half life 2

Valve developers discuss why Half Life 2: Episode 3 was abandoned

gaming, half life 2, Half-Life 2: Episode 3 / Tim Belzer / November 18, 2024

Despite the new weapons and mechanics that were already in the works for Episode 3, many developers quoted in the documentary cite a kind of fatigue that had set in after so much time and effort focused on a single franchise. “A lot of us had been doing Half-Life for eight-plus years” designer and composer Kelly Bailey noted.

That lengthy focus on a single franchise helps explain why some Valve developers were eager to work on anything else by that time in their careers. “I think everybody that worked on Half-Life misses working on that thing,” Engineer Scott Dalton said. “But it’s also hard not to be like, ‘Man, I’ve kind of seen every way that you can fight an Antlion,’ or whatever. And so you wanna get some space away from it until you can come back to it with fresh eyes.”

After the first two Half-Life 2 episodes were received less well than the base game itself, many developers cited in the documentary also said they felt pressure to go “much bigger” for Episode 3. Living up to that pressure, and doing justice to the fan expectations for the conclusion of the three-episode saga, proved to be too much for the team.

“You can’t get lazy and say, ‘Oh, we’re moving the story forward,’ Valve co-founder Gabe Newell said of the pressure. “That’s copping out of your obligation to gamers, right? Yes, of course they love the story. They love many, many aspects of it. But sort of saying that your reason to do it is because people want to know what happens next… you know, we could’ve shipped it, like, it wouldn’t have been that hard.

“You know, the failure was—my personal failure was being stumped,” Newell continued. “Like, I couldn’t figure out why doing Episode 3 was pushing anything forward.”

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These are the lasting things that Half-Life 2 gave us, besides headcrabs and crowbars

gabe newell, gaming, half life 2, Half-Life 3, marc laidlaw, portal, portal 2, source code leak, Source Engine, steam, Team Fortress 2, valve / Tim Belzer / November 16, 2024

Beyond the game itself (which rocks), Half-Life 2 had a big impact on PC gaming.

This article is part of our 20th anniversary of Half-Life 2 series. Credit: Aurich Lawson

It’s Half-Life 2 week at Ars Technica! This Saturday, November 16, is the 20th anniversary of the release of Half-Life 2—a game of historical importance for the artistic medium and technology of computer games. Each day up through the 16th, we’ll be running a new article looking back at the game and its impact.

“Well, I just hate the idea that our games might waste people’s time. Why spend four years of your life building something that isn’t innovative and is basically pointless?”

Valve software founder Gabe Newell is quoted by Geoff Keighley—yes, the Game Awards guy, back then a GameSpot writer—as saying this in June 1999, six months after the original Half-Life launched. Newell gave his team no real budget or deadline, only the assignment to “follow up the best PC game of all time” and redefine the genre.

When Half-Life 2 arrived in November 2004, the Collector’s Edition contained about 2.6GB of files. The game, however, contained so many things that would seem brand new in gaming, or just brave, that it’s hard to even list them.

Except I’m going to try that right here. Some will be hard to pin definitively in time to Half-Life 2 (HL2). But like many great games, HL2 refined existing ideas, borrowed others, and had a few of its own to show off.

Note that some aspects of the game itself, its status as Steam’s big push title, and what it’s like to play it today, are covered by other writers during Ars’ multi-day celebration of the game’s 20th anniversary. That includes the Gravity Gun.

How many film and gaming careers were launched by people learning how to make the Scout do something goofy? Credit: Valve

The Source Engine

It’s hard to imagine another game developer building an engine with such a forward-thinking mission as Source. Rather than just build the thing that runs their next game, Valve crafted Source to be modular, such that its core could be continually improved (and shipped out over Steam), and newer technologies could be optionally ported into games both new and old, while not breaking any older titles working perfectly fine.

Source started development during the late stages of the original Half-Life, but its impact goes far beyond the series. Team Fortress 2, Counter-Strike: Global Offensive, Portal 1/2, and Left 4 Dead, from Valve alone, take up multiple slots on lists of the all-time best games. The Stanley Parable, Vampire: The Masquerade—Bloodlines, and a whole lot of other games used Source, too. Countless future game developers, level designers, and mod makers cut their teeth on the very open and freely available Source code tools.

