Tag Archive for 'Cutscenes'

‘Left 4 Dead’ and the Cinematic Tutorial

Last month’s zombie apocalypse game Left 4 Dead offers one of the best co-op experiences of the year in one complete and functional package that the team at Valve has gained a reputation for.

Unlike most Valve games, however, this one includes a very cinematic cutscene at the beginning of the game. An article by John Brownlee on the Offworld gaming blog explains how this cinematic is actually a tutorial which combines storytelling with the utilitarian function.

Left 4 Dead’s opening cinematic is a shockingly complete primer to the rest of the game. With only a few exceptions, almost any player going into Left 4 Dead for the first time will know exactly how to play the game: they already know the gameplay, the weapons, the enemies, the win scenario and the strategies they need to get through the game alive… the only thing not covered in the opening movie is the specifics of the interface.

It is one of the most useful tutorials ever put together: both broad in scope and minute in detail, with no strategy or major gameplay element overlooked. And as much as I love Left 4 Dead, I think the opening movie is probably the most brilliant thing about the game. While other developers put together opening cinematics that ignore the elements of the gameplay to tell a story, Valve made theirs a tutorial… one so subliminal that almost no one realizes they’ve sat through one.

In the article, Brownlee says point-by-point how Valve demonstrates game mechanics — like special infected behaviors and the use of pipe bombs — unintrusively through the opening cinematic, and how gamers naturally understand all these mechanics when they start the game.

One thing I liked about the cinematic is that it leaves the four characters on top of the building where they start the “No Mercy” campaign. It has a context within the story of the game, establishes the characters, and shows how the gameplay works. This is how game stories should be told, and it’s not surprising that the move came from Valve.

Steven Spielberg Skips the Cutscenes

Blockbuster King turned game developer Steven Spielberg talked about his hatred of cutscenes that interrupt gameplay in an interview with Yahoo! Games.

The thing that doesn’t work for me in these games are the little movies where they attempt to tell a story in between the playable levels. That’s where there hasn’t been a synergy between storytelling and gaming. They go to a lot of trouble to do these [motion-capture] movies that explain the characters. And then the second the game is returned to you and it’s under your control, you forget everything the interstitials are trying to impact you with, and you just go back to shooting things. And that has not found its way into a universal narrative.

Spielberg complained specifically about games like Battlefield: Bad Company where you can’t skip the cutscenes. His perspective comes from almost four decades of movie storytelling, and shows the importance of delivering a cohesive narrative through gameplay rather than cinematics.

“I think filmmakers are learning things from video games,” said Spielberg. “Movies are starting to look more and more like videogames, like the digital introductory teasers videogames give you before they turn control over to the player.” He added that Wanted and The Bourne Ultimatum show “a lot of video game saavy.”

Spielberg also talked about his own game projects in the interview. His puzzle game Boom Blox surprised a lot of gamers with its lack of narrative when it came out for the Wii in May. The director’s next project, LMNO, is “more of a movie-type story game” and revolves around an ex-secret agent.

REVIEW: ‘Far Cry 2′ Falls in the Uncanny Valley

Far Cry 2 features a number of inventions and improvements on first person shooters and attempts to bring more realism to the genre. By doing so, it slides down into the uncanny valley where any artificiality stands out as fantastic.

The game was developed by Ubisoft Montreal, the same studio behind Assassin’s Creed, Rainbow Six: Vegas, and Far Cry: Instincts, but shares nothing with its predecessors. No Jack Carver, mutagens or feral powers.

Gameplay in Far Cry 2 is more like Assassin’s Creed than anything. Chose from nine different mercenaries and make your way through an wide open African nation fired up in civil war, doing story missions for different factions or finding side quests and blood diamonds.

The world feels natural and realistic, especially from the player’s perspective. You never leave the first person view, even during cinematics or when driving a vehicle, and you always have a visual representations of your actions.

The mercenary’s hands pick up uncovered diamonds and knock on doors. Lose to much health and you have to pry bullets out of your leg or snap bones back into place. There’s no on-screen radar, just a map and GPS that function as part of the mercenary’s inventory.

This style of gameplay eschews a detailed HUD in favor of immersive elements. Its very detail oriented but it works and brings a high degree of realism to the African world of Far Cry 2.

But however realistic, Far Cry 2 is a flawed picture of reality and enters a sort of uncanny valley where every deviation from expected realism is a glaring error. When the normally inventive enemy AI stops and stands there looking dumb it breaks the illusion even more than in an average video game.

