Introduction
Lighting is a key component when trying to create a mood, an atmosphere or tension within an environment, whether this be in a film or video game. Light is not only used to ensure the player is able to visually see but when used along with colour, intermittent use i.e. flicker, shadow and contrast, all help to create atmosphere and tension and add to the final game’s aesthetics. According to Brophy (2009), “lighting can set the mood in a dungeon, help a player notice a hidden power-up, make a character look menacing, and more.” I will discuss the general theme of light and colour in video games from the information gathered from the collected articles rather than focus upon each article separately but will provide references throughout. I have chosen light initially due to the versatility of this concept, for example, when used along with colour it may provide warning, light may also provide guidance, act as a deterrent, create a mood and atmosphere or maybe used to suggest past or present action or scene.
Mise-en-scène
Traditional media elements include a plot, characters, sound and music, lighting and mise-en-scène. Mise-en-scène is from the French term which translates, ‘put in the scene’, it was also defined by Robert Kolker (1999) as, “the use of space within the frame: the placement of actors and props, the relationship of the camera to the space in front of it, camera movement, the use of colour or black and white, lighting and the size of the screen frame.” Within the film industry the director has total control over all these elements therefore a particular mood, atmosphere, tension and conflict within a film ‘space’ is produced which cannot be accomplished by any other means (Logas and Muller, 2005). These skills are being used within the game industry by the design team to produce games which re-create the mood, atmosphere, tension and conflict found within films.
In the Logas and Muller (2005) paper the film The Shining is discussed at length as to better understand how mise-en-scène would be a useful tool for level designers. I found it interesting that they discussed the film to be ‘game like’ in the fact that the action is almost completely limited to the building of the Overlook Hotel and the outside space of the topiary maze.
Use of light to produce mood, atmosphere, tension and conflict in The Shining
Of interest to me is the use of light within the film to produce various effects. One example is the use of featureless light in one scene when the character is looking out of the window rather than seeing an expected landscape thus giving the feeling of enclosure within the building and being trapped within. Another example is the use of diffused light at the start of the film on the main character producing softened peach coloured features however as the character enters an alternate state the use of white light from below from the bar counter produces distorted facial features with shadows. Finally, the scene in the ballroom is lit with a dull hazy light within a smoky atmosphere giving visual clues that the scene is in the past with a ghostly atmosphere. All these techniques can be used within games design to create certain moods, atmospheres, tension and conflict within the game.
Lighting
A level designer who not only has knowledge of how spaces within the game should be lit but also understands the effects that light may have on the player designs with mood in mind. For example, if the space is a prison cell the light could be a beam of light from the ceiling. This would highlight the texture of the stone walls, and the use of a blue/grey colour could promote the mood of loneliness. The position of the light itself shining directly on top of the person could also indicate they are being oppressed or watched. Byrne (2005) concluded that “light itself can be a powerful feature when it comes to a game environment.” The introduction of 3D technology enabled the creation of extremely realistic lighting effects within the game environment. Early examples of the introduction of this is seen within Doom and Duke Nukem 3D where lighting effects that simulated real world effects such as flickering lights used as guidance and also traps which then plunged the room into darkness were created. Seif El-Nasr et al (2007) conclude that light is understood, manipulated, and simulated through its most basic characteristics which are, brightness or luminance, colour, hard or soft shadow quality, direction and variation over time.
Lighting and Colour
The colour of light used within games can create the mood, atmosphere, tension and conflict. Colours can be described as being either a ‘warm’ colour or a ‘cool’ colour and associated with natural environments. Colours considered to be ‘warm’ are often associated with daylight or sunset on the other hand ‘cool’ colours are often related to a dull or overcast day. Examples of ‘warm’ colours would be hues red through yellow and browns and tans included and ‘cool’ colours are hues from blue/green through blue/violet, most greys included (Wikipedia, 2009). This may be reflected within the game environment by the designer for example an underground cavern may be lit by ‘yellow’ sunlight through the ceiling or as the player explores deeper before turning a corner the walls may be lit by glowing red light to indicate a heat source such as lava. I found it interesting to research the actual meaning of certain colours and I will give a brief overview of individual colours and their meanings generally found to be accurate by researchers and the relevance of these colours to games (Johnson, 2007 and Glasgow, 2006).
