Suffice to say, it never gets repetitive. 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. The weapons look and sound great, ranging from the realistic combat shotguns and grenade launchers, to the science-fictional, high-powered particle accelerators. 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. 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. There are human enemies in the game, and these display a level of artificial intelligence that is remarkable. 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. The alien enemies are well designed and occasionally border on the terrifying. 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 gameplay is very puzzle-oriented, but the puzzles hardly seem to be superficial obstacles. The numerous scripted events bolster the illusion of reality, and you'll come across detailed scenes that are continually suspenseful. There is a wide variety of textures, lending a distinct look to every area.
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The game is full of surprises, continually throwing new obstacles and challenges in your path. The attention to detail doesn't just stop with the basic structure. And though the brief loading time between zones is the one artifact that breaks the flow of the game, the transitions are thankfully brief.
You can move back and forth at will (with only a few exceptions), as can those who are pursuing you. The game is a continual stream of locations from beginning to end. There are no levels in Half-Life, or, more specifically, it lacks the concept of levels and episodes we've come to expect. And late in the game, once you've left the research facility, the supply of ammo and first aid kits is believably scarce. Even the more experimental weapons have their proper place - in the weapons research department of the facility. Weapons and ammo are taken from supply closets or the corpses of fallen security guards and soldiers. These are almost always located in logical places, usually near areas where dangerous work would be performed. To regain health and armor energy, you must fill up at power stations. Freeman is wearing a hazard suit, used by researchers involved in dangerous experiments. Valve has done a good job of justifying the typical health and armor meters. You'll hardly ever come across an item that is just bobbing and spinning in place like some gift from the heavens. Weapon, ammunition, and health placement follows the same philosophy. It may sound simple, but it goes a long way toward helping create a believable world. But they all occur naturally within the game environment. 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. 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. It gets more complicated, but there's no need to ruin the surprises that await. These experiments go awry, and foul creatures begin taking over the complex. You are Gordon Freeman, scientist at the Black Mesa Research Facility, involved in some mysterious experiments. The plot of the game is typical (in fact, it's little more than an elaborate version of Doom). 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.
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Through a series of subtle and artistic design decisions, Half-Life creates a reality that is self-contained, believable, and thoroughly engaging. The result is Half-Life, the closest thing to a revolutionary step the genre has ever taken.
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But Valve Software has obviously spent a lot of time studying the mistakes of the past. 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. The whole point of the genre is to put you, literally, in the role of the protagonist. A major goal in any game is to create the illusion of reality, a fact that is especially true for first-person shooters.
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