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Cinematic Game Design III

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Call of Duty 4: Modern Warfare. Technique #4: Car Chase Camera ... Call of Cthulhu: Dark Corners of the Earth. Technique #6: Getting a Sense of Height ... – PowerPoint PPT presentation

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Title: Cinematic Game Design III


1
Cinematic Game Design III
Action!
orNine (More) Ways to Make Your Game More
Cinematic Without Adding Any More Cinematics
Richard Rouse III and Marty StoltzGame
Developers Conference, 2009
2
Introductions
Marty Stoltz Cinematic Director Big Huge
Games Star Wars The Force Unleashed Strangleho
ld The Suffering Ties That Bind Mortal Kombat
Armageddon Mortal Kombat Deception Mortal
Kombat Shaolin Monks Psi-Ops Sanitarium
  • Richard Rouse III
  • Lead Single Player Designer
  • Kaos Studios
  • Wheelman
  • The Suffering
  • The Suffering Ties That Bind
  • Drakan The Ancients Gates
  • Centipede 3D
  • Damage Incorporated
  • Odyssey
  • Game Design Theory Practice

Some Games Weve Worked On
Slides available online link at end of
presentation
3
What is a Cinematic Game?
  • Not the bad definition
  • Shouldnt mean non-interactive
  • Learn from, do not copy
  • Use established filmic techniques to craft an
    emotional experience
  • Integrate the devices into gameplay

4
Talks of GDCs Past
  • Cinematic Game Design The First
  • Rim Lighting
  • Character Framing
  • Camera Following Character
  • Slow Motion
  • Subjective P.O.V.
  • Parallel Editing
  • Split Screen
  • Building Tension
  • Emotional Setup
  • (Mis)Leading the Audience

5
Talks of GDCs Past
  • Cinematic Game Design II Storytelling
  • Exaggerated Camera Angles
  • Voice Over Narration
  • Image Juxtaposition
  • Audio Juxtaposition
  • Visualized Thoughts
  • Altered Reality
  • Misdirection
  • Picture within Picture
  • Visual Storytelling

6
CGD3 Action!
  • Action games are superior at tension and
    immersion
  • Action movies are great at pacing and imbuing
    combat with meaning
  • Cinematic techniques allow us to instill more
    gravitas in a games action, without making it
    less interactive

7
Technique 1 Starting a Fight
  • Entrances can have different styles and can set
    the tempo of the scene
  • Fight scenes composed of small sequences/fight
    blocks
  • The Entrance
  • The Fight
  • The Special Event
  • The Finish
  • Examples from
  • Conan The Barbarian

8
Starting a FightGameplay Application
  • A new enemy is positioned in a highly visible but
    unreachable position
  • Immediate understanding of how the creature
    behaves
  • Enemy gets to wreak havoc before player can do
    anything about it
  • Companion NPC provides reinforcement
  • Example from
  • Half-Life 2 Episode 2

9
Technique 2Pacing a Shootout
  • Stylized slow motion can be used for different
    purposes
  • Direction of action can be chaotic or precise
  • Amount of shooting defines the pace
  • Examples from
  • The Wild Bunch
  • The Untouchables

10
Pacing a ShootoutGameplay Application
  • Mexican stand-off starts with a brief
    non-interactive setup
  • Mini-game builds on gameplay of the main game,
    but with altered mechanics (unjustified)
  • Recreates a trademark dramatic situation
  • Example from
  • Stranglehold

11
Technique 3The Suspense Change Up
  • Build to a moment the audience is expecting
  • Unexpected event alters the payoff
  • Often we arrive at the same destination but take
    a different route to get there
  • Examples from
  • Unforgiven
  • Dawn of the Dead

12
The Suspense Change Up Gameplay Application
  • Some of the player's abilities are taken away
    (carefully justified)
  • Remains highly immersive
  • Player must quickly master surprise situation
    with somewhat altered mechanics
  • Example from
  • Call of Duty 4 Modern Warfare