Black is a colour often associated with authority and power and also can be associated with evil, villains, death and black magic. An example of characters within film and game that wear this colour is that of Darth Vader and Dracula.
White often represents purity, innocence and peace and often worn by brides. Interestingly doctors and nurses wear white uniforms which may also represent them as healers. White is difficult to keep clean and can also represent something pure and new or a new beginning.
Grey is a combination of black and white and can be associated with sadness and mourning but also grey hair is often given to a character that is considered to be older and wiser. Is often considered also however to be bland and none descript.
Red is the most emotionally intense colour and can stimulate a fast heart beat and breathing, in games usually red indicates the character’s health. This colour is often associated with passion and love, anger, danger, violence and blood, energy, fire and heat. Of interest in one study pink is considered to be romantic and tranquillising and represent love and is associated with Valentines Day.
Blue is thought to be the opposite of red due to the opposing forces of fire and ice/water and associated with sky and ocean. It can have both a calming effect and also a cold effect and depressing depending upon the variant of hue used. It may represent loyalty or wisdom and within games may represent manna and magic.
Lighting is a key component when trying to create a mood, an atmosphere or tension within an environment, whether this be in a film or video game. Light is not only used to ensure the player is able to visually see but when used along with colour, intermittent use i.e. flicker, shadow and contrast, all help to create atmosphere and tension and add to the final game’s aesthetics. According to Brophy (2009), “lighting can set the mood in a dungeon, help a player notice a hidden power-up, make a character look menacing, and more.” I will discuss the general theme of light and colour in video games from the information gathered from the collected articles rather than focus upon each article separately but will provide references throughout. I have chosen light initially due to the versatility of this concept, for example, when used along with colour it may provide warning, light may also provide guidance, act as a deterrent, create a mood and atmosphere or maybe used to suggest past or present action or scene.
Mise-en-scène
Traditional media elements include a plot, characters, sound and music, lighting and mise-en-scène. Mise-en-scène is from the French term which translates, ‘put in the scene’, it was also defined by Robert Kolker (1999) as, “the use of space within the frame: the placement of actors and props, the relationship of the camera to the space in front of it, camera movement, the use of colour or black and white, lighting and the size of the screen frame.” Within the film industry the director has total control over all these elements therefore a particular mood, atmosphere, tension and conflict within a film ‘space’ is produced which cannot be accomplished by any other means (Logas and Muller, 2005). These skills are being used within the game industry by the design team to produce games which re-create the mood, atmosphere, tension and conflict found within films.
In the Logas and Muller (2005) paper the film The Shining is discussed at length as to better understand how mise-en-scène would be a useful tool for level designers. I found it interesting that they discussed the film to be ‘game like’ in the fact that the action is almost completely limited to the building of the Overlook Hotel and the outside space of the topiary maze.
Use of light to produce mood, atmosphere, tension and conflict in The Shining
Of interest to me is the use of light within the film to produce various effects. One example is the use of featureless light in one scene when the character is looking out of the window rather than seeing an expected landscape thus giving the feeling of enclosure within the building and being trapped within. Another example is the use of diffused light at the start of the film on the main character producing softened peach coloured features however as the character enters an alternate state the use of white light from below from the bar counter produces distorted facial features with shadows. Finally, the scene in the ballroom is lit with a dull hazy light within a smoky atmosphere giving visual clues that the scene is in the past with a ghostly atmosphere. All these techniques can be used within games design to create certain moods, atmospheres, tension and conflict within the game.
Lighting
A level designer who not only has knowledge of how spaces within the game should be lit but also understands the effects that light may have on the player designs with mood in mind. For example, if the space is a prison cell the light could be a beam of light from the ceiling. This would highlight the texture of the stone walls, and the use of a blue/grey colour could promote the mood of loneliness. The position of the light itself shining directly on top of the person could also indicate they are being oppressed or watched. Byrne (2005) concluded that “light itself can be a powerful feature when it comes to a game environment.” The introduction of 3D technology enabled the creation of extremely realistic lighting effects within the game environment. Early examples of the introduction of this is seen within Doom and Duke Nukem 3D where lighting effects that simulated real world effects such as flickering lights used as guidance and also traps which then plunged the room into darkness were created. Seif El-Nasr et al (2007) conclude that light is understood, manipulated, and simulated through its most basic characteristics which are, brightness or luminance, colour, hard or soft shadow quality, direction and variation over time.
