Aliens: Fireteam Elite
Level: Priority One; Ingress
‘Game design is the act of deciding what a game should be’ (Schell, 2008:XXV) and when looking at a Horror game, it is imperative that you assess against the key themes which run through all horror games. These include isolation, a lack of resources, lighting, certain camera angles, music and anticipating the unexpected. By looking at an array of Horror games which have been well received and those which have been poorly rated, ‘the key attribute for a successful horror game is tension’ (Jones, 2019). Tension is the centre for creating a believable narrative and thereby the tropes of horror must support this within a successful level. The attention to detail used is imperative to being able to tell a story through art.
When planning the perfect horror aesthetic within a game it is important to use light (Potts, 2013). The balance between too much light and too little has an impact on the game player’s experience. Darkness is used to hide monsters, in the Alien game, this is no different. As previously mentioned, suspense and tension needs to be created to forge interest – light is one of the key ways to achieve this. There is a juxtaposition of light in the level between harsh side lights of red and orange which emit feelings of danger, contrasted then with the dark half map layouts. In this level, the light and imagery run parallel with that of the original film design. There are prominent and projected shadows which play on the player’s mind. As well as this, the designers have used uplighting. Uplighting is a prominent tactic in horror films and by doing this when battling the Aliens, it creates a working and moving film-like story board. This creates an image forming narrative one which has inspired other games such as ‘Humiliation.’ Potts (2013) mentions that the use of darkness in games is to ‘exploit our inner child’s fear of the dark to devastating effect,’ this supports how successful the ‘Alien’ game is as it uses the correct amount of light, enough to create an eerie atmosphere but not too little as to make the game unplayable and irritating to the player. Light is also used as a guide to the player, there are often fonts of light near to key information, ammunition refills or interactive props. Light is also used to create realism in battles as fire like sparks of light surround the guns used. By using shooting through elements, the use of light can create drama, panic and low visibility for difficulty to the player.
There are multiple purposes for the various props used in this level. Solarski (2013) states that the ‘pathways within an environment are only one part of dynamic composition.’ This means that props are used to create direction for the player. This is one of the uses found in this level; the props create blocks and clear direction through the level. As well as this, props are used for realism and to develop the environment. In this level, there are storage containers, computers and tanks of chemicals, these are used to enhance the narrative. ‘You should find that the lines of movement communicate a variety of emotions ranging from delicate and dynamic (curved lines); slow and peaceful (straight uprights and horizontals); and aggressive (angular),’ (Solarski, 2013) and this game has used the angular lines of space themed equipment mirror the terror and aggression of the level. In order to create a believable narrative of death, danger and space, the creators need to make the props believable, ‘an architect must understand how to design a shed before he can design a skyscraper’ (Schell, 2008). The use of interactive props create a relationship between the player and the ship which mirrors that of the original Alien story. The main character is relying on the ship for support and messages, this also keeps the interest of the player as the level is not just shooting continuously. Lastly, the props are used as a support to the player as they can use them as a solid object to hide behind when in conflict throughout the level. This is good as they are strategically placed so as not to make the level too hard or too easy. As the level progresses, the amount of cover through props depletes as to make the level increase in difficulty.
Leading to the surroundings, ‘a character’s surroundings are a key part of dynamic composition because the environment normally takes up much of the visual frame’ (Solarski, 2013). We learn that we can only see characters and a story emerge once the characters are dealing with the environment. In this level, we see the main character building up to increasingly stressful situations and confrontations with the Aliens. The sequence of events shows elements of sequential art (McCloud, 1993). This means everything seen throughout the level such as acid burning through the ground, corpses of dead Aliens and broken equipment lead to build a picture of what is going to happen – in this case leading up to a higher contact, high intensity combat situation. The narrow corridors in the level create a close combat feeling. Bends are regular in the level, and this hides the enemy well along with the darkness. As the level draws to a close, the room shape changes into a hexagonal space in which there is more room to battle. The dead enemies do not disappear instantly which thereby creates a more realistic narrative, they do however disappear after some time in order to save memory on the level. Whilst walking through the environment there are refill ammo points placed where there are interactions with the player. ‘Many buildings in the architectural canon are there because they evoke some greater idea or emotion from occupants,’ (Totten, 2019) the interactive props give an element of control and bring the player more into the reality of the game. Solarski (2013) says that the pathways in an environment such as this can be ‘reduced to a system of lines.’ These lines are an organisation of possible movement within the level. We can study ‘how architects conduct space and occupy movement’ (Totten, 2019). This spacial planning helps the player see the relationship between the environment and the purpose of the level. In this level, the character must progress through the ship to meet other key characters by working as a team and killing any enemies along the way.
