Cinematic Game Design Presentatin

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(No Transcript)
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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

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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

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Introduction Cinematic Games

• Heavily loaded term
• Avoid Hollywood Envy
• Dont 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

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Introduction Cinematic Games

• A new definition of Cinematic Game Design
• Draw from cinemas 100-year-old library of
  techniques
• Integrate these devices into actual gameplay
• Not just copying, expands our medium

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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

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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

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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

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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

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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 wont notice
• Simulates real-life dramatic events seeming slow
• Example from
• Aliens

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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

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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

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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

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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 characters POV
• Effects include FOV adjustment, slow motion,
  exaggerated lighting, screen filters, audio mix
• Example from
• Raging Bull

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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

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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

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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

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Cinematic Technique 7 Split Screen

• Similar to parallel editing, but different pacing
• Can be used for suspense or emotional
  juxtaposition
• Example from
• Kill Bill

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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

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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

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Picture Within Picture Gameplay Application

• Depending on a games 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

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Cinematic Technique 9 Building Tension

• Keep the pace changing but maintain a general
  direction
• Dont be afraid to slow things down in an action
  sequence
• Use audio to keep the audience on edge
• Example from
• Alien

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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

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Cinematic Technique 10 (Mis)Leading the
Audience

• If audience figures out the story bored
• If audience cant 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

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(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 dont
  go for cheap shots
• Example from
• The Suffering

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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

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Questions?

• Contact
• Richard rr3_at_paranoidproductions.com
• Marty mstoltz_at_midway.com
• Final slides available at
• http//www.paranoidproductions.com/writings.html