13
Technique 4Car Chase Camera
  • Different scenes view the car from different
    perspectives
  • View of the driver is important, altering
    immersion
  • Examples from
  • The Hidden
  • The Bourne Supremacy

14
Car Chase CameraGameplay Application
  • Third person camera makes experience playable
  • Shooting transitions to almost-POV shot from
    within car
  • Works better for gameplay and drama
  • Emphasizes the main character
  • Example from
  • Wheelman

15
Technique 5Foot Chase Tension
  • Use open shots to see both pursued and pursuer
  • Use close shots to see either the pursued or the
    pursuer
  • Example from
  • 28 Weeks Later

16
Foot Chase TensionGameplay Application
  • Player is deliberately kept weak and weaponless
  • Heavily scripted, without being too obvious
  • Situation is unfair but forgiving
  • Example from
  • Call of Cthulhu
  • Dark Corners of the Earth

17
Technique 6Getting a Sense of Height
  • How to add suspense to a scene with continuous
    danger
  • Different shots can be used for scale
  • Selectively show the ground to focus on other
    things beside danger
  • Example from
  • Saboteur

18
Getting a Sense of HeightGameplay Application
  • First person perspective immerses with feeling of
    real world vertigo
  • Forgiving controls, but with tense just avoided
    falling animation
  • Falling to your death is uniquely disturbing
  • First person creates a world awareness challenge
  • Examples from
  • Mirrors Edge

19
Getting a Sense of HeightGameplay Application
  • Long shot of objective to be climbed
  • Third person perspective allows you to understand
    what youre climbing better
  • Less immersive
  • Synchronize and Jump Off mechanic emphasizes
    sense of height
  • Examples from
  • Assassins Creed

20
Technique 7The Unexpected Location
  • Throws the audience off a bit
  • Environment presents unusual obstacles and
    unusual solutions
  • Can be used to change the mood of a scene
  • Example from
  • Enter the Dragon

21
The Unexpected LocationGameplay Application
  • Carefully chosen familiar yet novel place for a
    gunfight
  • Space feels real and functional
  • Clever player gets to go "behind the scenes"
  • Example from
  • Duke Nukem 3D

22
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23
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24
Technique 8The Confusing Environment
  • Throws the main characters off a bit
  • Nature of the location makes the viewer feel
    vulnerable
  • Break from reality gives us a chance to play with
    surreal effects
  • Example from
  • The Lady from Shanghai

25
The Confusing EnvironmentGameplay Application
  • Confusing space keeps players guessing,
    constantly on edge
  • Player feels he's never safe, even though it is
    not dangerous
  • Allows for self-referential naval gazing
  • Example from
  • Max Payne 2

26
Technique 9The Intimate Death Scene
  • Stylized slow-motion draws out the event and can
    focus on suspense and brutality
  • Often audio is distorted or drops away
  • Can be used to wrap up the story or characters
  • Example from
  • The Dead Zone

27
The Intimate Death SceneGameplay Application
  • Everything is kept first person, extreme
    character close-up, forces the player to be
    hands on
  • Tie to the plot and core mechanics
  • Example from
  • Bioshock

28
The Intimate Death SceneGameplay Application
  • Death is most meaningful when the player spends
    game-time with a character
  • Cameras and fancy graphics not necessarily
    required
  • Example from
  • Planetfall

29
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30
Nine Cinematic Action Techniques
  • Starting a Fight
  • Pacing a Shootout
  • The Suspense Change Up
  • Car Chase Camera
  • Foot Chase Tension
  • Getting a Sense of Height
  • The Unexpected Location
  • The Confusing Environment
  • The Intimate Death Scene

31
Questions?
  • Contact
  • Richard rr3_at_paranoidproductions.com
  • Marty martystoltz.com
  • Slides ( previous years slides) available at
  • www.paranoidproductions.com
  • Special thanks to Coray Seifert for a lot of
    video tomfoolery.
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