Lighting as a Phenomenon in Video Games

Introduction:

The important of lighting in videos games shoulder never be underestimated sand it is with that thought I have chosen this subject a s focal point in my essay. The composition of lighting can often go unnoticed consciously, but subconsciously it is one of the most crucial design factors that make use as the audience react accordingly based on how the theme, narrative or genre of the story being told to us. It is evident even in historical and cultural examples how the effect and power of lighting can portray such drastic moods and help develop the atmosphere of a scene of story. It is important to make clear connections between historical and cultural examples to show how they have influenced the effects of lighting in the present and also light is creatively implemented in game design.

Chapter 1- Light as a Phenomenon in Video Games:


Through television, movies and video games, human experiences are more believable because they are from visual interfaces. Realism has become the most visually effective way to immerse an audience. Unlike text, an image can say more about a situation and take less time to experience than reading. Using visual information to express a situation has a greater impact especially where realism is concerned. (King, 2002) Film is a strong example as it can effectively make it's audience react based on the visuals on the screen. Whether it be sound, special effects, acting ability or story, each aspect is combined to bring the audience into an immersive world. As technology has advanced, Video Games have approached similar elements or concepts based around cinematic realism and design. Animation, narrative, sound, graphics and lighting techniques have vastly improved over the years and in result have turned video games into a strong cinematic like experience. The unique benefit with video games however, is instead of watching the action like in a film, you control it. In recent years games have produced more cinematic narratives and situations in which a player is actively part of. (Magy, 2007) The way in which other design elements come together such as graphics, sound and animation etc is what really makes the player immersed. Lighting is a crucial factor in modern game design, as with the latest technology you can produce environments and situations that are incredibly realistic. The right tools and techniques from various programs enable designers to make light behave in the same ways that it does in reality. (Magy, 2007) Therefore making an environment or space seem far more dynamic and atmospheric than it has ever been. Illuminating a space takes considerable time and understanding, especially where genre, theme and emotion are involved. As in movies, lighting is used to convey the events within the movie, such as portraying a character's personality or setting the atmosphere of a scene. Depending on the genre of that movie, the lighting methods and techniques will adapt to express the theme. As within Video Games, lighting can be manipulated to create any sense of emotion or feeling. Utilizing the cinematic techniques from film and implementing them into video games, is an important new development that will bring the realism we feel from movies, into coherent and controllable games. (King, 2002)


Bibliography:


 
King, G. and Kryzywinska, T. (2002) Screenplay Cinema/Video Games/ Interfaces. Wallflower press.

Magy Seif El-Nasr (2007) Game Studies - Dynamic Lighting for Tension in Games. [online] Available at: http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko [Accessed: 13 Feb 2013].

Cultural references

The prospect of light has significant importance in many cultures and traditions. Light as we know it has many different roles in our lives primarily deriving from the sun. It gives us warmth, grows crops for food, provides safety, the power of sight, the ability to produce power and releases natural endorphins in our bodies which makes us feel happier. Through many different cultures, folklore and traditions, the concept of the sun and light is celebrated to give thanks for providing the earth and it's inhabitants. (Franklin, 2002)
  When we consider light and darkness, we refer it to reflect the good and bad in the world. In many traditional stories, evil and fear harness their power through darkness, striking terror into the world. Whereas light banishes darkness, masking shadows and bringing forth safety. In most religions and cultures there is are different types of gods that represent light and darkness, or more specifically the Sun and Night. (Franklin, 2002) Even in old traditions, the concept of light and the sun is frequently positive whereas any associating with darkness is negative. Some mythologies and folklore such as Egyptian, Norse, Greek and Roman have gods or deities that represent the good and bad associated with light and shadow. In Greek mythology the sun god 'Helios' was known to sail across the sky bringing light, warmth and protection to the world. His occurrences in ancient times has been portrayed and celebrated in Greek architecture, pottery and art. (Cotterell, 2012) In Norse mythology, Sól is the goddess of the sun who rides on a chariot pulled by horses. The locks of her hair represent the flames of the sun, illuminating her path as she rides throughout the earth. Old Norwegian folk tales believe that the light from her banished evil hidden in the darkness. One example is that of the traditionally renown Troll, whom turned to stone in the light of day, eliminating his ambition to commit evil deeds. (Cotterell, 2012) Amaterasu, the Japanese goddess of the sun isn't only praised for the bringing of sunshine, but she also represents the light of heaven. She to is known to bring light to the world, tranquility and safety from the heavens. The first Emperor of Japan known as Jimmu was supposedly the direct descendant of Amaterasu. It is believed that Jimmu's inherited power was used to strengthen his armies at war. In Egyptian mythology, the sun god Ra or Re was worshiped for ridding the world of shadows and evil from the caverns of the underworld. He represented dawn as a 'birth', and in ancient eygptian art shows Ra emerging from a lotus, born again, bringing life warmth and light. The god of darkness and night know as Nut or Nu, is often a deity that brought evil and despair. So the concept of Ra emerging, rising in the morning is to represent a rebirth or a 'cleansing' of that evil. (Tyldesley, 2010)