And then, of course, where would we be as a society were it not for Source Filmmaker and Garry’s Mod, without which we would never have Save as .dmx and Skibidi Toilet.

*Half-Life: Alyx* is a technical marvel of the VR age, but it’s pulled along by the emotional bonds of Alyx and Russell, and the quest to save Eli Vance. Credit: Valve

A shooter with family dynamics

Novelist Marc Laidlaw has made it clear, multiple times, that he did not truly create the Half-Life story when he joined Valve; it was “all there when I got there, in embryo,” he told Rock Paper Shotgun. Laidlaw helped the developers tell their story through level design and wrote short, funny, unnerving dialogue.

For Half-Life 2, Laidlaw and the devs were tasked with creating some honest-to-goodness characters, something you didn’t get very often in first-person shooters (they were all dead in 1994’s System Shock). So in walked that father/daughter team of Eli and Alyx Vance, and the extended Black Mesa family, including folks like Dr. Kleiner.

These real and makeshift family members gave the mute protagonist Gordon Freeman stakes in wanting to fix the future. And Laidlaw’s “basic dramatic unit” set a precedent for lots of shooty-yet-soft-hearted games down the road: Mass Effect, The Last of Us, Gears of War, Red Dead Redemption, and far more.

Remember when a Boston-area medical manufacturing firm, run by a Half-Life fan, got everyone thinking a sequel was coming? Fun times. Credit: Black Mesa

Intense speculation about what Valve is actually doing

Another unique thing Laidlaw helped develop in PC gaming: intense grief and longing for a sequel that both does and does not exist, channeled through endless speculation about Valve’s processes and general radio silence.

Half-Life 2 got “Episodes” but never a true numbered Half-Life 3 sequel. The likelihood of 3 took a hit when Laidlaw unexpectedly announced his retirement in January 2016. Then it got even less likely, or maybe just sad, when Laidlaw posted a barely disguised “snapshot of a dream” of “Epistle 3” to his blog (since deleted and later transposed on Pastebin).

Laidlaw has expressed regret about this move. Fans have expressed regret that Half-Life 3 somehow seems even less likely, having seen Valve’s premiere writer post such a seemingly despondent bit of primary source fan fiction.

“Fans of popular game eager for sequel” isn’t itself a unique thing, but it is for Half-Life 3’s quantum existence. Valve published its new employee handbook from around 2012 on the web, and in it, you can read about the company’s boldly flat structure. To summarize greatly: Projects only get started if someone can get enough fellow employees to wheel their desks over and work on it with them. The company doesn’t take canceled or stalled games to heart; in its handbook, it’s almost celebrated that it killed Prospero as one of its first major decisions.

So the fact that Half-Life 3 exists only as something that hasn’t been formally canceled is uniquely frustrating. HL2’s last (chronological) chapter left off on a global-scale cliffhanger, and the only reason a sequel doesn’t exist is because too many other things are more appealing than developing a new first-person shooter. If you worked at Valve, you tell yourself, maybe you could change this! Maybe.

What, you’re telling me now it’s illegal to break in, take source code, and then ask for a job? This is a police state! Credit: Valve

Source code leak drama

The Wikipedia pages “List of commercial video games with available source code” and its cousin “Later released source code” show that, up until 2003, most of the notable games whose source code became publicly available were either altruistic efforts at preservation or, for some reason, accidental inclusions of source code on demos or in dummy files on the game disc.

And then, in late 2003, Valve and Half-Life superfan Axel Gembe hacked into Valve’s servers, grabbed the Half-Life 2 source code that existed at the time and posted it to the web. It not only showed off parts of the game Valve wanted to keep under wraps, but it showed just how far behind the game’s development was relative to the release date that had blown by weeks earlier. Valve’s response was typically atypical: they acknowledged the source code as real, asked their biggest fans for help, and then released the game a year later, to critical and commercial success.

The leak further ensconced Valve as a different kind of company, one with a particularly dedicated fanbase. It also seems to have taught companies a lesson about hardening their servers and development environments. Early builds of games still leak—witness Space Marine 2 this past July—but full source code leaks, coming from network intrusions, are something you don’t see quite so often.

Pre-loading a game before release

It would be hard to go back in time and tell our pre-broadband selves about pre-loading. You download entire games, over the Internet, and then they’re ready to play one second after the release time—no store lines, no drive back home, no stuffed servers or crashed discs. It seems like a remarkable bit of trust, though it’s really just a way to lessen server load on release day.

