2. 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

3. 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

4. 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

5. 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

6. 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

7. 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

8. 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

9. 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

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: 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

13. 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

14. 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

15. 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

16. 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

17. 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

18. Cinematic Technique #7: Split Screen
Similar to parallel editing, but different pacing
Can be used for suspense or emotional juxtaposition
Example from:
Kill Bill

19. 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

20. 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

21. 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

22. 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

23. 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

24. 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

25. (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

26. 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

27. Questions? Contact: Final slides available at:
Richard:
Marty:
Final slides available at: