Position: Programmer
Worked on: Bionicle Heroes, LEGO Star Wars, LEGO Indiana Jones
Peter graduated from Bolton University in 2005, getting a First. His lecture was about the programming side of the industry. While I’m not a programmer, I found it interesting to see how they contribute to a game, how they operate in a studio and the problems they encounter.
While his lecture was mostly about programming, he did give some very sage advice about game content. He explained that players will notice a poorly finished feature in games, but they won’t notice a missing feature. He stressed the importance of polishing existing features before adding new ones.
An unexpected part of his lecture was how to stay healthy during crunch times. He told us to expect stress and long working hours during these times, and gave us some great advice on staying positive and healthy, advice which I will surely use myself.
Tuesday 7 December 2010
Wednesday 1 December 2010
David Bramhall & Vicky Rowley: Sony Evolution Studios
Position: Q&A (David) HR (Vicky)
David began the lecture with his journey through the industry; he started as a Q&A tester at Sony for the WRC series. After that, he worked on LEGO Indiana Jones at Travellers Tales before moving back to Sony and working on Motorstorm Apocalypse.
David then talked about the roles of different departments in the company, namely Artists, Designers, Animators, Producers and Q&A. Both David and Vicky explained the importance of these different departments and how they worked together to make a finished game.
Vicky continued the second half of the lecture by going over how to contact studios and what they expect to see on the application. CVs and covering letters were discussed, and how they should be built differently depending on who they were sent to.
Finally, they closed the lecture with an open questions session, which David used to hurl chocolate bars at us.
David began the lecture with his journey through the industry; he started as a Q&A tester at Sony for the WRC series. After that, he worked on LEGO Indiana Jones at Travellers Tales before moving back to Sony and working on Motorstorm Apocalypse.
David then talked about the roles of different departments in the company, namely Artists, Designers, Animators, Producers and Q&A. Both David and Vicky explained the importance of these different departments and how they worked together to make a finished game.
Vicky continued the second half of the lecture by going over how to contact studios and what they expect to see on the application. CVs and covering letters were discussed, and how they should be built differently depending on who they were sent to.
Finally, they closed the lecture with an open questions session, which David used to hurl chocolate bars at us.
Monday 22 November 2010
Thomas Hulvershorn: I-Play, Oberon Media
Position: Lead Game Tester
Worked on: Women’s Murder Club 4, Bubble Town
Thomas’s lecture focused on the testing side of the game development process. He explained what the tester’s job is, and how they go about testing games. As Q&A is the most common first job of students leaving university, the advice and explanations he gave were very helpful.
He also talked about Facebook games and how they functioned, particularly about how they attract customers and keep them playing. I found this very interesting, as getting customers to buy your game is pretty much the reason for the industry.
Worked on: Women’s Murder Club 4, Bubble Town
Thomas’s lecture focused on the testing side of the game development process. He explained what the tester’s job is, and how they go about testing games. As Q&A is the most common first job of students leaving university, the advice and explanations he gave were very helpful.
He also talked about Facebook games and how they functioned, particularly about how they attract customers and keep them playing. I found this very interesting, as getting customers to buy your game is pretty much the reason for the industry.
Wednesday 3 November 2010
Nick Rathbone: Codemasters
Position: Games Designer
Worked on: Silent Hill: Shattered Memories
Nick Rathbone, a University of Bolton graduate of 2008, gave us an interesting lecture on getting into the industry and what to expect from our first jobs, as well as continuing in the industry.
Nick started with an introduction of his time in the games industry. He started at Climax Studios, working on Silent Hill: Shattered Memories, before moving to Codemasters UK.
Since Nick was in our position only two years ago, the advice he gave was very helpful in regards to writing our CVs and making our portfolios, and he gave examples on how to get our CVS to stand out. He also told us what to expect from interviews, how that studios may put us under pressure and give us tasks to accomplish, to see how we perform under pressure. What was most important is to research the studio, and alter my CV and cover letter to appeal to them.
Worked on: Silent Hill: Shattered Memories
Nick Rathbone, a University of Bolton graduate of 2008, gave us an interesting lecture on getting into the industry and what to expect from our first jobs, as well as continuing in the industry.
Nick started with an introduction of his time in the games industry. He started at Climax Studios, working on Silent Hill: Shattered Memories, before moving to Codemasters UK.
Since Nick was in our position only two years ago, the advice he gave was very helpful in regards to writing our CVs and making our portfolios, and he gave examples on how to get our CVS to stand out. He also told us what to expect from interviews, how that studios may put us under pressure and give us tasks to accomplish, to see how we perform under pressure. What was most important is to research the studio, and alter my CV and cover letter to appeal to them.