Today, many religions celebrate the sun and the light in a variety of exciting ways. The Midsummer solstice is a common time for celebration across many cultures as this is the time where there is warmth, summer and growth, distant from the cold darkness of winter. It is also a celebration of light and the length of time the sun blesses the summer period. (Franklin, 2002) Diwali is a Hindu celebration of light that derives from a tale that represents good overcoming evil. The festival uses fireworks, bright clothing, lights and coloured decorations to represent the overthrow of evil and the rise of good. Diwali is celebrated near the winter months as it brings warmth and light to a dark season. "Light can make us feel cheerful, warm and safe. Lights are a sign of welcome" (Mead, 2008) This statement from the book highlights how Hindus relate to the spiritual feelings associated with light. Darkness is associated with evil. Shadows, night and darkness conceal the unknown, disable vision, bring coldness and vulnerability, thus generating the feeling of 'fear'. Light illuminates the world we can see, we feel warmth and feel protected or comforted. "Light overcoming darkness is often used a a symbol of good overcoming evil, or knowledge overcoming ignorance" (Mead, 2008) This highlights how traditional cultures or religions emotionally react to the concept of light and darkness. How over thousands of years, light is perceived as good and darkness is known to be bad. Hanukkah is a Jewish celebration where 8 candles are lit over 8 nights to represent a freed Jewish temple condemned by their enemies. The temple lamp burned for 8 days although out of oil, this also connotes how light prevailed over darkness.(Mead, 2008) At Easter, Christians remember the death of Jesus and his resurrection. Some churches take part in vigil which is an event where Christians gather at a church, as first in complete darkness to symbolise the sadness of Jesus's death. Then one candle is lit and passed around the church until has reached every person. The church is then illuminated bright and clear to symbolise the joy in the belief of Jesus's rebirth. This is another example of how light represents good and darkness harbors sadness. (Mead, 2008)

It is interesting to see how over thousands of years the concept of light and darkness are conveyed similarly. Through different cultures and religions, the feelings associated with light and shadow are almost identical. From historical and cultural study, there is firm evidence that light and darkness harbor the same feelings in human psychology. That we perceive light to represent good and darkness to represent evil. It is apparent how this ancient concept is conveyed in popular media such as Film and Video Games. (King, 2002)




Bibliography:

Cotterell, A. and Storm, R. (2012) The Ultimate Encyclopedia of Mythology. Anness Publishing LTD.

Tyldesley, J. (2010) Myths & Legends of Ancient Egypt. Penguin Books LTD.


Franklin, A. (2002). Midsummer: magical celebrations of the summer solstice. St. Paul, Minn, Llewellyn Publications.

Mead, J. (2008) Step Up Religion, How and why do Hindus and Sikhs celebrate Divali?. Evans Brothers Limited.

King, G. and Kryzywinska, T. (2002) Screenplay Cinema/Video Games/ Interfaces. Wallflower press.

Historical references

A lot of influences with lighting techniques in video games derived from historical and cultural examples. In old paintings, plays, movies and even literature, light was an important asset to convey emotion or atmosphere within a scene. For thousands of years the concept of light and dark has been represented in many different art forms. Even from traditional cave man paintings, light and shadow was conveyed  in a variety of ways that usually resembled mythological qualities.(Currell, 2007) Darkness and light were expressed within spiritual beings, demons or other types of entities. It is commonly noticed that the more demonic and evil types of entities appear as 'shadows' whereas the good spirits or gods appear as 'light'. Through the years, the concept of light and shadow paintings developed into a way of story telling. Even in modern times, there are puppet theaters which demonstrate shadow and light into interactive plays. For centuries, shadow theater has been an atmospheric and dynamic form of entertainment. Within using a variety of objects, shapes, materials, textures, colours and light sources, Shadow play was and still is a traditional form of cinematics. ' Shadows can appear elegant, lively, playful or grotesque, mysterious and sinister'(Currell, 2007) This statement highlights how shadows can be manipulated to generate different themes or emotions. With traditional shadow play, this concept was expressed in many cultures that used light to tell emotional stories usually based around folklore or religious tales. The concept of shadow and light as an active theme of story telling inspired many iconic writers, such as Edgar Allan Poe with 'Shadows' and Oscar Wilde 'The Fisherman and His Soul'. (Currell, 2007)
 
