Summer Project Week 2: Fixed Camera Angles & Cinematic Horror

12/07/21

The Necessity of Using Fixed Cameras

Fixed camera angles were once the preferred style for survival horror games. Due to the limitations associated with the power and memory of consoles at the time, this approach became popular because it allowed the use of pre-rendered backgrounds that enabled scenes to look far more detailed than using 3D objects. Tank controls were also paired well with this style, which gave players control of the movement of the character relative to their own position, so pressing up on the d-pad was always forwards, regardless of the camera angle.

Over time however, the use of fixed camera angles, pre-rendered backgrounds and tank controls faded from the AAA industry. It is obvious why these techniques were used initially, but with video games trying to be more user-friendly, it makes more sense in having intuitive and reliable controls for the current video game market. There are examples however of games, which were created after the PlayStation, that continued to use fixed cameras. Close to the start of the launch of 6th generation consoles, a remake of the most influential horror game was released, namely Resident Evil (2002). Since the release of Resident Evil (2002), which was near the start of the GameCube’s launch, the developers wanted to highlight the new graphical power that this new machine could produce. Instead, however, of following in the footsteps of other games at the time, the developers of this game took a backward step in the eyes of many and decided to keep the fixed camera angles in place, just like in the original. However, when the game was released, players soon realised the power these fixed camera angles still had in combination with the pre-rendered backgrounds. Critics at the time, such as Matt Casamassina of IGN, called it “the prettiest, most atmospheric and all-around scariest game [I’ve] ever played.” Similarly, Shane Satterfield of GameSpot, described the remake as “…Capcom finally perfected the art of mixing pre-rendered scenery with ambient animations and polygonal objects and the result is the most visually impressive video game ever released.”

Capcom took what they learned and remade the game in the right way. Players who state that fixed camera angles are “outdated” would go against my opinion. It is another method in the designer’s toolbox to flesh a game out and make it be seen in a way that could not be viewed otherwise. Interestingly though, the original director of Resident Evil, Shinji Mikami, reflected on using fixed camera angles in a documentary on survival horror games with Archipel. He stated that he feels “embarrassed” in hindsight about the use of fixed cameras. He went on to say, “I am still told to this day how good the view of those games were, it made it scarier. To which I say that it was just a workaround. …in Resident Evil 4, the camera is over the shoulder, showing that you can enjoy horror with it being like it’s radio controlled and being more immersive.” While I can understand how he feels, many fans and critics alike agree that Resident Evil 4 itself is nowhere near as scary as the original game, due to how tight the controls are and the bevvy of options available while in combat. The original game, in contrast, has a completely different tone and works better in creating a greater sense of tension and dread. I am aiming to take what these classic games have established and create a game that uses fixed cameras in incredible ways, which show they can still make the player feel uneased and engaged.

Cinematography

I have decided that the three rules to follow when placing each fixed camera in position are:

Make the placement interesting

Some films are horrifying for different reasons. The most common and go-to angle that works beautifully for horror cinema is the Dutch tilt. This technique is normally used to create an unsettling feeling for the viewer, with the optimal way being the creation of a shot that looks off-balance. Other angles, such as a bird’s eye view or the use of low angles, can help to jolt the player into the headspace of the character. However, using techniques like these must suit a particular room or setting well, as the last thing I want to do is to stylise a scene in a way that is not true to the mise en scene or lighting of a room. I do not want players to think about how odd a particular camera angle feels in comparison to the rest of the game. Consistency is key in making fixed cameras feel smooth between each transition. The famous film critic Roger Ebert wrote, in a review of the film Battlefield Earth, that the director, Roger Christian, “…has learned from better films that directors sometimes tilt their cameras, but has not learned why.” This is something I want to avoid especially in comparison to making a game rather than a film. Due to the player being in full control of where they want to go, it is imperative that I do not accidently make the player experience motion sickness or lose their sense of place within a room. The game must feel reliable and in sync with what the cameras are trying to show the player, so it is important not to have too many cameras set up in a way in which they are extremely close to one another, otherwise players will become frustrated.

Frame the shot in a way that feeds the player information

Each shot used in the game will provide the player with the required information. This is important, as the player will want to retain a mental map of each room in the game. By setting up the cameras in such a way that allows the player to figure out their current objective just by entering a new room, it will go a long way in guiding the player comfortably through the level. Initially, important items, such as the beginning weapon the player picks up or the very first key, must be clearly in the frame. The player must be taught about these mechanics first, before testing them in a more obscure format. Even though more interesting and alluring angles will be spread out throughout the level, I must never lose track of what is important. That is, establishing a mood or tone and feeding the player the appropriate amount of information, so that they do not feel lost or aimless. Obviously, I will want certain shots to be set up in a way that will force the player to think outside the box, but these shots need to be set up carefully and paced in a way to ensure they do not suddenly appear. The use of affordance in rooms that house keys or secrets, must be synergised with the fixed cameras, otherwise players will start to interact with anything in a scene and be frustrated when objects, meant for decoration, do not meet the same kind of reward found in more significant mechanics.

Use lighting to highlight important objects

The use of spotlighting makes objects appear more visible. Having objects like these set up in this way, whether they be a mandatory mechanic in the game or a hidden secret used to give the player an advantage, creates a sense of mystery, tension and suspense. Even though the player can see some of what is in view, they will not be able to see all of it. Players’ eyes will try to fill in the gaps of what is missing and usually that is much scarier than what is actually there. At the same time however, it is vital that players are able to see around them, and the use of lighting can help players feel guided whenever they are lost. It is important to keep my fingerprints invisible when guiding the player through each environment, and lighting is a good way of concealing them. Though the use of lighting can be used to warn players about upcoming danger, it can also be used to warn them about items or interactive objects that they may miss otherwise. The use of setting up a framing angle, in tandem with lighting that guides the way, is paramount to keep the player engaged by making them feel that they discovered a secret. This can give rise to a sense of achievement and pride in the player’s mind. However, it is also important to not make them feel too comfortable, otherwise the work that went into creating a sullen atmosphere, may slowly be peeled away. Using the lighting in this way can offer player a brief respite before moving on to the next daring objective.