Wednesday 27 October 2010
Cameron Thompson: Angel’s Den
Cameron Thompson works at Angel’s Den, an online agency website that helps entrepreneurs meet up with business investors. His lecture was mainly about setting up your own business, advice on dealing with investors, getting your product/business pitch taken seriously and how to get set up financially. He also gave useful advice on talking with investors, and why you should expect ‘unusual’ questions from them.
While I don’t think I’ll ever start up my own business, Cameron gave us an interesting insight into that side of the industry.
While I don’t think I’ll ever start up my own business, Cameron gave us an interesting insight into that side of the industry.
Wednesday 20 October 2010
Arthur Parsons: Traveller's Tales
Position: Experienced Games Designer
Worked on: Crash Bandicoot: Wrath of Cortex, Muppet Race Mania & LEGO Harry Potter
Arthur’s lecture was mostly about getting the first job in the industry, which was of course very helpful for us final year students. He covered the jobs and requirements for Designers, Artists, Programmers and Audio Engineers. As well as this, he gave a detailed discussion on what to include in portfolios, and some helpful tips on what to expect during interviews. He especially focused on what you shouldn’t say, and to research the company before you apply.
He made it very clear that it’s very unlikely we’ll be working on our dream game right from the off. He was very encouraging, giving good examples on where to start (especially in Q&A) and dispelling the worries of the “cut throat” industry; I got the impression that working in the industry is, while intense, fun and rewarding.
Worked on: Crash Bandicoot: Wrath of Cortex, Muppet Race Mania & LEGO Harry Potter
Arthur’s lecture was mostly about getting the first job in the industry, which was of course very helpful for us final year students. He covered the jobs and requirements for Designers, Artists, Programmers and Audio Engineers. As well as this, he gave a detailed discussion on what to include in portfolios, and some helpful tips on what to expect during interviews. He especially focused on what you shouldn’t say, and to research the company before you apply.
He made it very clear that it’s very unlikely we’ll be working on our dream game right from the off. He was very encouraging, giving good examples on where to start (especially in Q&A) and dispelling the worries of the “cut throat” industry; I got the impression that working in the industry is, while intense, fun and rewarding.
Tuesday 5 October 2010
Designing the Test NPCs Part 2
The second part of designing the test NPCs can be found here. It contains considerations on our NPCs, and their finished designs.
Friday 2 April 2010
Designing the Test NPC - Part 1
To test player and NPC interactions, we are obviously going to need an NPC.
However, simply using one of the Half Life 2 NPC characters for our own will not be sufficient for our needs, as our testers may have preconceptions of that NPC if they have played HL2 before. The solution is obvious: we must make our own NPC.
Building an NPC from the ground up will be extremely time consuming, and making it fit into the visual style of HL2 would be difficult, so the best way to go is to take an existing NPC and modify it to match our NPC design.
The first step is to choose which NPC is best suited for this modification, and the method of choosing the NPC is discussed here.
However, simply using one of the Half Life 2 NPC characters for our own will not be sufficient for our needs, as our testers may have preconceptions of that NPC if they have played HL2 before. The solution is obvious: we must make our own NPC.
Building an NPC from the ground up will be extremely time consuming, and making it fit into the visual style of HL2 would be difficult, so the best way to go is to take an existing NPC and modify it to match our NPC design.
The first step is to choose which NPC is best suited for this modification, and the method of choosing the NPC is discussed here.
Sunday 7 March 2010
Week 4 Overview
The Characters of Warhammer 40,000
This piece of research involves the background and characters of the popular tabletop wargame Warhammer 40,000. The research document can be downloaded here.
Wednesday 3 March 2010
Week 4 - NPCs and Visual Information - Part 2
Sunday 28 February 2010
Week 3 Overview
This week I analysed the Art of Game Characters by Leo Hartas, which provided insight into the creation of NPCs, specifically their visual appearance and how that affects how the player feels about the character. It can be read here.
Using research from this book, I wrote an article exploring the methods developers use to characterise their NPCs visually, with examples from a wild range of games. It can be read here.
Using research from this book, I wrote an article exploring the methods developers use to characterise their NPCs visually, with examples from a wild range of games. It can be read here.
Monday 22 February 2010
Week 3 - NPCs and Visual Information - Part 1
This week, I researched the methods developers use to make NPC characters stand out and memorable. Due to the number of images this article has and the image per post limit, it can be downloaded here.
