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Review: Half-Life 2
- Title: Half-Life 2
- Developer: Valve
- Publisher: Vivendi Universal Games
- Reviewer: Zonk
- Score: 9/10
With all those caveats out of the way, Half-Life 2 is an incredibly impressive experience. In playing the game you step again into the role of Gordon Freeman, a scientist who originally worked at the Black Mesa facility. The first chapter of the game finds you arriving via train in the dystopian atmosphere of City 17, a ramshackle series of buildings raised from the remains of a now mostly destroyed civilization. A mysterious organization known as the Combine exerts control through police forces and alien troops. Via televised transmissions the citizenry is controlled mentally, spiritually, and even reproductively. From the first moment you enter the game Valve does an excellent job of imposing a sense of despair and barely contained anger rippling within the populace of City 17. What we are not imparted with is a sense of what has happened to Freeman since the events of the previous game. While clues are unearthed during the course of the game as to what has occurred, there are no firm answers to the many questions players are likely to have. With confirmation already in the news that Valve has begun work on Half-Life 3, the impression that you're left with is that this only part of a larger story. The story stands well on its own, but don't expect to come away from the game with all your questions resolved.
The new graphics engine that Valve created for their second game, Source, is an incredible achievement. The level of detail in the game is nothing short of breathtaking. From the reflectivity of water and tile flooring to the incredible facial animations, the game engine places Gordon Freeman directly into the world and makes exploration a joy. One of the best moments of the early game comes in a lobby. You emerge from the depths of the train station and face one last room before the freedom of open air. It is dusty and decrepit, filled with lost souls looking for nourishment rations handed out by inhuman robotic servants. Light pours into the room from windows set high in the external wall, and these amazing shafts of light fill the room. Motes float inside the light beams, lending an almost reverential air to what is essentially a ruin.
The physics of the game are wonderful to behold as well. The tech demo at E3 last year was quite an eye opener, and Valve allows you several opportunities to enjoy the physicality of the Half-Life world. At two points in the game you take control of vehicles. The wildness of the bouncing white knuckle ride you get with the airboat and dune buggy make for memorable gaming moments. The airboat in particular makes for excellent visuals as you speed across the water in a series of canals, ripples and waves speeding away from your craft and beautiful splashes marking where you hit the water after a jump. The gravity gun displayed in the tech demo is indeed as much fun to use as it is to watch. The weapon allows you to snatch objects from distances and launch them as projectiles. While the uses of the gun are usually more practical than some of the opportunities shown in the tech demo (the number of saw blades lying around in Ravenholme is kind of disturbing), there are a number of creative opportunities scattered periodically throughout the game. Beyond the vehicles and the gravity gun, there are constant reminders of the physics underpinning the game, as enemies push objects aside rushing at you and heavy objects swing like deadly pendulums through obstacles and crush opponents.
Once you step outside the door of the train station, your moments to stop and enjoy the beauty of your surroundings are few and far between. Almost immediately you as Gordon are connected up with the Underground Railroad, populated with peoples not willing to submit peacefully to the Combine. You reconnect with old friends from the previous game and after an experiment accident, you find yourself on the run from Combine forces. The instant the crowbar returns to your hands is truly a sweet moment. From there you move through the urban landscape of City 17, hop an airboat to duke it out with Combine troops in flooded waterways, and explore the Lovecraftian ruins of a small town inhabited by alien hunters and a mad priest. The game keeps you engaged with a constantly changing backdrop of locations and a series of pretty memorable characters. I was particularly impressed by the voice actors, all of whom do an excellent job of getting across what their characters are about. Each of the non-player characters has a nice moment to talk to you and make an impression. Dr. Vance's daughter Alyx is actually the one who introduces you to the gravity gun, and the quirky time spent with her may be the funniest, best written part of the game.
The visuals in the game are astounding, but the auditory experience is fairly impressive as well. The musical moments in the game are few and far between, and are used to accentuate tense or impressive moments. The music tends towards electronic stings and they raise your heart rate by a good deal when they're used. The sound effects range from pretty standard clinks and clunks to the viscerally gripping howls of stalking predators. The atmosphere in the town of Ravenholme, where the predators live, is phenomenally creepy all around, and is conjured by the pervasive sound environment. The weapon sound effects are all very competently executed, with the satisfying blast of the revolver being a personal favorite.
