unrealistic, but that’s OK • Sometimes referred to as “Edge Lighting” • Example from: The Suffering

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

9. Camera Following: Gameplay Application • With a third-person game, always keep the character framed appropriately • Avoiding fading out/making the avatar disappear • Balance player control with good shot composition • Example from: Max Payne 2

10. 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

11. 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

12. Cinematic Technique #4: 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

13. 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 (Call of Duty) • Could be used more subtly to indicate emotional state of the main character

14. Cinematic Technique #5: 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

15. 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

16. Cinematic Technique #6: Split Screen • Similar to parallel editing, but different pacing • Can be used for suspense or emotional juxtaposition • Example from: Kill Bill

17. 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

18. Cinematic Technique #7: 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

19. 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

20. Cinematic Technique #8: Emotional Setup • This technique breaks down the barrier that protects the audiences’ emotions and catches them off guard • Can create a roller coaster ride effect • Example from: 28 Days Later

21. Emotional Setup: Gameplay Application • Perfect technique for scripted/highly-controlled games • Many games do some (but can do more) • Tricky to do during gameplay, but more effective than in cut-scenes • Important to make the emotional manipulation feel logical, not arbitrary

22. Cinematic Technique #9: (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

23. (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

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