Sunday 21 February 2010
Week 2 Overview
During Week 2 I wrote a study of the Half Life character the Gman, which gave me a good base to work from in regards to character appearance and how that affects a player's perception of an NPC. The complete Character Study can be read here.
Source Analysis - The Art of Game Characters by Leo Hartas
Our project goal is to investigate and research what makes a compelling NPC, and for this we need a variety of NPC characters that can be tested in our final product. It is therefore important to pin down the most vital parts of making a compelling NPC, making it easy for us to design a character that is easy to implement and at the same time viable for our tests.
The Art of Game Characters by Leo Hartas is a good starting place to research how players react to different NPCs, mostly on the visual medium. It breaks down the many different types of NPCs into broad sections based on their appearance, and goes into detail how these characters were designed, including the reasons and ideas behind the designs, and how they were used in the finished games, along the impact they had on the players., with examples from many different genres of videogame.
Perhaps the most useful sections of the book are the interviews Leo Hartas conducts with various game developers, character designers and concept artists at the end of each chapter. His interview with Ajibayo Akinsiku, Visual Director for Evil Genius (2004, Elixir Studios) has some good points about characters in different media and the importance of thorough design.
“Characters in games and other media differ absolutely no way whatever. There are mechanical issues but these issues cut right across the board. A comic-book character will translate differently in movies or literature because each medium’s capacity allows for unique traits, but the fundamental principles are universal, fundamentals never change! One should not confuse superficial trait for fundamental rule.” – Ajibayo Akinsiku [1]
“The start of a good concept process is always the brief. The better the brief the more chances of a successful design.” – Ajibayo Akinsiku [1]
Another useful part is a short section by Sandy Spangler (Humongous Entertainment) called Game Character Creation.
“While ugly graphics and lousy gameplay cannot be salvaged by interesting characters, the ‘creative layer’ of a game (story, setting, subject and style) can be the factor that determines whether or not a potential player picks up your title off a shelf.” - Sandy Spangler [1]
“What does the player need to know about this character in order to understand the game? Is this a character they should fight? Befriend? Follow? Keep in mind that unexpected outcomes can also make for interesting gameplay; a terrifying monster that saves your life is much more memorable than one you just kill.” - Sand Spangler [1]
Sandy lays out a series of questions that a character design should answer for them to be successful, stating that it is important to take into account all the issues that are common to game characters. Questions like “what purpose does this character fulfil?” “What do the game mechanics require of the character?” and “What does the player need to know about this character?” are vital to the character design process, and if we are to design a successful NPC I feel it would be a good idea to come up with a list of similar questions we must answer with your character design.
Another interview with Masami Kochi (Sony London Studio) goes into detail about using character design to appeal to a particular demographic (like male teenagers, for example) and notes that people from the same age group will react to a character differently depending on their country of upbringing.
“I tried to appeal to teenagers [with the Eyetoy: Play characters] but it’s quite difficult for me as European teenagers are more mature than Japanese ones!” – Masami Kochi [1]
“When designing a character, I think about their look and personality together. Dex [a character from Eyetoy: Play] likes football, so he’ll wear a tracksuit and football trainers, and he is sporty and athletic. I found that teenage guys who also like football made a connection with him just because they saw what he was wearing, without knowing football was Dex’s hobby!” – Masami Kochi [1]
The Art of Game Characters by Leo Hartas is a good source to look into when it comes to designing the NPCs we will use for our testing product. While some sections of the book are presented in an informal and basic way, the interviews with designers and developers provide a first-hand insight into creating believable, effective NPCs.
[1] The Art of Game Characters, Leo Hartas, The Ilex Press, 2005
The Art of Game Characters by Leo Hartas is a good starting place to research how players react to different NPCs, mostly on the visual medium. It breaks down the many different types of NPCs into broad sections based on their appearance, and goes into detail how these characters were designed, including the reasons and ideas behind the designs, and how they were used in the finished games, along the impact they had on the players., with examples from many different genres of videogame.
Perhaps the most useful sections of the book are the interviews Leo Hartas conducts with various game developers, character designers and concept artists at the end of each chapter. His interview with Ajibayo Akinsiku, Visual Director for Evil Genius (2004, Elixir Studios) has some good points about characters in different media and the importance of thorough design.
