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With The Sims
theAntiELVIS explores the wild and wacky world that is Will Wright's The Sims,
asking the inevitable quesiton, "is The Sims the first step toward a virtual
life where everyone is Swedish?"
Josh Vasquez on Omikron: The Nomad Soul.
Check out our newest comic strip, Real Life! Updated daily!
Hey Half-Life fans! Looking for some good reads? Check out Valve designer Harry Teasley's guest editorial, our review of Half-Life, or our interview with Marc Laidlaw!
George Romero. I'd say we're pretty much evenly half classic
horror, being the horror that started in the 60's and 70's,
and half pulp fiction and film noir of the 1930's. I couldn't
say which of the two had more input than the other. They're
The work in
the opening cinematic: how did you chose that style?
Very Lovecraftian, don't you think? (102k).
That's actually the cinematographer who we brought in to
do our cameras. It was mostly him. We just decided we wanted
him to do it.
Yeah how that came out, his name is Peter Besson, and he's
a German bastard! He's really good. He's the director of
short, great cinema. He's an up and coming filmmaker. We
had contracted him to do the promotional AVI's, we had like
a 4-part movie that we released about 1 month apart leading
up to the release of Nocturne. And it kind of introduced
the characters – I don't know if you saw those...
The fourth one, well we were just like, wahh! The fourth
AVI came out around launch time, we had loved all the pure
cinema shots that he had done, and it kind of tied everything
together, because we had a completely different type of
intro for Nocturne at one point and we just decided that
that kind of relayed some of the horror and the drama and
the suspense and whatnot that you get playing Nocturne,
without just loading you off with a bunch of pretty cinematics
and crap at the beginning. We really don't see the benefit
in spending 6 months and using 2 or 3 art guys to make these
great cinematics if we can convey the same kind of message
with using some really innovative and cool cinematography.
And that's what Peter was able to provide to us. He was
kind of a blessing in disguise. That was one of the few
things that really fell into our laps at the end. It was
like, “Oh there it is!” Unlike any of the design
or anything like that.
So you kind
of sent him off and he came back with what you wanted before
you knew what you wanted?
More concept art (85k).
Yeah. Well he came back with a completely different view
than anyone – even if we had made a cinematic that
was exactly the same type of thing in-game, it would have
looked different and it would have taken us a long time
to put together. I don't know if we would have approached
it the way that he did because he's the director. He's a
filmmaker. And none of us claim to be a filmmaker less than
others, though other than in our own inactive style, we
are making cinema. Cinematic experience.
They're calling it Machinima.
back to talking about the Blair Witch. One of the things
that really affected me in the Blair Witch movie was that
I never saw anything. I know that was done on purpose, but
are you going to try and recapture that element in the game?
Obviously you're going to have new monsters.
There are things that you won't see. A lot of the stuff,
especially early on, you don't see the actual creatures
that are occupying the woods. You will see a lot of artifacts.