Half-Life 2 - Programmer/Designer
David Speyrer
GameSpot:
How did the episodic nature of the series affect your approach to design?
David Speyrer:
The smaller scope of the episodes relative to Half-Life 2 allowed us to choose a few key design elements to focus on and execute those elements really well. In Episode One the focus was on Alyx as a companion; in Episode Two we continued that focus and added the car, the Hunter, and new outdoor environments.We're also able to sketch out the complete arc of an episode earlier in development than we can on a larger project like Half-Life 2, which means we're able to do more broad revision on the product as a whole. Reading people's feedback on the game, I think that people are picking up on that as they play Episode Two; there's a cohesion and polish to the game that we might not have achieved had it been a 20-hour game, because the cost of a top-to-bottom revision in a game of that size can be so high.
GS:
The Half-Life series is known for using scripted sequences in place of cutscenes to tell its stories. How did this play into the design?
DS:
One big factor with our interactive scripted sequences is that we can't guarantee that the player will look at them. We believe it's important to maintain this player freedom for a whole bunch of reasons, most notably to maintain the player's sense of immersion. As a result, we have to employ a bunch of tricks to get players to look where we want them to look. We also have to design the level in a way that encourages players to stick around and listen to the story.In Episode Two you see two complementary approaches to storytelling. In some cases we tell the story "as you go," so while you're fighting or adventuring alongside another character they say things that flesh out the story or develop their character. Many of these story moments are important but optional, because some players will definitely not be in the right place at the right time to hear them. In other cases we lead the player into a place where they can witness a larger, more monolithic story event, and these typically are more vital to the main plot line of the episode.
GS:
Tell us about how you approached designing Half-Life 2 and the episodes.
DS:
We design in small teams we call "cabals" that consist of people from all disciplines of production such as programmers, level designers, modelers, and animators. Our core mandate is "he or she who designs it, builds it," which helps us maintain a high level of investment in our designs.We start with a statement of the design goals for a small section of the game and try to keep the pure design phase very short, preferring an imperfect prototype to a perfect design. As soon as we have that imperfect prototype, we play-test it to see if it achieves its goals. If the experience is fun even in prototype form we know we're onto something. If our early play tests yield ideas for ways to improve the prototype, we try a few of those and then test again as soon as possible.
So the heart of our design process is very iterative and everyone from the cabal watches every play test to apply their expertise to the game experience.
GS:
Half-Life 2 was one of the first modern games to really establish the importance of in-game physics. Why are physics important to the Half-Life 2 series, and what do they mean for the way games will play in the future?
DS:
We went after physics in Half-Life 2 because it was a technology opportunity that was fundamentally interactive in nature--it wasn't like a new graphics feature that lets the same old game look better. It also dovetailed well with the immersion goals of the game because it met people's natural expectations of how a real world should behave. Physics was such fertile ground for building gameplay that as we realized its potential it became more and more the defining element of the game.The gravity gun was a big facilitator of this and once it came together a bunch of other pieces fell into place: the physics puzzles, the saw blades, throwing explosive barrels, all the way down to deeper mechanics like grabbing live grenades with the gravity gun and throwing them back. In the future when we start simulating things like fluid dynamics in real time we'll see more interesting mechanics emerge. I also think that over time the line between the parts of the world that are physically simulated and the parts that are not will blur and our gameworlds will be more and more interactive and intuitive.
Half-Life 2 - Lead Writer
Marc Laidlaw
GameSpot:
In your opinion, what distinguishes storytelling in a video game from any other kind of writing?
Marc Laidlaw:
In a written story, the story is the entire reason for the endeavor. It's everything. In a game, the story is just one facet of the experience. It could be an incredibly minor part of the game, or completely nonexistent. Even in Half-Life, where we have committed to putting a lot of our emphasis on storytelling, it's still only one aspect of a complex experience.My original goal in joining Valve was to put the storytelling on equal footing with the technology--to come up with narrative techniques that were as cool, in their way, as the monster artificial intelligence or cleverly designed combat sequences. We experiment with narrative the same way we experiment with rendering technology, keeping in mind that these are games--not books, not movies. Games.
GS:
Tell us about how you approached writing Half-Life 2 and the episodes. What was the most difficult part? The most fun?
ML:
We approach everything by developing a shared vision. We decide what challenges we're going to bite off for ourselves. The hardest part is figuring out the blend of active gameplay and dramatic staging--to make sure that the game never bogs down in exposition, but that we take the time to let the story breathe and develop naturally. The most fun is taking the script into a recording studio with good actors, and seeing the written scenes come to life in the game after our animators have worked their magic.
GS:
In most games you're saving the girl. In Half-Life 2, she tends to be by your side. Why'd you take that approach?
ML:
In Half-Life 2, we chose to shift the emphasis from a solitary "you alone must save the world" approach, to an experience that placed more value on cooperation, on allies and friends. Gordon's goals are really Alyx's goals: You spend much of the game trying to rescue her father, knowing that Eli is a figurehead for the resistance. So Alyx is our way of embodying the player's goals, making them desirable and human and real--much like Alyx herself.
GS:
Why is romance so rare in games, and what role does it play in Half-Life 2?
ML:
It's rare for characters in games to have anything like a real interior life, or realistic hopes and fears. When it's all about saving the world, there's not much time to develop relationships. Characters tend not to have families, friends, or much of anything else the player can relate to. They have goals and tasks that need doing. Romance doesn't really thrive in goal-driven environments, unless perhaps it's a game like Chulips, where kissin' is the goal. We have tried to ground our characters in relationships that are familiar to most people: Alyx has a father, her hopes and fears are mostly right out there for you to see, and she tends to treat Gordon like an increasingly close friend. Still, so far we merely, ah, flirt with romance.
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highroller124 posted Oct 19, 2007 2:10 am PT (does not meet display criteria. login to show)