“Characters in games and other media differ absolutely no way whatever. There are mechanical issues but these issues cut right across the board. A comic-book character will translate differently in movies or literature because each medium’s capacity allows for unique traits, but the fundamental principles are universal, fundamentals never change! One should not confuse superficial trait for fundamental rule.” – Ajibayo Akinsiku [1]
“The start of a good concept process is always the brief. The better the brief the more chances of a successful design.” – Ajibayo Akinsiku [1]
Another useful part is a short section by Sandy Spangler (Humongous Entertainment) called Game Character Creation.
“While ugly graphics and lousy gameplay cannot be salvaged by interesting characters, the ‘creative layer’ of a game (story, setting, subject and style) can be the factor that determines whether or not a potential player picks up your title off a shelf.” - Sandy Spangler [1]
“What does the player need to know about this character in order to understand the game? Is this a character they should fight? Befriend? Follow? Keep in mind that unexpected outcomes can also make for interesting gameplay; a terrifying monster that saves your life is much more memorable than one you just kill.” - Sand Spangler [1]
Sandy lays out a series of questions that a character design should answer for them to be successful, stating that it is important to take into account all the issues that are common to game characters. Questions like “what purpose does this character fulfil?” “What do the game mechanics require of the character?” and “What does the player need to know about this character?” are vital to the character design process, and if we are to design a successful NPC I feel it would be a good idea to come up with a list of similar questions we must answer with your character design.
Another interview with Masami Kochi (Sony London Studio) goes into detail about using character design to appeal to a particular demographic (like male teenagers, for example) and notes that people from the same age group will react to a character differently depending on their country of upbringing.
“I tried to appeal to teenagers [with the Eyetoy: Play characters] but it’s quite difficult for me as European teenagers are more mature than Japanese ones!” – Masami Kochi [1]
“When designing a character, I think about their look and personality together. Dex [a character from Eyetoy: Play] likes football, so he’ll wear a tracksuit and football trainers, and he is sporty and athletic. I found that teenage guys who also like football made a connection with him just because they saw what he was wearing, without knowing football was Dex’s hobby!” – Masami Kochi [1]
The Art of Game Characters by Leo Hartas is a good source to look into when it comes to designing the NPCs we will use for our testing product. While some sections of the book are presented in an informal and basic way, the interviews with designers and developers provide a first-hand insight into creating believable, effective NPCs.
[1] The Art of Game Characters, Leo Hartas, The Ilex Press, 2005
Monday 15 February 2010
NPC Character Study: Half Life 2’s The Gman
When the player starts a new game in Half Life 2, the first thing they see is this:
This is the Gman, an enigmatic figure that follows the player through the series. He is not overly malicious or obviously supportive, but does on several occasions trap the player in serious danger as many times as he is seen simply observing from an unreachable area.
"While the codename 'Gman' slipped into common use, it remains merely a codename." [1]
The character of the Gman alludes to the Men in Black that feature in various UFO conspiracy theories. Their attire, strange behaviour and unflappable calmness in the face of danger is very similar to those of the Gman, and his ‘name’ is merely a codename, taken from the slang “G-Man” which is short for Government Man.
Unlike the carefully designed and animated rebels in Half Life 2 (HL2), the Gman was designed to deliberately invoke the Uncanny Valley effect.
The most obvious aspect of this is his voice. It is rasping and slow, but commanding. As he speaks, he places unusual emphasis on certain syllables, stutters in the manner of a broken record, elongates S sounds, pauses in odd places and has a constant, low-key grinding sound just out of hearing.
“He behaves as though he's had to learn 'human' behaviour out of books and films.” [2]
His posture and movements are rigid, precise and robotic, a huge contrast to the smooth movements of the other humanoid characters. He never runs, even if danger is imminent, and walks with all the grace of a wind-up toy. His gestures, such as straightening his tie or brushing off his lapels, are unconvincingly stiff and oddly routine, as if he had been practising the movement beforehand rather than doing it without thinking.
Doug Wood, the animator of the Gman, states that "I wanted the player to never quite know what side the G-Man was on. I would have him express an apologetic look toward Freeman as he 'regretted' to put Dr. Freeman in this situation, but then give a slight smirk or smile at the end to keep you guessing about his sincerity."[1]
His face is uncommonly gaunt and pallid when compared to other HL2 characters. His facial expressions do not match his tone of voice or what he is saying, and some of his facial muscles will twitch and pull in odd directions, and sometimes his lips won’t synch up with his voice.
Heightening the Gman’s strange speech and mannerisms is that he has only directly communicated to the player during abstract sequences, his face being contrasted with the black void, images of important places or characters, and hints of events to come.