Through time, light and shadow became an important element in story telling and captivating audiences. Whether in shadow play or paintings, light was used to set atmosphere and emotion. Van Gogh, a famous artist who expressed the power of light and dark through the application of colour. Darkness was never represented with blacks or greys as we may perceive, but instead with cool blues, purples and greens. Light was shown through warmer tones like yellow, orange or red.  (Mcquillan, 1997) Using colour to convey light made Van Goghs art pieces very emotionally moving. We naturally link colours to emotions or feelings the same as we perceive light or dark. Yellow is a colour associated with light, warmth and comfort, whereas blue is a calming, cool tone that can easily link with shadow.  (Mcquillan, 1997) Combining the way we link emotion to colour makes us able to relate to the light portrayed in paintings on a more coherent level. Giving the light emotional depth through colour application is what many artists used to captivate their audience and set a thoughtful atmosphere.

'Painting with Light' (Alton, 1991), focused on how Film Noir cinema celebrated the fact that they only had light as their primary asset to show atmosphere in a scene. The beauty of black and white cinema, is that lighting can be used in such diverse ways to represent a story without a need for colour imagery. The strong contrasts of light to dark and all methods of lighting properties, such as diffusion and reflection are all accentuated to reveal the theme of a story. "Black and white are colors," (Alton, 1991) this states how the lack of colour technology did not affect the portrayal of a story within classic cinema. Depending on the use of light and how a scene is illuminated is enough strength to represent any aspect of a scene in classic cinema.

For example, Traditional Murder Mystery or Crime movies used particularly heavy lighting methods to portray the intensity of the story, where needed. When we think of Murder or Crime, we perceive it to be evil, dark, curious or suspicious. 

This image is from a scene in Canon City;(Wilbur, 1948) a crime mystery made in 1948. With the theme of 'Crime' in this movie is very well presented through the expression of lighting methods. Using black and white as a helpful tool to build sharp contrasts, this type of genre can be powerful presented if the lighting is correct. Black and white compliment well with harsh lighting techniques and that is why the crime genre can be a very dynamic and atmospheric part of classic Film Noir. For example, the image above shows that of a lady and a man separated by a wire grid. It is evident from the setting that the two characters are in some kind of prison, but it isn't so much the obviousness of the environment, it's how light is used to represent the emotion within that scene. Lighting is being used to convey not only the environment in which the characters are set, but the emotions striking between the two. The lady is very brightly illuminated with little shadow to her figure, whereas the man is practically shrouded in darkness, only with a slight touch of light that we would consider is coming from the lady opposite him. With the particular theme of the story, we can indicate through the clever use of lighting, that this man is the criminal and the lady is someone important to him. If we analyze the picture, we can indicate the lady is innocent by her clear illuminosity, she has no dark imperfections like the man opposite her. He has committed a crime and is therefore enveloped in darkness. However, the soft light on his face is clearly being lit by the lady in front, highlight small facial features. It is as if the lady opposite him has some kind of importance to him, whether relative or loved one, she is framing his face with her innocence. Maybe he isn't such a bad guy after all? 

It is interesting to see how lighting was used significantly more so in classic film, as with the lack of colour came supposed lack of expression. But it is evident from this analysis that it is certainly not a necessary aspect to produce a dynamic atmosphere. Lighting is a crucial part of story telling as it accentuates all elements that are relevant to the genre or theme.


Bibliography:

Currell, D. (2007) Shadow Puppets and Shadow Play. The Crowood Press LTD.

Mcquillan, M. (1997) Van Gogh. Thomas and Hudson LTD.

Park, L. (2012) Cafe Terrace at Night. [image online] Available at: http://leslieparke.com/blog/2012/11/van-goghs-cafe-terrace-at-night/ [Accessed: feburary 14]

Alton, J. (1995). Painting with light. Berkeley, University of California Press.  

Canon City (1948) [film] Colorado: Crane Wilbur.

King, G. and Kryzywinska, T. (2002) Screenplay Cinema/Video Games/ Interfaces. Wallflower press. 

Mirror's Edge references

Light has become a crucial element within video game design over the last decade. It is an asset which can produce visual and emotional immersive experiences. (Magy, S, 2007) As technology has advanced within the video game industry, the way in which light is used has evolved considerably, making it possible to produce realistic environments and emotionally atmospheric experiences. Some games utilize the concept of light as not only a visual or emotional asset, but also as a crucial game play mechanic. How light or shadow is physically used by the player to progress through the events in the narrative.(Magy, S, 2007) The following studies will highlight 4 games that use light and shadow in alternative ways.