Overall, the game is an incredible accomplishment. Valve has done an excellent job living up to the expectations their first title has prompted in the gaming community. The lack of closure in the game's story is the only real flaw in the plot, which otherwise provides excellent motivation to keep moving and find out what will happen next. Gameplay elements stay true to the previous game, providing action and some simple puzzle solving moments. The visuals and physics of the Source engine make for a beautiful and interactive world to move through. The deep audio environment keeps the player rooted in the moment, while the excellent voice acting makes the non-player characters come to life. The collaboration of individuals who created Half-Life 2 has proven again why video games are a unique art form. I heartily recommend it to anyone who enjoys first person shooters, horror and suspense, or engaging storylines.
This is taken from my blog, but I felt it was thorough/pertinent enough to post here.
So I finished Half Life 2. Ironically, I never actually completed the original, but I've been excited just like any other gamer over these past few months about what the six-year-development cycle has done for the game in question.
How has this gestation period treated the game? Very well. It seems that two things are apparent to me as I made my way through the connected, fluid universe of Half Life 2:
One: Valve are masters of atmosphere. While Doom 3 had its moments, it was mainly atmosphere in the form of no atmosphere. The lack of a true outdoor environment (albeit a small one with high rock ledges around and a fast-moving sky) prevented it from truly sinking in the idea that this is a living breathing world and more of a series of spooky outposts.
Half Life 2, on the other hand, truly delivered in the atmosphere environment. Everything is as it shouldn't be, which is to say totalitarian and controlled, from the first moment of the game you are subjected to the mindless droning of the Omnipresent Master along with the suddle and barking tones of the Military Component. It's enough to make you creeped out. And in a good way. Not in a Monster Closet (my code name for Doom 3) way.
Two: The female character of Alex was masterfully done. Never have I truly cared for, nor even felt better just being in the presence of, such a character before. She brought a calming effect that is truly unmatched by any other thing in the game.
I believe I have noticed something of First Person Shooters here recently, something that I was speaking with my friend Jon about. I call it the Waking Nightmare syndrome. There is a level of stress that the latest FPS's put on you by taking as much control and normalcy away from you. Whether this be Monster Closets (regarding both the mechanic of "boo scares" with doors and the game Doom 3 itself), or spooky towns filled with baddies or buggy rides through the open (and dangerous) road, these games want you on edge.
And frankly, this type of gaming is scary and nerve-wracking. It makes me not want to play.
Yet, it does want me to play. But the difference is in the amount of which I can take at any given time. With Doom 3, I honestly just stopped playing it. There reached a point where I realized that the game had determented into Monster Closets, where you would either pass a locker and it would shoot out a monster, or one would simply crawl out after you passed to sneak up on you soon after. Either way, it got to be distracting, formulaic, and yes, even a bit scary. But not creepy scary, like those really good Japanese horror movies. In fact, it never reached horror. It reached scary, and that's nowhere near horror.
Now Half Life 2, on the other hand, reached something very close to horror, but never quite got there. It presented a world out of control, yet the way that world came to be was never explained, even in the very beautiful and psycho-centric last levels. Now that would be true horror, the ability to build this world then show the awful unmaking of the world you were used to.
I would also like to note that the finale was grand, but the ending was awful. Fine, Valve, you didn't want to "end" it by any Movie Sense. But we basically just played through one, albeit in a first person point of view, yet you gave us a Kubrick-like (or Twilight Zone) one and expected us to enjoy it. Amused, yes. Enjoyed, no.
Regardless, it is highly recommended. The game, when it works, even in Waking Nightmare style, is beautiful stuff. There are plenty of levels, locations, and characters that make the trip worth it. I believe the bonds between the characters of Barney, Alex, and the rest were established well, but I do hope that next time they spend more time working on those bonds (or perhaps putting the co-stars in real danger, you know the kind that kills people) and actually -gasp- mak
I mean, you've got this freakin' gun that can telekinetically heft and fling oil drums over great distances, but you've still gotta worry about flashlight batteries?
Flashback 20 years: You mean you have a walkman that can carry 10,000 songs, has as much file storage as 1000PCs, can sychronize contact information, plays games, has an LCD screen, all in a package the size of a deck of cards, and you still gotta worry about the battery wearing out in 8 hours!
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actually that patch has already been released, but not by Valve.
Snowden and Manning are heroes.
Since when is a 2.7GHz laptop a "lower end machine"?
I understand the lack of substantial video card bein an issue, but most of the peple I know are running sub-1GHz machines....
Stewey
There are 10 kinds of people in the world. Those who understand binary and those who don't.
Every now and then, unfortunately not very often, my cynical nature is let down when something long awaited leads not to major disappointment, but to actual satisfaction. Is the game perfect? Nope. But it's a damn fine piece of work.