The Gman appears to have powers of teleportation; on many occasions he has appeared in unreachable locations, or seen walking into what is evidently a dead end, disappearing without a trace. The Gman uses this ability to keep track of Freeman, to make sure that things are following his plans, with the side effect of heightening paranoia in the player whenever they see him watching. At other times he has moved Gordon Freeman from the real world to a featureless black void. The reason for this is not entirely clear, but it appears that the Gman is “storing” Freeman for the purposes of having a skilled pawn to unleash when he needs things doing.
Gman also occasionally hints at his “employers,” suggesting that he is working for a higher power than himself, though the reason is unexplained. These employers, among other things, have been theorised as the source of the Gman’s powers, some benevolent organisation working against the Combine (the main enemies in the Half Life series), or a group of Gmen.
At one point, Dr Wallace Breen hints that there is more than one of these employers, in competition for the Gman’s services, and by extent the player’s:
"Did you realize your contract was open to the highest bidder?" – Dr. Wallace Breen, during the Our Benefactors chapter [3]
Dr. Breen also seems to know about the time Dr. Freeman spent in the black void:
"I have good reason to believe that in the intervening years, he was in a state that precluded further development of covert skills." – Dr. Wallace Breen, during the Nova Prospekt chapter [3]
The Gman is always viewed at a distance, as he is seemingly keen to stay out of the thick of things, relying on pawns like Freeman to do his dirty work, taking a direct hand only when Freeman’s mission is complete and he needs to return the doctor to the black void again. However, in the HL2 sequential Episodes the Gman is forced to take a more active role, as the alien Vortigaunts rescue Freeman from the black void in Episode 1.
“We’ll see...about that.” The Gman to the player, Half Life 2: Episode 1 opening cutscene. [4]
During the opening cutscene of Episode 1, the Vortigaunts can be seen holding back the Gman with their own psychic powers as a pair of them rescue Gordon Freeman. This is the first time the Gman has shown emotions; at first amusement at the Vortigaunts efforts and then annoyance when he realises they’re succeeding against him. This is the only time the Gman is seen during Episode one, representing that Freeman has escaped his surveillance.
The Gman doesn’t catch up with the player until partway through Episode 2, waiting until the Vortigaunts are distracted so he can communicate with Freeman in another abstract sequence. He also places a hypnotic suggestion in Freeman’s companion Alyx Vance. During this exchange he comes across as apologetic in the most sarcastic manner possible, still viewing Freeman and other humans as tools in his master plan, and mocks Freeman for his method of dealing with problems. He also drops a few hints about his plans for Freeman and Alyx.
“Doctor Freeemaaan. I realize this moment may not be the most convenient for a 'heart-to-heart', but I had to wait until your... 'friends' were otherwise occupied. Hm. There was a time they cared nothing for Miss Vance... When their only experience of humanity was a crowbar coming at them down a steel corridor. When I plucked her from Black Mesa, I acted in the face of objections that she was a mere child and of no practical use to anyone. I have learned to ignore such naysayers when... quelling them... was out of the question. Still, I am not one to squander my investments... and I remain confident she was worth far more than the initial... appraisal. That's why I must now extract from you some small repayment owed for your own survival. See her safely to White Forest, Doctor Freeman. I wish I could do more than keep an eye on you, but I have agreed to abide by certain... restrictions. Mmm.” The Gman, during the This Vortal Coil chapter of HL2: Episode 2 [5]
The Gman has had a widespread and lasting effect on the Half Life community due to his mysterious nature. Several websites exist, dedicated to cataloguing his appearances and quotes, and figuring out exactly who or what he and his goals are.
The Gman is a highly sinister form of the Trickster character archetype. He uses his powers to upset the status quo and disrupt the lives of others, for his own goals and purposes rather than just amusement. He also fills the role of the Mentor archetype, but barely, through vague hints rather than direct help.
The character is also used to create a sense of paranoia in players, using his abilities in unnerving ways to make the player question just what his schemes are. This in turn creates a feeling of always being watched, and many players have said that the brief glimpses of him gives them chills, only for him to turn a corner and disappear before they catch up and have their questions answered.
Ultimately, the Gman represents an unreachable figure because of where he appears in the game worlds and his unexplained character, leading him to be tirelessly researched and sought after. Valve, the creators of Half Life, know and exploit this curiosity, leaving breadcrumbs to the Gman’s true identity in hidden spots of their games, found only by careful searching (the so called "Headcrab Barbeque" is the most well known).
However, the Gman is used sparingly. He is the only character who behaves in this way, and he only appears once or twice in each of Half Life’s chapters (most of which are an hour or more long). To have more than one character act like, or to have him appear every ten minutes, would lessen his impact. Careful level-planning, character design and timing has kept the mystery of the Gman alive, the natural curiosity of video gamers fuelling his continued success as a character.