Mirrors Edge (DICE, 2008) brought an innovative new structure to the way we play first person shooters. Unlike its other predecessors such as Battlefield (DICE, 2008) and Medal of Honor (DICE, 2010), Mirrors Edge (DICE, 2008) had a new method to represent the FPS genre by using a 'Free Running' concept. The unique genre created a change in how FPS games are usually built and designed. The game has one a variety of prestigious awards for it's innovation in design alongside achievements in unique lighting methods and environment concepts. (DICE.SE, 2008) A standard FPS game would consist of the similar primary components, defensive or offensive missions as well as close quarter combat and limited environmental exploration. The new concept of 'Free Running' created a different style of FPS game play, where the player was no longer constricted from their environment, but now free and able to choose their own path with whatever situation is presented to them. (VanOrd, 2008) The idea of being 'free' or having 'freedom' in Mirrors Edge (DICE, 2008) is a huge primary focus within the aesthetic game design and narrative. The main female protagonist, Faith is known as a 'runner' who delivers and relays important messages across a city. Her duty as a runner is to protect her messages from the outside world, the government and it's officials. Using the city skyscraper rooftops, subway stations and harbors to conceal her actions and make hasty deliveries. The vast environmental design gives Faith the options to choose her own routes of travel as well as methods of escape and counterattack. (DICE, SE, 2008) The variety of constructions, buildings and assets create a diverse playground in which the player has the freedom to make their own decisions when forging a route. The actual game play does not require a weapon to succeed, as the concept of 'escape' and freedom is the most utilized mechanic. Although the game does not punish you for using weapons, it influences you to make efficient and hasty decisions, that create little or no chaos. (VanOrd, 2008)

The way in which light is represent in Mirrors Edge (DICE, 2008) is unique to it's genre and captures an invigorating sense of immersion. The environments are constructed to give players the choice of their exploration and give them the 'freedom' to act as they wish. Whether it is to confront enemies with weapons, or hastily escape, the environment is created to give the player that sense freedom in that world and how they would react in a given situation. (VanOrd, 2008)  To convey the emotion associated with freedom, light is used very innovatively in the environmental design. The landscapes are vast and every structure is bleached with a pure white glow, illuminated by the bright blue sky and scorching sun. As the player primarily plays on top of tall buildings, they are closely connected to the vastness of the sky. Giving the players the pleasure of seeing the entire world and all the areas in which they can explore, produces that true emotion of freedom. (Harper, J, 2012) As previously stated, the human connection with the sun and sky is a spiritual comfort. The sun brings warmth, light and growth, enabling us to feel invigorated and 'free'. (Mead, 2008) The study of these emotions associated with light are used considerably well within designing atmosphere and emotion in the game.  There is little use of darkness in Mirrors Edge (DICE, 2008) as this concept eradicates that sense of being free. Darkness disables sight, disables colour and limits the emotions associated with light. Even in slightly enclosed spaces, there are many methods of lighting shadow that make the environment appear less constricting. In the visual style of the game, it also uses light to represent colour in all scenarios of the game play. (Harper, J, 2012) Areas of interest and importance are highlight in bold colours that are illuminated with specific lighting methods. (Slideshare, 2008) Various techniques such as bounced light, bleeding and transparency are all utilized to produce realistic and visually captivating spaces. (Slideshare, 2008)

Using light to portray atmosphere and generate emotion is a key method when making games more immersive. Although aesthetically the visual style of Mirrors Edge (DICE, 2008) is well constructed with the detailed graphics, the way in which light is physically seen combines and compliments the way in which players become immersed. (Harper, J, 2012) Visually seeing the light and how well it makes the game look is one important element when creating realism in modern games, but where light is used to also generate emotion that compliments that visual style is what really captivates players. Feeling freedom as well as seeing freedom in Mirrors Edge (DICE, 2008) is what makes it so unique and heart warming.




Bibliography:

Magy Seif El-Nasr (2007) Game Studies - Dynamic Lighting for Tension in Games. [online] Available at: http://gamestudies.org/0701/articles/elnasr_niedenthal_knez_almeida_zupko [Accessed: 13 Feb 2013].

EA DICE (2008) Mirrors Edge [video game] Microsoft Xbox 360 and Sony Playstation 3

Dice.se (2008) » Mirror’s Edge. [online] Available at: http://dice.se/games/mirrors-edge/ [Accessed: 13 Feb 2013].

