The demo for F.E.A.R. 2: Project Origin was released yesterday and though I enjoy it for a variety of reasons there’s one element that stands out, something I’d not expected.
Due to either a design decision or a bug (regardless of which, the fan reaction means it may well be changed) it’s impossible to play in fullscreen on a monitor with a 4:3 or 16:10 aspect ratio. The game is locked to 16:9 resulting in a letterbox effect on my monitor, with black bars taking up the top and bottom sixths of the screen. Curiously I never actually noticed this consciously until at least five minutes into the demo, and even then I never found it to be a significant problem, in fact the exact opposite.
This letterboxing together with the Metroid Prime style “on-visor” HUD combined to focus my attention into the centre of the screen and triggered a mild sense of claustrophobia; akin to wearing a full face helmet. In hindsight it seemed to act a lot like the vignetting effect Valve implemented in Left 4 Dead. Together these two sensations greatly increased the tension of the scripted horror sequences.
Corvus Elrod has spoken about the limitations of the first person perspective and how it is hardly a realistic representation of the way we see the world. I agree with his assessment, the current method used for first person cameras is inherently limited and unrealistic. However I see this a major part of its success and appeal. The restricted field of view makes for an increased level of tension.
It’s commonly accepted that what you don’t see is more frightening that what you do, and with such restricted vision there’s a lot you cannot see. This lack of information regarding what you are facing, and where it is in relation to you, can lead to an enjoyable unpleasant experience. It should come as no surprise that the game which popularised the first person perspective, Doom, is one often praised for its ability to provoke scares.
I’m surprised there are not more games that make use of the potential of the first person perspective to create compellingly tense or frightening experiences. Call of Cthulhu: Dark Corners of the Earth is one of the rare exceptions, it’s use of a limited first person perspective is responsible for one of the most memorably frightening moments I’ve had in any game. During an investigation of the Marsh Refinery in the town of Innsmouth I found myself being pursued and then directly chased by a Shoggoth. As it bore down on me, squeezing its bulk through the corridor I needed to keep moving forward, closing and bolting doors behind me in an attempt to slow it’s progress. Though I was fascinated by the concept of the Shoggoth and how it would be depicted in motion I never once turned around. If I had stopped to look I wouldn’t have been able to get away before it caught me; so I never stopped. I was compelling to keep moving forward.
In my head the descriptions I had read of the creature and the faint blurred glimpses I had caught of it earlier – when my wavering sanity permitted – caused me to form a horrific image of what was bare feet away, ready to devour me if I slowed for even a moment.
The very fact I couldn’t see what form the Shoggoth had taken and exactly how close it was meant I was constantly on edge. A greater freedom to manipulate the camera or a wider field of view would have lessened that tunnel vision like sense of focus and allowed the less horrific reality of the situation to disperse and release the vice like grip the game had on me for those moments.
Even outside of the horror genre the tension that can be evoked by restricting the camera is a powerful tool. I’ve talked before about how I feel Mirror’s Edge is at it’s best when you are being chased. A big part of that is the inherent restrictions of the first person camera. You cannot see what is chasing you and that leaves your imagination free to make up all sorts of terrible threats that may or may not be accurate. A third person camera for these sections might have served to make the navigation and jumping themselves easier but would also have increased the likelihood of catching a glimpse of your pursuers, taking away that sense of tension.
That very sense of not being fully informed about the threats that surround you is at the core of good horror games. The shape in the shadows you can’t quite make out, that sound of undeterminable source; tension, suspense, fear, rely on not having complete information.
Knowledge is power and only when we are powerless can we feel truly frightened or horrified.