Dyack Promises "Dynamic, Intelligent Camera" For Too Human

Illustration for article titled Dyack Promises Dynamic, Intelligent Camera For Too Human

Look who's writing a column in the recently-revamped Edge Online! It's Silicon Knights' Denis Dyack, and he's talking about cut scenes. That's been sort of a hot-button issue lately, hasn't it? On one hand, it's difficult to tell a story without cut scenes. On the other hand, they fly in the face of a video game's ultimate goal: interactivity. Dyack recognizes this dichotomy, and says that cut scenes in themselves are not a problem, but rather his fellow designers have implemented them poorly:

Over the last five to ten years, so many games have been released where cut scenes are absolutely meaningless. They don't contribute to the content and don't contribute to the characters. They're almost like some kind of reward for completing the level, and that makes absolutely no sense. As game designers we have to go beyond that. Cut scenes have to contribute to the game. That's a really good rule for people to follow. And it shows you that the classics, well, we still have a lot to learn from the classics.


So what will he do about cut scenes in his Too Human?

Too Human will have cut scenes, but I think that we've managed to blur the line between what people would consider a cut scene and what people consider in-game. See, part of the reason we as designers want to use cut scenes is because it allows us to be cinematographers, and that's fine. But in-game, Too Human will use a dynamic, intelligent camera system that presents the in-game in a more cinematic light, at the same time being conducive to good gameplay.


Seems to me that's the logical goal, given both the advantages and disadvantages of cut scenes. And I'd guess that most of the games we've got these days that use cut scenes badly were actually an attempt to do them well. Easy to say, hard to do? Denis Dyack Writes for Edge [Edge Online]

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Something like this was an integral discussion over Metal Gear Solid.

- offer dynamics

- reward the player

- give the viewer an emphasis of the scenario

- while keeping its audience interested to keep playing

Gears of War also tried out this design. But it missed something, Gears 1 may not have had a critical push, its charm though won many over. Plus its something to study, what type of audience they are developing content for, and why it will make them enjoy it as entertainment.

But taking into accord just how dynamic a piece of theater, as in contrast with a game. Would that set piece motivate someone further, or does it stop after the credits?

Another title to note, is Prince of Persia - Warrior Within. A catalyst surrounding its "change" was Ninja Gaiden. Something bold, fierce, darker, more mature. Whereas "Sands" was greeted to new players, no matter their viewpoint it felt like a storybook experience. But with Warrior Within, it took a darker turn because it needed the viewer to realize that its character had to face more of the world, as an outsider walking to take him over.

*With Two Thrones, he's come to realize after 7 years, his journey is complete. But the other echo of himself wants more power, thirsting for everything he obtains, but also control.

I felt for that type of story, and even now for Ninja Gaiden II. There is still the time to deliver storytelling, amiss the context of the in-game world is trying to say. Prove yourself, change the character, become someone heroic, or evil. Defy everything you've done from the beginning, yet strive to do what's right.

Isn't that what life is?