Examples of the Gman’s speech patterns, facial expressions and general oddness can be seen here and here.
[1] Valve (2004) Half Life 2: Raising the Bar. Prima Games Publishing
[2] http://tvtropes.org/pmwiki/pmwiki.php/Main/UncannyValley
[3] Half Life 2, Valve, 2004
[4] Half Life 2: Episode 1, Valve, 2006
[5] Half Life 2: Episode 2, Valve, 2007
All pictures screen-captured from Half Life 2 and HL2: Episode 2.
This is the Gman, an enigmatic figure that follows the player through the series. He is not overly malicious or obviously supportive, but does on several occasions trap the player in serious danger as many times as he is seen simply observing from an unreachable area.
"While the codename 'Gman' slipped into common use, it remains merely a codename." [1]
The character of the Gman alludes to the Men in Black that feature in various UFO conspiracy theories. Their attire, strange behaviour and unflappable calmness in the face of danger is very similar to those of the Gman, and his ‘name’ is merely a codename, taken from the slang “G-Man” which is short for Government Man.
Unlike the carefully designed and animated rebels in Half Life 2 (HL2), the Gman was designed to deliberately invoke the Uncanny Valley effect.
The most obvious aspect of this is his voice. It is rasping and slow, but commanding. As he speaks, he places unusual emphasis on certain syllables, stutters in the manner of a broken record, elongates S sounds, pauses in odd places and has a constant, low-key grinding sound just out of hearing.
“He behaves as though he's had to learn 'human' behaviour out of books and films.” [2]
His posture and movements are rigid, precise and robotic, a huge contrast to the smooth movements of the other humanoid characters. He never runs, even if danger is imminent, and walks with all the grace of a wind-up toy. His gestures, such as straightening his tie or brushing off his lapels, are unconvincingly stiff and oddly routine, as if he had been practising the movement beforehand rather than doing it without thinking.
Doug Wood, the animator of the Gman, states that "I wanted the player to never quite know what side the G-Man was on. I would have him express an apologetic look toward Freeman as he 'regretted' to put Dr. Freeman in this situation, but then give a slight smirk or smile at the end to keep you guessing about his sincerity."[1]
His face is uncommonly gaunt and pallid when compared to other HL2 characters. His facial expressions do not match his tone of voice or what he is saying, and some of his facial muscles will twitch and pull in odd directions, and sometimes his lips won’t synch up with his voice.
Heightening the Gman’s strange speech and mannerisms is that he has only directly communicated to the player during abstract sequences, his face being contrasted with the black void, images of important places or characters, and hints of events to come.
The Gman appears to have powers of teleportation; on many occasions he has appeared in unreachable locations, or seen walking into what is evidently a dead end, disappearing without a trace. The Gman uses this ability to keep track of Freeman, to make sure that things are following his plans, with the side effect of heightening paranoia in the player whenever they see him watching. At other times he has moved Gordon Freeman from the real world to a featureless black void. The reason for this is not entirely clear, but it appears that the Gman is “storing” Freeman for the purposes of having a skilled pawn to unleash when he needs things doing.
Gman also occasionally hints at his “employers,” suggesting that he is working for a higher power than himself, though the reason is unexplained. These employers, among other things, have been theorised as the source of the Gman’s powers, some benevolent organisation working against the Combine (the main enemies in the Half Life series), or a group of Gmen.
At one point, Dr Wallace Breen hints that there is more than one of these employers, in competition for the Gman’s services, and by extent the player’s:
"Did you realize your contract was open to the highest bidder?" – Dr. Wallace Breen, during the Our Benefactors chapter [3]
Dr. Breen also seems to know about the time Dr. Freeman spent in the black void:
"I have good reason to believe that in the intervening years, he was in a state that precluded further development of covert skills." – Dr. Wallace Breen, during the Nova Prospekt chapter [3]
The Gman is always viewed at a distance, as he is seemingly keen to stay out of the thick of things, relying on pawns like Freeman to do his dirty work, taking a direct hand only when Freeman’s mission is complete and he needs to return the doctor to the black void again. However, in the HL2 sequential Episodes the Gman is forced to take a more active role, as the alien Vortigaunts rescue Freeman from the black void in Episode 1.
