A major goal in any game is to create the
illusion of reality, a fact that is especially
true for first-person shooters. The whole
point of the genre is to put you, literally, in
the role of the protagonist. In light of this,
it's surprising that so many games have
stuck to a blueprint that breaks the illusion
at every possible opportunity, with
text-based mission briefings, jarring level
transitions, and weapons and power-ups
scattered around like decorative furniture.
But Valve Software has obviously spent a
lot of time studying the mistakes of the
past. The result is Half-Life, the closest
thing to a revolutionary step the genre has
ever taken. Through a series of subtle and
artistic design decisions, Half-Life creates
a reality that is self-contained, believable,
and thoroughly engaging. And while it may
be surprising that no game has utilized
any of these ideas in the past, it's clear
that any future shooter will be remiss to
overlook them.

The plot of the game is typical (in fact, it's
little more than an elaborate version of
Doom). You are Gordon Freeman,
scientist at the Black Mesa Research
Facility, involved in some mysterious
experiments. These experiments go awry,
and foul creatures begin taking over the
complex. It gets more complicated, but
there's no need to ruin the surprises that
await. Suffice it to say that Half-Life isn't a great game
because of its story; it's a great game because of how it
presents that story. From the opening moments of the game
to the final showdown (and even beyond) all hell is continually
breaking loose, and there is never a moment where you are
not seeing things through Freeman's eyes. There are scripted
events in the game. There are opening and closing scenes.
But they all occur naturally within the game environment. It may
sound simple, but it goes a long way toward helping create a
believable world.

Weapon, ammunition, and health placement follows the same
philosophy. You'll hardly ever come across an item that is just
bobbing and spinning in place like some gift from the
heavens. Valve has done a good job of justifying the typical
health and armor meters. Freeman is wearing a hazard suit,
used by researchers involved in dangerous experiments. To
regain health and armor energy, you must fill up at power
stations. These are almost always located in logical places,
usually near areas where dangerous work would be
performed. There are no power-ups to be found. Weapons
and ammo are taken from supply closets or the corpses of
fallen security guards and soldiers. Even the more
experimental weapons have their proper place - in the
weapons research department of the facility. And late in the
game, once you've left the research facility, the supply of
ammo and first aid kits is believably scarce.

There are no levels in Half-Life, or, more specifically, it lacks
the concept of levels and episodes we've come to expect.
The game is a continual stream of locations from beginning to
end. You can move back and forth at will (with only a few
exceptions), as can those who are pursuing you. And though
the brief loading time between zones is the one artifact that
breaks the flow of the game, the transitions are thankfully
brief.

The attention to detail doesn't just stop with the basic
structure. The game is full of surprises, continually throwing
new obstacles and challenges in your path. There is a wide
variety of textures, lending a distinct look to every area. The
numerous scripted events bolster the illusion of reality, and
you'll come across detailed scenes that are continually
suspenseful. The gameplay is very puzzle-oriented, but the
puzzles hardly seem to be superficial obstacles. Whether
you're repairing a reactor or finding some way to dispose of a
massive locked door, the puzzles always seem plausible in
the world Valve has created.

The alien enemies are well designed and occasionally border
on the terrifying. From the basic headcrab (which resembles a
cross between Alien's facehugger and X-COM Apocalypse's
brainsucker) to monstrosities a hundred times its size, the
enemies truly look like organic beings. There are human
enemies in the game, and these display a level of artificial
intelligence that is remarkable. While many a game's idea of
excellent AI is simply monsters that can make it through a
doorway to follow you, Half-Life's antagonists act in a manner
that is frighteningly realistic. They won't follow you through a
doorway - they'll just lob a few grenades to where you're
hiding and be done with it.

The weapons look and sound great, ranging from the realistic
combat shotguns and grenade launchers, to the
science-fictional, high-powered particle accelerators. The
level design is diverse (owing a nod of thanks to Jedi Knight),
including the expansive research facility, some great outdoor
areas, and foreign locales that are best left to be discovered
on your own. Suffice to say, it never gets repetitive.

The only problems with Half-Life are the results of it being so
ambitious. The fact that all of the humans in the game look like
clones takes from the otherwise realistic atmosphere. The
diversity of the levels and puzzles will undoubtedly leave you
thinking some areas were better than others. But complaints
that arise are simply a reaction to the fact that the game is so
close to ideal. Half-Life is an exceptional single-player game
and a solid multiplayer game (though the upcoming Team
Fortress add-on may make it even better). It takes the
tried-and-true one step further but ends up leaps and bounds
ahead of the rest.



Recommended: Yes