VanOrd, K (2008) Mirror's Edge Review. [online] Available at: http://uk.gamespot.com/mirrors-edge/reviews/mirrors-edge-review-6200863/ [Accessed: 13 Feb 2013].

Mead, J. (2008) Step Up Religion, How and why do Hindus and Sikhs celebrate Divali?. Evans Brothers Limited.

Harper, J. (2012) Game Lens #1: Mirror's Edge - Rocket Chainsaw. [online] Available at: http://www.rocketchainsaw.com.au/game-lens-1-mirrors-edge/ [Accessed: 13 Feb 2013].

Slideshare.net (2010) The Unique Lighting of Mirror's Edge. [online] Available at: http://www.slideshare.net/DICEStudio/henrikgdc09-compat [Accessed: 13 Feb 2013].

Slender References

The Darkness II (2k Games, 2012) is a good example of how video games haven chosen 'darkness' or 'shadow' as a focal concept. Whether to convey a specific theme through aesthetics or to generate a unique game play style. The Darkness II (2k Games, 2012) utilises the concept of 'Darkness' to not only express the visual style of the game, but to also to represent the emotions associated with it. It also uses the theme of darkness to express the core mechanics of the game by using shadow to strengthen your character and so on. In addition to The Darkness II (2k Games, 2012), another similarly themed title known as 'Slender' (Parsec, 2012) also uses shadow to generate atmosphere and produce a unique game play experience. Both The Darkness II  (2k Games, 2012) and Slender (Parsec, 2012) utilise 'shadow' instead of light as a focal point to express the nature and emotion of the game. However, both games use shadow in alternative ways. The Darkness II (2k Games, 2012) uses shadow to strengthen the player, whereas Slender (Parsec, 2012) uses it to weaken.

The concept of 'Slender' (Parsec, 2012) began 3 years before it's initial game release in 2012. It began on a contest thread to produce paranormal photographs using Photo shop skills that would make the images appear realistic. Alongside the photographs, various urban legends and stories were added to the idea of 'Slender' (Parsec, 2012) which became viral all over the Internet (Zander, 2012). Slender (Parsec, 2012) or his name 'Slender man' (Victor Surge, 2009) is a fictional character who is known to be a tall, 'slender' like creature in a black suit, with no facial features and elongated limbs. He is recognised to be an entity that kidnaps children and is often located in areas in which they are known to be. (slendergame, 2012) He conceals himself in shadow and camouflages himself in tall trees so that his victims are unaware of his presence. This tale generated a lot of interest, that many of it's audiences began believing in it's concept and started a scare trend worldwide. (WriterX, 2012) As the stories developed, a famous Youtube channel known as Marble Hornets (Alex Chapin, 2009), began producing and filming scenarios associated with the Slender (Parsec, 2012) legend. It's Blair Witch Project (Haxam Films, 1999) style recording and creditable special effects brought the concept of Slender (Parsec, 2012) to life and in result rapidly began scaring millions of viewers and encouraging their curiosities. It had become the most terrifying fictional legend and through it's popularity, resulted in a new way to frighten it's audience. Making it a into a video game. Throughout the most part of 2012, Slender (Parsec, 2012) had become the scariest game of all time. (hephaetus, 2012) This is because although the game has no real narrative or outstanding graphics, the way in which suspense is conveyed really generates a strong feeling of terror. This is created through the effective use of light and shadow and how it creates atmosphere surrounding the events that unfold in the game. (hephaetus, 2012)

The real power of Slender (Parsec, 2012), is how it conceals the player into a state of the unknown through compelling lighting technique. The game objective forces the player to explore an incredibly dark environment, where you must locate certain items in order to complete the game. Your only asset is that of a flashlight, which is used to guide the player around the puzzling environment and locate the hidden items. (WriterX, 2012) However, over a period of time, the flashlight gradually loses power and your surroundings begin to darken. Within the darkness lurks Slenderman (Victor Surge, 2009), the famously terrifying antagonist which looms closer to your character as you collect the hidden items. In result of your slow progression, Slenderman (Victor Surge, 2009) gradually increases the frequency of his appearances and closes the distance between you both. Without a map or sense of direction, you are left in a state of complete terror, unaware when your foe will appear next and how you hope to evade him. It's very interesting how light and shadow both play particular roles depending on the fear in which the player is experiencing. Your only light source is there to guide you to the hidden items, but is also the only way in which you will actually see your frightening foe. The darkness can also be used for assurance as it conceals your enemy, making it virtually impossible to him. However, keeping to the shadows will only make it difficult to locate the hidden items and although you cannot see Slenderman (Victor Surge, 2009), does not mean he cannot see you.(WriterX, 2012) This terrifying concept of being watched and the unpredictability of the appearances generates a deep immersive experience. The player is entirely in control of their decisions but they have to think fast and sensibly in order to succeed. The fear of the unknown and the inability to comprehend what is the light or the darkness, can become incredibly overwhelming and really grasps the player into a unbearable state of panic. "Lightness versus darkness. The less you know, the more easily you're spooked...When players find that the light levels are falling, the can interpret this as a warning. If they keep on going, they are accepting the challenge of whatever awaits them" (Bartle, R.A, 2004) This quote supports the way in which unpredictability in light and shadow can really alter how we as players realise 'fear'. Using this concept in Slender (Parsec, 2012) is what makes it a truly immersive experience, because not only is the physical appearance of light and shadow terrifying in its visual style, but it is also the way in which players emotionally perceive which of the two harbours the most fear through coherent decision making.