The environments are pretty and crisp, and, in contrast to Doom3, generally well lit. That's actually an interesting point. The game manages to convey a sense of suspense and terror without resorting to the total darkness that consumed much of Doom3. This is done effectively enough that it makes the darkness of Doom3 seem to like a cheap ploy, like the Doom3 level designers couldn't do suspense without total darkness.
The Airboat scene is a great example of what's done very very well in the game: excellent gameplay fun, and excellent eye candy. It's intense, it gradually gets more and more challenging.
One thing that I didn't like was how the non-character NPC's are handled, specifically the members of your "squad" in the final levels. In several places I had a great shot at the bad guys, but was denied an actual shot because of an NPC in the way. On the other hand, unlike similar situations in Halo (for example), the NPC's don't cause damage if they shoot you in the back. It's balanced, I just don't like it, and I don't have any suggestions to make it better.
The ending was something of a downer for it's lack of resolution. But that's fine, it makes me look forward to (1) playing through again, (2) looking forward to the inevitable expansion packs, and (3) Half-Life 3. Saying the game is terrible because it lacked resolution at the end is done by those who would have complained between installments of the Lord of the Rings trilogy. It's not a complete series, it's part of a longer story.
There are a few interesting side-stories that could be done as expansion packs later. Bear in mind that the two original Half-Life expansions, Opposing Force and Blue Shift, occurred concurrently with Gordon's original escapades through Black Mesa. There are a lot of other events going on while Gordon's doing his thing, so it'll be fascinating to see how the expansions go.
Thanks. That's the first interesting thing I've heard during the past week. I can tolerate software activation in the case of a title as strong as HL2, but anything that regularly phones home (or even tries to) is a dealbreaker for me and others.
What Valve really needed to do to defuse some of this antipathy was write a "Steam FAQ for People Who Hate Steam" (aka "for people who hate spyware" - because "online content distribution system" are pretty much synonymous with spyware these days).
As long as I'm dreaming in technicolor, the "Steam FAQ For People Who Hate Steam" should outline exactly what Steam does and doesn't do, how it's architected, the relationship between the Steam .exe, the game .DLL/.GCF, and the rest of your drive, and define in CompSci terms, what "online mode", "offline mode", "remember", "backup", "encrypt", "unlock", and "purchase" mean, and how they differ from each other.
No marketing person ("Steam means you never have to remember where you put the CD! And you can use it to preload 6 gigabytes of encrypted/locked Valve stuff onto your friend's computer if you want to play at his house! Just don't be anywhere near him when he finds out you've busted his bandwidth cap! Buy anything we have to sell with a single mouse click, because your credit card's registered with us! And we'll pop up new and exciting information about new and exciting CONTENT through the Steam Netwurk!") should be allowed anywhere near the technical people writing the FAQ.
Maybe you just dont see it. Or maybe I have an overactive imagination. Either way, I think HL2 is different from other games. All FPS games move you from point A to B, but the way they convey the story is different from HL2. HL2 lets you play the entire epic and make it your own story whereas other games tell you the story then set you on an objective.
Yeah, this really sucks for people who enjoy speedrunning. There were a lot of impressive tricks that could be used in the first Half-Life to breeze through a level.
Great response.
Even if, technically, the 3d engine is less complex than Doom 3, it adds much more to the game than Doom 3 ever did.
That's the first thing I noticed playing the game the night it was released (ohhh school suffered greatly the day after). Doom 3 tried to generate atmosphere through the lack of light and the monster placement that was obviously designed to scare you. After a while it degenerated into one big black scare job to me, and wasn't very interesting as a result.
On the other hand, I felt that HL2 did an awesome job of generating atmosphere, without the darkness. That last part was especially interesting to notice. When was the last time you were scared in a computer game while in broad daylight? Or in a peaceful zone? And to continue onto gameplay, when was the last time you had an idea of killing an enemy in the middle of a firefight, and that creative idea that would've been impossible in older games simply worked? Yes, I'm talking about the physics engine, and I haven't seen gameplay this varied since wielding a cursed blanket in NetHack.
I'm willing to sacrifice bump mapping everywhere for the ability to throw bladed flying machines at enemies.
What hacks me off about HL2, besides all the bugs that is, is the fact that after making you install all the crap off the DVD and authenticate using a cd key and using Steam the steam pile of shit still insists on you having the DVD inserted.
How is it when record companies try considerably less Draconian anti-copy systems (the borked CDs from Sony for instance) slashdotters are up in arms: but when Valve comes up with a control system that would make Joe Staling blush you clamber over each other to get stuck up the arse by them?
Yeah I know, flamebait: but I'm right (and have Karma to burn).
Bad analogies are like waxing a monkey with a rainbow.