Introduction

Richard Rouse IIIDirector of Game Design, MidwayGames:

The SufferingThe Suffering: Ties That BindDrakan: The Ancients’ GatesCentipede 3DDamage IncorporatedOdyssey

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 Lighting2. Camera Following Character3. Slow Motion4. Subjective P.O.V.5. Parallel Editing6. Split Screen7. Building Tension8. (Mis)Leading the Audience

Questions?

• Special Thanks to Marty Stoltz, Studio Cinematics Director, Midway Chicago

• Contact:Richard: rr3@paranoidproductions.com

• Final slides available at:http://www.paranoidproductions.com/

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