Bibliography:

2K Games (2012) The Darkness [video game] Microsoft Xbox 360 and Sony Playstation 3

Parsec Productions (2012) Slender [video game] PC

Slendernation.forumotion.com (2012) The History of "The Slender Man".. [online] Available at: http://slendernation.forumotion.com/t2753-the-history-of-the-slender-man [Accessed: 6 Feb 2013].

The Slender Man Wiki (2009) Victor Surge. [online] Available at: http://theslenderman.wikia.com/wiki/Victor_Surge [Accessed: 6 Feb 2013].

WriterX (2012) Slender Review - Don't look at him! - AlterGamer| AlterGamer. [online] Available at: http://www.altergamer.com/slender-review/ [Accessed: 6 Feb 2013].

IMDb (2012) Marble Hornets (TV Series 2009– ). [online] Available at: http://www.imdb.com/title/tt1885304/ [Accessed: 6 Feb 2013].

IMDb (1999) The Blair Witch Project (1999). [online] Available at: http://www.imdb.com/title/tt0185937/?ref_=sr_1 [Accessed: 6 Feb 2013].

hephaetus (2012) Slender: Scariest Game of the Year - Mibba. [online] Available at: http://www.mibba.com/Reviews/Game/4840/Slender-Scariest-Game-of-the-Year/ [Accessed: 6 Feb 2013].

slendergame.com (2012) The Legend. [online] Available at: http://slendergame.com/legend.php [Accessed: 6 Feb 2013].

BARTLE, R. A. (2004). Designing virtual worlds. Indianapolis, Ind, New Riders Pub.

The Darkness references.

The Darkness II, Xbox 360 and Playstation 3, 2012, 2K Games


. The Darkness II Lighting

. What is the Darkness?

http://www.youtube.com/watch?v=kDAS7J8HBbc

(Direct video not located. Viewer discretion is advised, above media contains scenes of violence, gore and swearing)

The Darkness II (2K Games, 2012) is an excellent example of how both light and shadow are utilised to accentuate the visual style and game play mechanics. The game follows the story of a character named Jackie Estacado who harbours a negative entity or demon known as 'The Darkness'. Jackie's past lifestyle and experiences rendered him as a lost soul, ruled by sorrow, anger and misfortune. He leads a past of regret and a future of loneliness, the perfect vessel for The Darkness to inhabit. The demon itself calls upon the emotionally weak and offers them the chance to have new strength, new power and a new life, although this proves to become a downfall in the progressing narrative. Jackie Estacado craved The Darkness to give him the strength and freedom to forge a new life for himself, but his choices concluded that although he became stronger, The Darkness is the one who controls him (2kgamesinternational, 2011). Although in the sequel Jackie had managed to maintain stability of The Darkness, new events brought back memories he had hoped to forget. Thus encouraging Jackie to lose himself and succumb to the parasite, enabling him to conquer his new enemies but reverting him back to the demon he once used to be. (2K Games, 2012) It is interesting because although this demon is a physical entity, it almost acts as metaphor for the mental instability of the character. It's as if its expressing his emotional battles with 'The Darkness' demon acting as a visual representation of that suffering. "The story of Jackie's battle with evil forces remains important, but it always comes back to Jenny and his inner conflict, something that's easy to identify and empathise with." (Anthony Gallegos, 2012) This statement supports my understanding of The Darkness as a strong and emotionally captivating story, that adds depth and immersion for the player. Applying such deep feelings in The Darkness II (2K Games, 2012) enables us as the player to connect to the main character in a strong and emotional way. We understand his struggle as an individual and can empathise with the submission to his fate, which encourages the player to condone his actions and play more intensely. The narrative and composition of characters enables players to connect with the game on a deep and emotional level. Making the overall experience incredibly immersive as we are able to relate and understand the given situations. (Anthony Gallegos, 2012)