Even devices that make gameplay more convenient — like universal ammo for all assault rifles, fixing a shot up jeep with a few twists of a socket wrench, or the helpful moving icons on the your map — seem out of place.

The writing for Far Cry 2 isn’t bad, but the voice acting is horrible. Most characters sound like robots and their sentences are clipped together. It sounds unnatural and kills the otherwise realistic mood.

This expectation of perfect realism is a problem for games that strive for immersive verisimilitude, and something that future titles which attempt to put fit gameplay elements into the game world will have to overcome. Still Far Cry 2 is a big step in a good direction for FPS games and a worthwhile experience.

‘Heavy Rain’ Has Persistant Story, So Don’t Reload

Heavy Rain: The Origami Killer promises a non-linear and cinematic which is intended to be play without any reloading according director David Cage, who spoke with CVG this week.

“There will be the opportunity for players to reply as much as they want from where they want, but we would really like to encourage them not to do so — to continue to play with one story bearing with the consequences of their actions,” Cage told CVG.

The story can even survive the deaths of its multiple player-controlled characters, accommodating all player choices, even fatal ones. Is this the end of the Game Over screen?

“This is what’s exciting about it,” said Cage. “This is a story that you told. It’s pretty unique. So why would you want to do everything perfect and change what you’ve done. You will be able to redo what you like but we recommend not to.”

Cage is the founder, CEO and auteur of French studio Quantic Dreams. His last effort was 2005’s Fahrenheit (aka Indigo Prophecy), which also featured a non-linear story, told through bare-bones controls and heavily scripted quick time events.

Judging from these early previews, Heavy Rain is a definite improvement over Fahrenheit and may establish new conventions for interactivity in storytelling when it comes out for the Playstation 3 last next year.

Mistakes and pitfalls always break the mood in games. They pressure or outright force the player to flip back a few pages and rewrite the story correctly. Some recent games have broken from the trend of checkpoints and quick-save/quick-load.  BioShock allowed players to continue after dying by restoring the hero at the nearest Vita-Chamber — a kind of in-character checkpoint.

Heavy Rain will liberate players from the constraints of failure by offering in-game consequences rather than a forced reboot and maintaining immersion in the plot rather than ending it.

Dyack Says Cut-Scenes Need More Interactivity

Cut scenes establish story at the expense of interactivity. Is it worth it? Denis Dyack, creator of Too Human, says yes.

In a column for Edge Online, Dyack says that developers need to rethink the ways they use cut scenes. The article needs some editing, but there are several useful insights from an industry veteran who values good storytelling.

“Over the last five to ten years, so many games have been released where cut scenes are absolutely meaningless,” writes Dyack. “They don’t contribute to the content and don’t contribute to the characters. They’re almost like some kind of reward for completing the level, and that makes absolutely no sense.”

Dyack goes on to say that his recently released RPG epic Too Human blurs the line between cut scenes and gameplay by allowing the player to move through them a la the Half-Life games.

These are regular episodes of dialogue and action — sometimes overlapping gameplay like BioShock’s recorded tapes and sometimes allowing you to play through them like the fallout scene of Call of Duty 4. They are not fully interactive.

Fully interactive means something that does not simply add a free camera to a scripted event. To have interactive storytelling and not just an interactive lense, we need dynamic scenes that include player choice and input in more than just viewpoint.

Dyack concluded his column, “I’d still say that we’re taking baby steps in the area of bringing cinematics in games, but we’re moving in the right direction. The industry is pushing the medium, elevating it so people really get more unique experiences out of videogames than they would from any other entertainment medium.”

I hope he’s right, and I hope that more people are willing to experiment.

‘Fallout 3′ A Modern Flavor For the Cult Classic

The upcoming Fallout 3 can’t be just like the decade old originals, so get over it. But Bethesda, who got rights to the game from worn-down original studio Interplay, looks like they’re doing a good job of adopting everything that made the originals so unforgettable and putting it in a next-generation title.

Some have made a rabble-rousing hubbub over changes to the design. A shift in perspective from isometric to first person or behind the head, unkillable children, and a reduction in party size from four to two have all drawn venomous ire from the franchise’s cult followers.

Fallout 3 definitely looks different than its predecessors, which were rendered in 2D sprites and came out about a decade ago. Even as a big fan of Fallout, I don’t mind the changes and am happy with the new game’s presentation so far.