It’s hard to pin down which game first offered pre-loading in the modern sense, but HL2, being a major launch title for Valve’s Steam service and a title with heavy demand, definitely popularized the concept.

Always-online for single-player games

Here’s one way that Half-Life 2 moved the industry forward that some folks might want to move back.

Technically, you can play HL2 without an Internet connection, and maybe for long periods of time. But for most people, playing HL2 without a persistent net connection involves activating the game on Steam, letting it fully update, and then turning on Steam’s “Offline Mode” to play it. There’s no time limit, but you need to keep Steam active while playing.

It’s not so much the particular connection demands of HL2 that make it notable, but the pathway that it, and Steam, created on which other companies moved ahead, treating gaming as something that, by default, happens with at least a connection, and preferably a persistent one.

It’s Game of the Year. Which year? Most of them, really (until *Disco Elysium* shows up). Credit: Valve

A place on “All-time” video game rankings forever

Half-Life 2 introduced many ground-breaking things at once—deep facial animations and expressions, an accessible physics engine, a compelling global-scale but family-minded story—while also being tremendously enjoyable game to play through. This has made it hard for anyone to suggest another game to go above it on any “All-time greatest games” list, especially those with a PC focus.

Not that they don’t try. PC Gamer has HL2 at 7 out of 100, mostly because it has lost an understandable amount of “Hotness” in 20 years. IGN has it at No. 9 (while its descendant Portal 2 takes third place). Metacritic, however fallible, slots it in universal second place for PC games.

So give Half-Life 2 even more credit for fostering innovation in the “arbitrary ranked list of games” genre. Rock Paper Shotgun’s top 100 is cited as the best “to play on PC today,” as they have “paid no mind to what was important or influential.” And yet, Half-Life 2, as a game you can play in 2024, is still on that list. It’s really something, that game.

Kevin is a senior technology reporter at Ars Technica, covering open-source software, PC gaming, home automation, repairability, e-bikes, and tech history. He has previously worked at Lifehacker, Wirecutter, iFixit, and Carbon Switch.

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I played Half-Life 2 for the first time this year—here’s how it went

fps, gaming, half life 2, Half-Life 2 Week, valve / Rejus Almole / November 15, 2024

Wake up and smell the ashes, Ms. Washenko.

This article is part of our 20th anniversary of Half-Life 2 series. Credit: Aurich Lawson

The time has finally come to close one of the most notable gaps in my gaming history. Despite more than a decade of writing about video games and even more years enjoying them, I never got around to playing Half-Life 2.

Not only have I not played it, but I’ve managed to keep myself in the dark about pretty much everything to do with it. I always assumed that one day I would get around to playing this classic, and I wanted the experience to be as close as possible to it would have been back in 2004. So my only knowledge about Half-Life 2 before starting this project was 1) the game is set in the same universe as Portal, a game I love, 2) the protagonist is named Gordon Freeman, and he looks uncannily like a silent, spectacled young Hugh Laurie, and 3) there’s something called the Gravity Gun.

That’s it. I didn’t even know exactly what the Gravity Gun did, only that it existed.

So, the time has come for me to learn what the fuss is all about. I’ve cataloged my off-the-cuff reactions as well as my more analytical thoughts about Half-Life 2, both as a standalone project and as a catalyst for setting new standards in design. But if you’re looking for the TL;DR of whether I think the game holds up, my answer is: it depends.

Beginning a classic with a clunk

A red letter day indeed! Time to experience this iconic piece of video game history. I spend most of the intro sequence in the train station soaking in the atmosphere of the dystopian City 17. A few minutes in, though, I think I’m supposed to sneak past a guard. Because I’m a fugitive trying to escape this freaky Big Brother building, and I swear Barney told me to avoid detection. Instead, the guard immediately sees me and whomps me on the head for not putting a bottle into the trash. Not an auspicious beginning.

I make it to Dr. Kleiner’s lab for a little bit of story exposition. I like this rag-tag group of geniuses and the whole vibe of a secret scientific rebellion. I also appreciate that it’s not a static cutscene, so I can poke around the lab while I listen or observe the characters interacting.

