Introduction – Who Are We?

Marty Stoltz Studio Cinematic Director, Midway

ChicagoStranglehold, The Suffering: Ties That Bind,

Mortal Kombat: Armageddon/Deception/Shaolin Monks, Psi-Ops, Sanitarium

Richard Rouse IIIDirector of Game Design, MidwayThe 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

1. Character Framing2. Camera Following a Character3. Slow Motion4. Visual Storytelling5. Subjective P.O.V.6. Parallel Editing7. Split Screen8. Picture Within Picture9. Building Tension10. (Mis)Leading the Audience

Questions?

• Contact:Richard: rr3@paranoidproductions.comMarty: mstoltz@midway.com

• Final slides available at:http://www.paranoidproductions.com/

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