“We’ll see...about that.” The Gman to the player, Half Life 2: Episode 1 opening cutscene. [4]
During the opening cutscene of Episode 1, the Vortigaunts can be seen holding back the Gman with their own psychic powers as a pair of them rescue Gordon Freeman. This is the first time the Gman has shown emotions; at first amusement at the Vortigaunts efforts and then annoyance when he realises they’re succeeding against him. This is the only time the Gman is seen during Episode one, representing that Freeman has escaped his surveillance.
The Gman doesn’t catch up with the player until partway through Episode 2, waiting until the Vortigaunts are distracted so he can communicate with Freeman in another abstract sequence. He also places a hypnotic suggestion in Freeman’s companion Alyx Vance. During this exchange he comes across as apologetic in the most sarcastic manner possible, still viewing Freeman and other humans as tools in his master plan, and mocks Freeman for his method of dealing with problems. He also drops a few hints about his plans for Freeman and Alyx.
“Doctor Freeemaaan. I realize this moment may not be the most convenient for a 'heart-to-heart', but I had to wait until your... 'friends' were otherwise occupied. Hm. There was a time they cared nothing for Miss Vance... When their only experience of humanity was a crowbar coming at them down a steel corridor. When I plucked her from Black Mesa, I acted in the face of objections that she was a mere child and of no practical use to anyone. I have learned to ignore such naysayers when... quelling them... was out of the question. Still, I am not one to squander my investments... and I remain confident she was worth far more than the initial... appraisal. That's why I must now extract from you some small repayment owed for your own survival. See her safely to White Forest, Doctor Freeman. I wish I could do more than keep an eye on you, but I have agreed to abide by certain... restrictions. Mmm.” The Gman, during the This Vortal Coil chapter of HL2: Episode 2 [5]
The Gman has had a widespread and lasting effect on the Half Life community due to his mysterious nature. Several websites exist, dedicated to cataloguing his appearances and quotes, and figuring out exactly who or what he and his goals are.
The Gman is a highly sinister form of the Trickster character archetype. He uses his powers to upset the status quo and disrupt the lives of others, for his own goals and purposes rather than just amusement. He also fills the role of the Mentor archetype, but barely, through vague hints rather than direct help.
The character is also used to create a sense of paranoia in players, using his abilities in unnerving ways to make the player question just what his schemes are. This in turn creates a feeling of always being watched, and many players have said that the brief glimpses of him gives them chills, only for him to turn a corner and disappear before they catch up and have their questions answered.
Ultimately, the Gman represents an unreachable figure because of where he appears in the game worlds and his unexplained character, leading him to be tirelessly researched and sought after. Valve, the creators of Half Life, know and exploit this curiosity, leaving breadcrumbs to the Gman’s true identity in hidden spots of their games, found only by careful searching (the so called "Headcrab Barbeque" is the most well known).
However, the Gman is used sparingly. He is the only character who behaves in this way, and he only appears once or twice in each of Half Life’s chapters (most of which are an hour or more long). To have more than one character act like, or to have him appear every ten minutes, would lessen his impact. Careful level-planning, character design and timing has kept the mystery of the Gman alive, the natural curiosity of video gamers fuelling his continued success as a character.
Examples of the Gman’s speech patterns, facial expressions and general oddness can be seen here and here.
[1] Valve (2004) Half Life 2: Raising the Bar. Prima Games Publishing
[2] http://tvtropes.org/pmwiki/pmwiki.php/Main/UncannyValley
[3] Half Life 2, Valve, 2004
[4] Half Life 2: Episode 1, Valve, 2006
[5] Half Life 2: Episode 2, Valve, 2007
All pictures screen-captured from Half Life 2 and HL2: Episode 2.
Thursday 11 February 2010
Week 1 Overview
During Week 1 I researched popular video game antagonist NPCs, and how their characterisation aids player immersion and makes the game experience memorable. I paid careful note to which antagonists stuck out on player's minds. This research will allow me to pinpoint the traits which make antagonists, and by extent other NPCs, believeable characters. A write-up of my thoughts is available on my personal blog.
Week 1 - The Antagonist
The most common and important NPC in most videogames is the antagonist; the character who directly opposes the player’s progress through the game. It is said that “a hero is only as good as his enemies” and this is no less true for videogames. The impact the antagonists have on players in an emotional sense, how well they are implemented gameplay wise and their characterisation all help to make a game memorable, immersing and challenging.
As a narrative device, a game’s enemies can be the most varied in design and execution, ranging from tools to teach the player the combat mechanics of the game, obstacles the player must overcome to succeed, or the main reason the storyline, and by extent the game itself, is happening in the first place.
