Introduction Richard Rouse III Director of Game Design, Midway Games: The Suffering The Suffering: Ties That Bind Drakan: The Ancients’ Gates Centipede 3D Damage Incorporated Odyssey Book: Game Design: Theory & Practice

Introduction - What are Cinematic Games? Two different mediums: Cinema – A linear medium, often dedicated to storytelling, author driven Digital Games – An interactive/participatory medium, often focusing on a series of player challenges, author and player driven

Introduction - What are Cinematic Games? Games have been copying other art forms all along…

Introduction - Sources of Inspiration Inspiration from Sports – Pong (1972)

Introduction - Sources of Inspiration Inspiration from Literature – Colossal Cave Adventure (1976)

Introduction - Sources of Inspiration Inspiration from Cinema – Pac Man (1982)

Introduction - Sources of Inspiration Games aren’t the first new medium to steal from more established forms…

Introduction - Sources of Inspiration Inspiration from the theater – The Kiss (1896)

Introduction - Evolution of a Medium Too much copying is a bad thing Cinema moved away from filmed plays “Interactive Movies” failed miserably Didn’t understand fundamental nature of games - interactivity

Introduction - Evolution of a Medium An “Interactive Movie” - Dragon’s Lair (1983)

Introduction - Evolution of a Medium "One day soon, calling a game ‘cinematic’ will be a backhanded compliment, like calling a movie ‘stagy.’" -Prince of Persia creator Jordan Mechner

Introduction – Cinematic Games For an art-form to thrive, it must change and evolve To support the large teams associated with modern games, games must appeal to a wider audience Pulling inspiration from other mediums is not inherently a bad idea

Introduction – Cinematic Games What do people mean by “Cinematic” Games? It varies widely: Better/more cut-scenes Better story/dialog High-drama moments More custom-scripted High production values A highly immersive experience Fewer “Gamey” elements

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cinematic Technique #8: (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

(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

Cinematic Game Design: Eight Techniques 1.Rim Lighting 2.Camera Following Character 3.Slow Motion 4.Subjective P.O.V. 5.Parallel Editing 6.Split Screen 7.Building Tension 8.(Mis)Leading the Audience

Questions? Special Thanks to Marty Stoltz, Studio Cinematics Director, Midway Chicago Contact: Richard: Final slides available at: