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

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

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

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: 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

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

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

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

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: 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

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

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

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

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

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 #7: 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 #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

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

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

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 #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

(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: 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

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