Lighting and Colour
The colour of light used within games can create the mood, atmosphere, tension and conflict. Colours can be described as being either a ‘warm’ colour or a ‘cool’ colour and associated with natural environments. Colours considered to be ‘warm’ are often associated with daylight or sunset on the other hand ‘cool’ colours are often related to a dull or overcast day. Examples of ‘warm’ colours would be hues red through yellow and browns and tans included and ‘cool’ colours are hues from blue/green through blue/violet, most greys included (Wikipedia, 2009). This may be reflected within the game environment by the designer for example an underground cavern may be lit by ‘yellow’ sunlight through the ceiling or as the player explores deeper before turning a corner the walls may be lit by glowing red light to indicate a heat source such as lava. I found it interesting to research the actual meaning of certain colours and I will give a brief overview of individual colours and their meanings generally found to be accurate by researchers and the relevance of these colours to games (Johnson, 2007 and Glasgow, 2006).
Black is a colour often associated with authority and power and also can be associated with evil, villains, death and black magic. An example of characters within film and game that wear this colour is that of Darth Vader and Dracula.
White often represents purity, innocence and peace and often worn by brides. Interestingly doctors and nurses wear white uniforms which may also represent them as healers. White is difficult to keep clean and can also represent something pure and new or a new beginning.
Grey is a combination of black and white and can be associated with sadness and mourning but also grey hair is often given to a character that is considered to be older and wiser. Is often considered also however to be bland and none descript.
Red is the most emotionally intense colour and can stimulate a fast heart beat and breathing, in games usually red indicates the character’s health. This colour is often associated with passion and love, anger, danger, violence and blood, energy, fire and heat. Of interest in one study pink is considered to be romantic and tranquillising and represent love and is associated with Valentines Day.
Blue is thought to be the opposite of red due to the opposing forces of fire and ice/water and associated with sky and ocean. It can have both a calming effect and also a cold effect and depressing depending upon the variant of hue used. It may represent loyalty or wisdom and within games may represent manna and magic.
Green is often associated with nature, foliage, trees and has a calming influence and also can be described as a refreshing colour and associated with growth and springtime. Also of interest green can be associated with wealth and often known as the colour of money.
Yellow is associated with sunshine and warmth and is often used to provide warning and information such as written signs. It is also associated with being a coward and studies have also shown it enhances concentration.
Orange is often thought to be a warm colour associated with fire and also with warnings. Of interest is the recent association with communication due to the orange telecommunication network.
Purple is closely related to royalty, luxury and wealth. It is also classed as a sophisticated colour and romantic. It is not considered to be natural colour as it rarely occurs naturally. It is often worn by priest, kings and emperors and in games can be associated with a higher level of existence such as an advanced alien race.
Brown is an earth colour and related to soil, earth and nature and other natural products such as leather and wood. In games brown can be used to show age for example photographs and documents.
Metallic colours of gold and silver again connected with wealth, royalty, kings and queens and also the colour of money. Also of interest is the association with 1st, 2nd and 3rd places and the hierarchy of medals given. Silver is associated with the moon and the world of dreams.
Yellow is associated with sunshine and warmth and is often used to provide warning and information such as written signs. It is also associated with being a coward and studies have also shown it enhances concentration.
Orange is often thought to be a warm colour associated with fire and also with warnings. Of interest is the recent association with communication due to the orange telecommunication network.
Purple is closely related to royalty, luxury and wealth. It is also classed as a sophisticated colour and romantic. It is not considered to be natural colour as it rarely occurs naturally. It is often worn by priest, kings and emperors and in games can be associated with a higher level of existence such as an advanced alien race.
Brown is an earth colour and related to soil, earth and nature and other natural products such as leather and wood. In games brown can be used to show age for example photographs and documents.
Metallic colours of gold and silver again connected with wealth, royalty, kings and queens and also the colour of money. Also of interest is the association with 1st, 2nd and 3rd places and the hierarchy of medals given. Silver is associated with the moon and the world of dreams.
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