"Almost all single-player games need an adversary for the player to strive against; otherwise there is no solid goal for the player to work for. Enemies tie the plot and missions together; without the threat of Saren in Mass Effect, the player would just be randomly exploring planets. They give the player something to work against; Resident Evil and numerous other survival horror games would be rendered much less effective without the looming menace of monsters hiding behind every corner. Most of all, the enemies give the player a reason behind the things they’re doing. How would The Legend of Zelda work if it didn’t have Ganondorf, or Metal Gear Solid without Liquid Snake? Even a passive, non-action game like Harvest Moon has a rival farmer the player competes with."[1]
The characterisation of the antagonist in videogames has grown more important over the years. Take, for example, Bowser of the Super Mario series. Originally he was created to give a reason to all the jumping around the player would be doing; the player has to save the princess from him, but at the bottom level Bowser is just another obstacle between the player and success. Later games in the series may have fleshed out Bowser’s character and motivations, but he still remains as an excuse for the gameplay, he is The Final Boss at the End of the Game, and nothing more.
On the other hand is Glados, from Valve’s 2007 game Portal, a first-person puzzle/action game. Glados is a sentient, malevolent AI program, and as such her interation with the player is very limited on a visual basis. Throughout the entire game, Glados communicates to the player via an intercom system, with tutorials, hints and commands woven into a mad babble, though not so much as to be incomprehensible to the player. The AI’s entire personality is rendered in the auditory medium, making full use of writing, tone of voice and added special effects to create a memorable character. Unlike Bowser, Glados was created as part of the game’s experience, she is always there, what she says to the player is tied to the design of the levels, adding weight to her plans and the player’s predicament. Glados isn’t just the Final Boss; she is the Nemesis, the direct cause for all the player’s problems, hounding the player until the very end. It is little wonder that Glados and by extent Portal is so popular and well known.
A compelling antagonist can make or break the success of a game, note the popularity of Glados, and other main enemies such as Shodan from System Shock or Andrew Ryan of Bioshock, so it is important to research how different games use their antagonist NPCs and other secondary characters.
[1] Adam Parker, Villains and Monsters, 2009
To view the Team Fable project blog, click here.
As a narrative device, a game’s enemies can be the most varied in design and execution, ranging from tools to teach the player the combat mechanics of the game, obstacles the player must overcome to succeed, or the main reason the storyline, and by extent the game itself, is happening in the first place.
"Almost all single-player games need an adversary for the player to strive against; otherwise there is no solid goal for the player to work for. Enemies tie the plot and missions together; without the threat of Saren in Mass Effect, the player would just be randomly exploring planets. They give the player something to work against; Resident Evil and numerous other survival horror games would be rendered much less effective without the looming menace of monsters hiding behind every corner. Most of all, the enemies give the player a reason behind the things they’re doing. How would The Legend of Zelda work if it didn’t have Ganondorf, or Metal Gear Solid without Liquid Snake? Even a passive, non-action game like Harvest Moon has a rival farmer the player competes with."[1]
The characterisation of the antagonist in videogames has grown more important over the years. Take, for example, Bowser of the Super Mario series. Originally he was created to give a reason to all the jumping around the player would be doing; the player has to save the princess from him, but at the bottom level Bowser is just another obstacle between the player and success. Later games in the series may have fleshed out Bowser’s character and motivations, but he still remains as an excuse for the gameplay, he is The Final Boss at the End of the Game, and nothing more.
On the other hand is Glados, from Valve’s 2007 game Portal, a first-person puzzle/action game. Glados is a sentient, malevolent AI program, and as such her interation with the player is very limited on a visual basis. Throughout the entire game, Glados communicates to the player via an intercom system, with tutorials, hints and commands woven into a mad babble, though not so much as to be incomprehensible to the player. The AI’s entire personality is rendered in the auditory medium, making full use of writing, tone of voice and added special effects to create a memorable character. Unlike Bowser, Glados was created as part of the game’s experience, she is always there, what she says to the player is tied to the design of the levels, adding weight to her plans and the player’s predicament. Glados isn’t just the Final Boss; she is the Nemesis, the direct cause for all the player’s problems, hounding the player until the very end. It is little wonder that Glados and by extent Portal is so popular and well known.
A compelling antagonist can make or break the success of a game, note the popularity of Glados, and other main enemies such as Shodan from System Shock or Andrew Ryan of Bioshock, so it is important to research how different games use their antagonist NPCs and other secondary characters.
[1] Adam Parker, Villains and Monsters, 2009
To view the Team Fable project blog, click here.
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