It is a compelling concept that traditionally represents the feelings associated with light and shadow as good and evil. As previously stated, in many cultures and histories, we associate light to represent good and darkness to represent evil. (Ann Franklin, 2002) This analogy is heavily represented in The Darkness II (2K Games, 2012) to express the concept of the narrative, visual style and character. Within the core mechanics of The Darkness II (2K Games, 2012) light is used to not only highlight areas of importance in the game, but also effect the player in which you control. The main character, Jackie Estacado inhabits a demon that merges itself to it's host like a parasite. This parasite know to be 'The Darkness' thrives and is strengthened when concealed in shadow. If it is exposed to lighter environments or areas, it becomes weak and damaged. This detail is represented when you play as Jackie, especially during action sequences. You have to utilise the darkness in your environment to obtain an upper hand on your foes. Exposing yourself to light will only weaken and lessen your chances of progression within the story. This is a clever concept as not only is light and shadow represented in the visual design, it also plays an important role in the core game play mechanics and the emotional struggle of the main character. (2kgamesinternational, 2011)



Bibliography:


2K Games (2012) The Darkness [video game] Microsoft Xbox 360 and Sony Playstation 3.

2kgamesinternational (2011) What is The Darkness?. [video online] Available at: http://www.youtube.com/watch?v=kDAS7J8HBbc [Accessed: 4th Feburary 2013].

Gallegos, A. (2012) The Darkness II Review. [online] Available at: http://uk.ign.com/articles/2012/02/07/the-darkness-ii-review [Accessed: 5 Feb 2013].

FRANKLIN, A. (2002). Midsummer: magical celebrations of the summer solstice. St. Paul, Minn, Llewellyn Publications.

2kgamesinternational (2011) The Darkness II studio tour - Lighting the Darkness. [video online] Available at: http://www.youtube.com/watch?v=-XLZ0OHhlz8 [Accessed: 4th Feburary 2013].

Splinter Cell references.

Splinter Cell, Xbox, 2001, Ubisoft

Extra features. Behind the scenes.

Building Levels:

"Generally the atmosphere we wanted to create in each map was danger. The object of great level design isn't to make maps that would confuse a player like a maze. Instead we wanted to make the player feel powerful, that means giving them a cool character to play with and the right weapon to use and also giving them the right environment to be a part of. Unlike other games, In Splinter Cell, we wanted the shadow to be a safe territory for the player and bright areas to be the dangerous territory. With small environments we could make the game play much more intense, put the player much closer to the enemies. It let Sam Fisher interact with the light and shadow much more effectively."

Using Light and Shadow:

"Everything in the game world casts a shadow, this means that the player could interact with light and shadow like never before. The can use shadow to hide in and take out enemies by seeing their shadows. We realized that Splinter Cell had a lot of unique elements but we wanted to attract players to the game on a visual basis. We had to get them to pick up the game first before they could discover all the other features."

In the last decade, Video games have changed and evolved in many ways. The continuation of technological development has enabled game designers to achieve realistic and immersive experiences for players. (S.W Hampson, 2012) The most noticeable development is that of graphic capabilities and how they are utilized to bring games to life. Splinter Cell (Ubisoft, 2002) was renowned as the video game which set the benchmark for next generation graphics that used complex and visually stunning lighting effects. (intoxica, 2002) Although there were other games also showcasing strong graphics, Splinter Cell (Ubisoft, 2002) was the first to use lighting as a game play mechanic as well as a visual aesthetic. (IGN, 2003) Using a variety of atmospheric lights, shadows and particle animations, Splinter Cell (Ubisoft, 2002) was able to produce a dynamic and realistic visual. Environments and scenes were illuminated according to the location or mission, which realistically adapted to the different histories or cultures associated with that area. (SplinterCellXbox, 2012) This application of light and shadow brought the game world to life, by producing realistic environments that affected not only the way we see the game, but also the way we play. The core game play mechanic is stealth and this is what influenced the lighting design within the game development. Everything in the game world casts a shadow: From large buildings, small structures or assets and even enemies are identified first through shadow. This lighting method gave players the freedom to interact with light and shadow like never before as they become dependent on it as a visual aid to progress in the game world. (SplinterCellXbox, 2012) Many aspects of the environment were also interactive, whether it's shooting out lights or following the shadow of a moving asset, players are more focused on their surroundings to carve their route to success, which in result made Splinter Cell (Ubisoft, 2002) incredibly immersive. "Instead we wanted to make the player feel powerful, that means giving them a cool character to play with and the right weapon to use and also giving them the right environment to be a part of".(SplinterCellXbox, 2012) This statement highlights the importance of 'power' within the game and how the designers wanted players to feel like they were the most important asset. "Our own mind is the most important piece of equipment in Splinter Cell" (Aaron Boulding, 2002) This also highlights the importance of the player and how they are encouraged to feel like the core of the game play. It also adds a sense of freedom for the player to make their own decisions and utilize the given information as they deem fit in order to proceed. 

