Summer Project Week 1: Initial Ideas & Inspirations

05/07/21

After experimenting with numerous ideas for my final project, I decided to choose a game that focuses mainly on fixed cameras. The main reason for my decision to concentrate on this type of game is due to what I learned from my previous module on Level Design. As part of that module, I recreated a level from Dark Souls and the most important aspect to this learning was in relation to how a particular level is framed. By choosing a game that uses fixed camera angles, it allows me to demonstrate what I have learned previously and excites me by getting the opportunity to enhance that learning to make a level that exclusively uses the camera to create excellence in framing.

I intend also to incorporate my love of film when making this level and I will be influenced by the cinematography used in some of my favourite films to demonstrate the effectiveness of the elements of particular shots to establish a sense of atmosphere and clarity through using ‘mise en scene’. I have decided also to make this level a sprawling one, with many kinds of rooms and a variety of backtracking and optional areas to make it feel as organic as possible. Initially, I decided to make three different types of levels with numerous environments. However, I am convinced it is better to combine these standalone ideas into one level, as it will create an improved sense of pacing as the player makes their way through the environments. I want to instil a sense of wonder in the player’s mind as they traverse the level and constantly have to consider what type of puzzle or setting they will encounter during their progress.

In terms of inspirations, I have decided to draw upon the two games that immediately came to mind when I thought of fixed camera angles, namely Ocarina of Time and Resident Evil. This is mainly because fixed camera angles are featured prominently within these games and they utilise them in unique ways. These games are heralded by critics as being the best of their kind within their genre and are considered influential in how they convey their sense of gameplay through the use of different mechanics.

Ocarina of Time

The first 3D title in the Zelda series uses fixed camera angles in subtle ways. While Nintendo’s first party output on the Nintendo 64 was always about pushing the boundaries of what early 3D games were capable of, Ocarina of Time was no exception to this. Using the 3D camera within dungeons was always an integral part of solving the puzzles that the designers created for the player. Whether or not that was searching a room for a switch to be pressed or a ledge to be grabbed onto, the focus was always in letting the player explore as much with their eyes while moving the camera, than it was in the player traversing it on foot.

So why the need to talk about this game, whenever the freedom of a 3D camera was so important to its overall success? Nintendo 64 cartridges were known for being limited in terms of capacity, compared to the CD-ROMs that Sony’s PlayStation was using. Because of this, certain areas in the game used prerendered backgrounds with fixed cameras to help alleviate some of the data needed to store and load 3D objects. Nintendo managed to blend both styles of camera perfectly in these cases. While the fixed camera angles are sparse, each time they are used, they bring a sense of wonder to the world around them. The player can see this immediately when they start the game. After the initial starting cutscene, the first aspect to gameplay takes place within a fixed camera angle as seen in Figure 1. Showing the top-down view of Link’s house, the player is framed in such a way that they feel small in a game that is much larger in scope in comparison to any previous Nintendo game. It is also a beneficial way to introduce players to the controls of the game in a lax environment.

The way fixed cameras are used in Ocarina of Time gives the game a sense of grandeur, making it feel more cinematic than any other previous Zelda game. For example, in the back alley within Castle Town shown in Figure 2, the fixed cameras make the world in which Link resides to be more detailed and fleshed out compared to previous games, while also establishing a subtle sense of claustrophobia as Link approaches the camera. This gives the alleys a tight and compact feel. The use of fixed cameras also allows buildings, for example, that are situated within these locations to feel much taller compared to having a more traditional camera. Elements like these, are similar to what I wish to replicate in my game. The use of fixed camera angles in Ocarina of Time is used as a way to establish atmosphere, as well as a sense of place, and fixed camera angles frame somewhat trivial areas into ones that are fondly remembered in their construction.

Figure 1: Link's House.

Figure 2: Back Alley.

Resident Evil

The first entry in the Resident Evil series is the opposite to what I discussed in relation to Ocarina of Time. The game is made entirely with fixed camera angles in mind, which means the designers had to set up every room to have actual composition, where objects are arranged in a particular way to create a deliberate sense of atmosphere and mood. Being a game in the horror genre, setting up the camera in this way is paramount if you want to make the player feel remotely tense. Each time the player enters a new room, due to the way certain camera angles are set up, the player will have no idea what to expect if they happen to take a couple of steps too far. An enemy could appear from nowhere, frightening the player, and in tandem with the intentional stilted and sluggish tank controls, the player can be consumed within a form of horror that is unique to the medium of video games. An example of this is shown in Figure 3. Other techniques, such as lighting and sound, played vital roles in establishing a sense of atmosphere, while also allowing the player to figure out what is happening around them, despite the limited vision.

The joy to be found in playing this game relates to the horror itself, as well as the amazing way of showing an account of the player’s progress by gauging how far the player can run before pushing their luck. Whenever Capcom announced a remake of Resident Evil 2, without the use of fixed cameras, fans and critics were mixed. In the original game, scripted events could be properly presented without concern about the player missing them, by directing the free camera in the way that they wanted. Having a dynamic third-person camera like this, is not perfect for similar situations, and having areas feel claustrophobic, does not work as well in comparison. This is because the manner in which a shot is composed, can present difficulties when using a free camera. The way the designers made the player feel small and helpless with fixed cameras, incorporated the use of wedging a camera between two pillars on the ceiling in front of them. The player model would also be scaled accordingly, and that in itself creates a lonely shot, as shown in Figure 4, which is sustained by the haunting music. Third-person cameras, in comparison, dedicate less time to the environment due to the character model taking up a third of the entire screen.

I find it amazing that the use of fixed camera angles can still be so impactful today in modern games. The unknown is scary, the feeling of being at the mercy of the game’s controls is frightening and being drench in a horrific atmosphere as thick as mud is terrifying. It is noticeable from the game Resident Evil 4 and the versions that followed, that each entry in the series became more responsive to what the player can achieve with a controller. While a game like Resident Evil 4 still remains one of my favourites, I love it for entirely different reasons. By giving the player an arsenal of weapons to use, it creates a fun and cathartic experience that is not scary in the least. In my game, I am attempting to bring back the feeling of the original Resident Evil trilogy by making a player think through every encounter as if their life truly depended on it.

Figure 3: Unique angles with frightening enemies.

Figure 4: Example of a lonely shot.