Fallout 3's protagonist wanders a post-apocalyptic town.

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“Metal Gear Solid 4″ Boasts 90 Minute Cut-Scenes

Metal Gear Solid 4: Guns of the Patriots has more than one cut-scene approaching 90 minutes in length, reports CVG.

The series is known for the complexity of its plot, but, according to MTV’s Multiplayer blog, Konami is trying to cover this exorbitant feature up as the game approaches its June 12 release.

“I’ve been told by two gaming media sources who asked to remain anonymous that Konami representatives had been asking print reviewers to keep some technical details out of their reviews, namely the length of the game’s cut-scenes and the size of the game’s installation on the PlayStation 3,” said Stephen Totilo in his post last week.

The MGS4 box lists a 4.6 GB installation, which is smaller than Devil May Cry 4‘ s 5 GB install.

Some reviews mention cut-scene length as an issue. “If you found previous games’ story exposition laborious,” said PSW, “then you’d better find yourself a nice cushion and plenty of teabags in readiness for MGS4’s.”

Whether the cover-up rumors are true or not, 90 minutes is excessive for a cut scene. There’s no reason to have movie-length scenes in a video game, where interactivity allows for much more engrossing storytelling.

Those scenes should either be playable or broken up by playable bits, especially big cinematic combat sequences like the Raiden fight from the first MGS4 trailer.

REVIEW: ‘Call of Duty 4′ and the Zenith of Scripted Events

Ten years ago, “Half-Life” changed the way video games told stories.

Rather than introducing the player to Gordon Freeman and Black Mesa with an opening cinematic or text, the game let you play through a heavily scripted opening sequence on an unforgettable tram ride past toxic waste and robots, the intercom buzzing very revealing announcements in the background.

Scripted events worked wonderfully for “Half-Life,” turning the game into a cinematic, immersive experience, but games today have found new methods to do that. Scripted sequences still exist, but they are amorphous and hidden or written spontaneously and influenced by player action.

Infinity Ward, makers of “Call of Duty 4: Modern Warfare,” didn’t get the memo. What they created is a game which tells its story through incredibly complex scripted sequences that pan out with a movie-like choreography. (For this review, I’d like to look at the game’s narrative merits, rather than its very impressive graphical or multiplayer ones.)

Each level includes uncountable preprogrammed events. Helicopters and jet fighters fly overhead on cue. Tanks roll past your position. An enemy will crash into the tower you occupy. They’re very cinematic, but they repeat each and every time you play through “Call of Duty 4″ with a monotonous, robot-like precision that actually detracts from the game’s life.

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Final Fantasy XIII Extended Trailer Released

Gametrailers has extended versions of the trailers for Final Fantasy XIII and the tie-in Final Fantasy XIII Versus.

The trailers come from a promotional DVD included with “CLOUD,” Square Enix’s book of concept artwork.

The Final Fantasy XIII trailer includes some more CGI action, a better look at the game’s world and a clearer shot of a second main character in addition to “Lightning” from the first trailer.

I still haven’t played Final Fantasy XII, but this looks really good. The art decoration is incredible, as can be expected from Square. And it’s nice seeing a feminine protagonist who is actually a woman.

Thanks Joystiq.

REVIEW: ‘Mass Effect’ Experiments In Sci-Fi Storytelling

[More updates soon -- the video project that consumed two weeks of my life is now complete.]

I probably should be commenting on Actiblizzard, the Gerstmann-gate or similar overshadowing news items, but I’m still so smitten with Mass Effect, the newest offering from my one fanboy passion, BioWare. Despite my awe, I have some criticisms.

Set in an original futuristic universe, Mass Effect combines aspects from nearly every science fiction franchise and icon into one daunting game. Interstellar exploration, automatons gone bad, hive-minded bugs, a struggling humanity, etcetera ad nauseum.

What impressed me most about the game is the degree of cinematic immersion it achieves through gorgeous graphics, a breakneck pace and a fantastic conversation system, which allows fluid conversation between Shepard and NPCs (if you haven’t played the game, you should really check out a video of the conversation system in motion). I felt like I was watching and participating in a thirty hour space opera instead of playing a game.

Now for the criticism.

The conversation system makes for a cinematic experience, but can be unintuitive at times. It uses a radial menu of heavily abridged topics that do not always represent the actual dialog. A few times I found myself choosing one option only to hear something I definitely did not intend come out of Shepard’s mouth.

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