It is interesting because traditionally in many aspects of history, darkness represents danger and light represents safety (Anna Franklin, 2002). In Splinter Cell (Ubisoft, 2002), it's entirely the opposite as players are influenced to fear and avoid light at whatever cost. This is because light makes you vulnerable to enemies, easier to see and easier to eliminate. Shadow is used to hide the character from the danger within the game which interestingly turns the player into what we most, the 'unknown', thus generating a sense of power and dominion over foes in the game. "With small environments we could make the game play much more intense, put the player much closer to the enemies. It let Sam Fisher interact with the light and shadow much more effectively."(SplinterCellXbox, 2012) This statement supports my knowledge of how light and shadow is used and manipulated in the core game play mechanic of Splinter Cell. (Ubisoft, 2002)

Making a game in which you have to utilise the environment is an important key for player immersion. Specifically with Splinter Cell (Ubisoft, 2002), giving the player the ability to manipulate light around you and use it to your advantage, really adds that sense of 'control' and power. (SplinterCellXbox, 2012) Being in control of the way you play games actively increases the rate of immersion, as you are more able to act and react on your own instincts, making you the most important factor of the game. (SplinterCellXbox, 2012)




Bibliography:

Ubisoft (2002) Splinter Cell [video game] Microsoft Xbox

Hampson, S. (2012) The Evolution of Video Game Graphics: The Steps That Shaped the Way We Play.. [online] Available at: http://voices.yahoo.com/the-evolution-video-game-graphics-steps-that-11866260.html [Accessed: 5 Feb 2013].

intoxica (2002) The History of Splinter Cell. [online] Available at: N4g.com (2002) The History of Splinter Cell | N4G. [online] Available at: http://n4g.com/news/530086/the-history-of-splinter-cell [Accessed: 5 Feb 2013]. [Accessed: 5 Feb 2013].

IGN (2002) Best of 2002: Graphics - IGN. [online] Available at: http://uk.ign.com/articles/2003/01/14/best-of-2002-graphics [Accessed: 5 Feb 2013].

SplinterCellXbox (2012) Splinter Cell Stealth Action Redefined - Behind The Scenes - Using Light and Shadow. [video online] Available at: http://www.youtube.com/watch?feature=player_embedded&v=CvBRfS8TiCk [Accessed: 4th Feburary 2013].

Boulding, A. (2002) Splinter Cell Review. [online] Available at: http://uk.ign.com/articles/2002/11/18/splinter-cell-review [Accessed: 5 Feb 2013].

SplinterCellXbox (2012) Splinter Cell Stealth Action Redefined - Behind The Scenes - Building Levels. [video online] Available at: http://www.youtube.com/watch?feature=player_embedded&v=oz2UmbpZG50 [Accessed: 4th Feburary 2013].

FRANKLIN, A. (2002). Midsummer: magical celebrations of the summer solstice. St. Paul, Minn, Llewellyn Publications. 

Book references and quotes.

Designing Virtual Worlds

Richard A.Bartle

2004 New Riders Publishing

Chapter 7, page 648, Towards a Critical Aesthetic

"Lightness versus darkness. The less you know, the more easily you're spooked. The same applies to other sensory information that the virtual world supplies: Sudden silence is also spooky. When players find that the light levels are falling, the can interpret this as a warning. If they keep on going, they are accepting the challenge of whatever awaits them. If they see light at the end of the tunnel, it tells them their ordeals are nearing their end.

Chapter 7, page 647, Towards a Critical Aesthetic

"Atmosphere is the means by which designers influence players' moods. It can be active (for example, it tells the players they are in danger), passive (for example, it puts players at ease), or interactive (conducive to exploitation by players). Atmosphere is used to:

. Signal the start or end of an action sequence
. Signal a breathing space during an action sequence
. Throw plaers off their guard, ready for a big surprise
. Warn or encourage players
. Reward or punish players
. Hint at what is to come
. Facilitate various social activities
. Make a philosopical or ehtical point. (this may or may not be in combination with any of the above.)"