Sound in particular plays a huge role in this. We also did this in many other ways in other parts of the chapter. Not only did we expand it into a fully 3D, beautiful backdrop, we also expanded it into part of the larger world by having the structures in the distance destroyed via airstrike – a memorable scene in and of itself which helps to break the player’s bubble and show them that things aren’t just going badly for him, there’s stuff going on absolutely everywhere else too. In the original this was just a simple 2D painted background which was really, really limited. A great example of this is the cliffside vista on the map C2A5C, which anyone vaguely familiar with Black Mesa will probably able to recall. I think it is fairly indisputable that our version breaks the claustrophobia far more than the original does. For Black Mesa, the larger scope of the Source engine allowed us to take those outdoor areas and make them feel like they are part of a really large world in the middle of a New Mexico desert. It all feels very closed off, quite repetitive, and featureless overall – and is mostly memorable for its really great use of set pieces and story development. When you play the original Half-Life 1 Surface Tension nowadays, it doesn’t quite live up to that goal stated in Raising the Bar. Surface Tension is one such chapter which showcases this process of reinterpretation. Our artistic aim with the entirety of Black Mesa was to expand on the original masterpiece in ways which were simply not possible at the time due to the technology, as well as putting our own unique flair and artistry on it. Did you play the original feel of the chapter straight, or did you innovate it with your own reinterpretation? If so, can you tell us what your artistic aim was? Here is the whole interview with some additional pictures.Īccording to Raising the Bar, Surface Tension was designed to pop that claustrophobia bubble developed through the game and to show that things aren’t that nicer on the surface.
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