Posts Tagged fov
Split-Screens and Widescreens
Posted by The Management in design on June 20, 2010
Split-screen modes in videogames are often pejoratively labeled as the “little brother” feature. I think the association was always there, but only recently has the term itself gained popularity.
With the advent of XBLA, PSN, etc., console gamers are playing multiplayer titles the same way their PC counterparts have been for years: online. Supporting both online and split-screen modes is not a trivial task, so the older brother — much to the younger one’s assumed chagrin — ends up hogging the console. If a split-screen feature is present, though, both can enjoy the game at the same time, hence the “little brother” moniker.
Of course developing multiplayer games for a single screen has been around for ages. Shmups, puzzle games, rhythm titles, rail shooters, etc., often only require a single screen to accommodate all the participants. Other genres like scrolling beat-’em-ups or fighting games tend to lock or stretch the playing field to attain similar results. However, when a title requires a large physical separation between the players (such as in a racing game), console titles have generally relied on a split-screen approach.
Split-screens (especially with 3D games) are computationally expensive, so their implementation tends to be quite basic: each player gets his own personal rectangle of real-estate. In two-player games, this means dividing the screen into two portions with either a horizontal or a vertical line.

It might look pretty (if a bit wide), but I didn't enjoy Gears of War's horizontal split-screen co-op.
On older, squarish TVs neither the horizontal nor the vertical approach could really be that graceful, but the horizontal split became a de facto standard. It made sense since much like human vision, games were more horizontally oriented. It was the lesser of two evils.
With the rising popularity of co-op and the advent of widescreen HD TVs, though, I assumed this would change. My HD TV’s picture-in-picture option allows me to vertically split the screen between two visual streams, and it works quite well. After all, 8:9 is a lot closer to 4:3 than 16:4.5. It’s something developers have started to address — despite the fact that many current games are designed for a 16:9 aspect ratio — but split-screens still tend to be a bit of a mess.
To improve their implementation, I would suggest the following:
— Provide an option for either a horizontal or a vertical split-screen mode. Automatically selecting one might seem user-friendly, but it’s also a very divisive issue. Once split-screen is implemented, it should be relatively simple to support both modes, so why not let the player choose which one he prefers?

I didn't know Splinter Cell: Conviction had a vertical split-screen co-op mode! I was going to wait a bit for its price to drop before picking it up, but now I'm tempted to get it just so I can play it with my roommate (hi Dave!).
— There’s no rule that says 100% of the screen real-estate must be taken up by the players’ viewports. This can often produce a warped and cropped appearance, so why not try to maintain correct aspect ratio (in either mode), and use the remaining space to display a minimap, the inventory, HUD components, etc.?
— The major issue with vertical split-screens seems to be the lack of peripheral vision. It’s a legitimate complaint, but one that also seems easy to address with a little bit of field-of-view tweaking. FPS games in particular have been reducing the FOV for quite a while now, and widening it for split-screen modes should be very simple to do.
Thoughts?
The FOV in Mirror’s Edge
Posted by The Management in design on February 2, 2009
The pros and cons of Mirror’s Edge have been debated time and time again, but there hasn’t been much talk about its FOV.
In order to simulate a sans peripheral, stereoscopic view, FPS games tend to use a 90 degree window. The FOV in Mirror’s Edge, however, seems to be smaller. This might’ve been a result of wanting to achieve a more personal, zoomed-in feeling and a cleaner, flatter look (a smaller FOV tends to flatten the perspective of the projected image), but was it really necessary?
Now don’t get me wrong, DICE has created some really impressive visual effects in Mirror’s Edge. The motion blur, camera movement, body positioning and reactions, etc. were all a large jump ahead of the usual FPS fare where disembodied, chest-level cameras are a standard. Still, why shorten the FOV? After all, it tends to exaggerate camera movement which can lead to motion sickness, something that DICE had battled throughout the game’s development.
I myself never got motion sickness playing Mirror’s Edge, but the FOV still bugged me. Why? Well, at times it made everything seem too cramped up. Now this isn’t really noticable when overlooking a large vista, but it becomes quite apparent in tight hallways or in areas without an expansive view of the horizon. In a game that’s supposed to embody the spirit of parkour, it often caused me to feel boxed in and not adequately aware of my surroundings — probably not the sensation DICE intended.
Also — and this is completely unrelated — more of the music in Mirror’s Edge should’ve been as good as the title theme.