The creators of this level have used triggers, markers and cues in order to sequence the level and ensure that the level is progressing. Some are based on interaction. Around halfway through the level, the player picks up an ammo pack which then triggers a movement, then sound and arrival of an enemy. This creates a cohesion between the narrative, the level and the activities needed to progress in the level. Some of these triggers are called one-off triggers, meaning that they activate ‘certain key events or sequences which can only be triggered once in the level’ (Totten, 2019). An example of this in the level is where there is a sequence to prepare and defend an area for an upcoming swarm-like ambush. The interactive markers in that area can only be interacted with once and step by step they build the area for the main event. Once this has been triggered and the event has occurred, they cannot be interacted with again. The level has an assortment of triggers throughout – one of which being environmental changes as a character enters the area and the other to push along the plot. Many of the triggers in this level are triggered by the player and are determined by ‘the proximity of the device to the player’ (Epic Games, 2022). An example of this is where the main character goes through the doors to another area. By moving near to the doors, they open. Then, this triggers the next feature of movement, lighting and sounds to progress the level on. These triggers and cues are not just for the cohesion of the level; they also build the believability of the narrative. One of the most successful ways to do this is via lighting and sound. Houze (2019) states that ‘the link between vision and emotional response suggests that game designers have another powerful design material to manipulate along with character, narrative, sound, game mechanic.’ The level has used propagation direction where necessary to show the relationship between light and solid and liquid objects, this is done to project realism. Some inspiration has also been taken from the Chiaroscuro and Tenebrism theory. This shows a direct correlation between light and dark. Their relationship and the use of ‘progressive tones or a yellowish hue are used in art ‘to represent and stimulate the mood (Houze, 2019). The level in many places uses these effectively. At times the darkness can make for some visual difficulties for the main player.
Throughout the level, sound is used to elicit fear and suspense with the player. ‘Sound in horror games works towards eliciting fear and dread’ (Roux-Girard and Grimshaw, 2010). There are constant mechanical clangs and movements hidden within the darkness of the level. This builds toward the narrative of the unknown, linking it directly with the original Alien movies. While moving through the level, sounds follow you as to make your character feel as if they are ‘not alone.’ This is a traditional feature of a horror game and has been used successfully within the level. Sound is also used to form the communications within this level. There is a radio communicator which guides and leads the player to where they need to be, this can be described as an eerie addition to the level. The positive to this is that the character knows clearly what their task is within the level, the negative to this is that those feelings of loneliness which create suspense are to some extent lost. Many of the sound triggers within the level are linked to an immediate outcome such as those when the Aliens are moving or when the weapons are firing or reloading. There are also some events which have been programmed and are defined by a scripted level ‘timeline.’ These are not necessarily triggers but instead are timed within from the start of the level. These are most commonly environmental sounds (sounds are in places looped.) Russell (2012) explains that there are five key purposes for using sound within a game: these include feedback to the player in addition to visual feedback, sound to give the player information about the environment of the game, sound to signify the reward systems within a game, sounds to help with realism and sounds to create ‘mood, pace and background music’ (Russell, 2012). This creates the use of Diegetic Sound within the level. In this level it is all about creating narrative and thereby uses this sound principle.
Overall, this level in the Alien game effectively uses a host of different features including light, sounds, triggers and use of space to create a strong and horror-like narrative. Like many of its predecessors in this gaming genre, this game creates a feeling; a sense of dread and intrigue to ensure a large interest. Historically, these games struggle to get the balance of light, sound and interaction at the correct levels in these types of games. ‘Aliens: Fireteam Elite’ was rated 4 out of 5 stars for this reason. Campbell (2021) rates the game as an overall success stating that ‘Aliens: Fireteam Elite offers glimpses of iconic sights from across the Alien saga.’ However there is room for improvement as Campbell (2021) also states that ‘Aliens: Fireteam Elite forgot all about the importance of safe rooms to mark progress and avoid frustration.’ The consensus of the game and levels are that there are excellent props of weapons, classes and different enemy types, but the caveats are the repetitive scenarios and in places, drawn-out missions.
References
Campbell, K. (2021) Aliens: Fireteam Elite Review. Published Online: Aug 27, 2021. https://www.ign.com/articles/aliens-fireteam-elite-review. [Accessed 27/11/22]
Epic Games. (2022) Trigger devices. Fortnight Creative Documentation, Using Devices, Trigger Devices. Published Online. [Accessed 24/11/22]
Houze, R. (2019) What is the effect of the lighting design process on game aesthetics and its influence on the gaming experience? Published Online. https://www.gamedeveloper.com/design/what-is-the-effect-of-the-lighting-design-process-on-game-aesthetics-and-its-influence-on-the-gaming-experience-. [Accessed 27/11/22]
Jones, D (2019) 7 Essential Ingredients Horror Games Have to Build Tension. Eblog. https://www.gamedeveloper.com/audio/7-essential-ingredients-horror-games-have-to-build-tension. [Accessed 20/11/22]
Potts, D. (2013) The connection between Lighting and Fear Factor in Horror Games. The University of Northumbria. [Accessed 19/11/22]
Roux-Girard, G. and Grimshaw, M. (2010) Listening to Fear: A Study of Sounds in Horror Video Games. Game Sound Technology and Player Interaction: Concepts and Developments. University of Bolton: UK. [Accessed 19/11/22]
Russell, D. (2012) Video Game Audio: Diegesis Theory. Game Design / Sound tagged audio / diegesis / fourth wall / game design / sound. Published Online. http://devmag.org.za/2012/04/19/video-game-audio-diegesis-theory-2/. [Accessed 27/11/22]
McCloud, S. (1993) Understanding Comics: The Invisible Art. New York: William Morrow, an imprint of Harper Collins Publishers. [Accessed 20/11/22]
Totten, C. W. (2019) An Architectural Approach to Level Design, 2nd Edition. Boca Raton: Taylor & Francis, CRC Press. [Accessed 20/11/22]
Schell, J. (2008) The Art of Game Design: A Book of Lenses. Burlington, MA: Morgan Kaufmann Publishers. [Accessed 19/11/22]
Solarski, C. (2013) The Aesthetics of Game Art and Game Design. Published online: January 30 2013. [Accessed 21/11/22]