After a failed teleport and getting a crowbar from Barney, I then spend a long time getting shot and dying in a train yard. Like, an embarrassingly long time. Perhaps I was assuming at this early stage that Half-Life 2 would be like Portal with real guns, because I figured this area had to be a puzzle. I’m not sure how I missed the one portion of the environment that I could slip through, but I convinced myself that I was supposed to leap across the tops of the train cars, Frogger style. And Gordon might have many skills, but his jumping leaves something to be desired.

Finally, I realize that there’s a gap in the cars, and I move along. This canal setting is striking, but I keep being unsure which areas of the map I can access. I’ve heard that the level design is one of the most lauded parts of Half-Life 2, but this is proving to be a genuine struggle with the game.

When I played Portal, I sometimes was unsure how to progress, but because that game is presented in the austere confines of a science experiment, I felt like I was supposed to be challenged. In Half-Life 2, though, where there are higher stakes and I’m running for my life, getting stuck just makes me feel dumb and annoyed. And I’m doubly annoyed because this escape sequence would probably feel amazing if I didn’t keep getting lost. Again, not the thrilling start I was hoping for.

Killing a barnacle by feeding it an explosive barrel is a definite high point. I may have cackled. This is the sort of clever environmental interaction I expected to see from the minds that later made Portal.

Headcrabs, on the other hand, are just obnoxious. My dinky little pea shooter pistol doesn’t feel like great protection. What’s a rogue physicist gotta do to get a shotgun?

From airboats to zombies

After a break, I return armed with a renewed determination to grok this game and, more importantly, with an airboat. For 90 percent of the Water Hazard chapter, I am feeling like a badass. I’m cruising in my watery ride, flying over ramps, and watching a silo collapse overhead. Especially in those rare moments when the 2000s electro jams punctuate my fights, I feel like a true action hero.

A helicopter hovers over an airboat in Half-Life 2 — The airboat sequence was divisive in 2004, but this writer enjoyed it. Credit: Anna Washenko

Next I reach the Black Mesa East chapter, which is a perfect interlude. The game’s approach to world-building is probably the area where my feelings align most closely with those of Half-Life 2 veterans. It is spectacular. Heading down into the lab may be the best elevator ride I’ve taken in a game. Judith is talking science, and outside the shaft, I see humans and vortigaunts conducting fascinating experiments. Small vignettes like those are a perfect way to introduce more information about the rebellion. They give subtle context to a game that doesn’t do much to explain itself and doesn’t need to.

Also, Dog is the best boy. Seriously, I’ve seen modern games where the animations didn’t have as much personality as when Alyx treats her robot protector like an actual dog, and he shakes in delight. My only sadness is that Dog doesn’t accompany me to Ravenholm.

Dog and Alyx standing together at Black Mesa East — Dog is, in fact, the best boy. Credit: Valve

I do wish Dog had come with me to Ravenholm. I learned after the fact that this chapter is one of the most iconic and beloved, but I had the opposite reaction. Survival horror is not my jam. These whirling death traps are sweet, but I hate jump scares, and I don’t love any of my weapons for the encounters.

That brings me to something I don’t want to say, but in the spirit of journalistic honesty, I must: I don’t adore the Gravity Gun. Obviously it was the game’s signature creation here and probably what most of you recall most fondly, but I did not fully grasp its potential immediately. Based on the tutorial in Black Mesa East, I assumed it would mostly be a component to puzzle-solving and traversal rather than a key part of combat. I only started using it as a weapon in Ravenholm because I ran out of ammo for everything else.

It’s not that I don’t get the appeal. Slicing zombies up with a saw blade or bashing them with paint cans is satisfying—no complaints there. But I found the tool inconsistent, which discouraged me from experimenting as much as the developers may have hoped. I’m pretty sure I do as much damage to myself as to enemies trying to lob exploding barrels. I want to be able to fling corpses around and can’t (for reasons that became apparent later, but in the moment felt limiting). Later chapters reinforced my uncertainty, when I couldn’t pull a car to me, yet a push blast had enough power to overturn the vehicle.

And once again, I had a rough time with navigation. Maybe I was missing what other people would have seen as obvious cues, the way I’m attuned to finding climbing paths marked by color in modern games—controversial as that yellow marking convention may be, its absence is noted when you’re struggling to read the environment with a visual language for the game that emphasizes realism over readability. Or maybe I’ve gotten over-reliant on the tools of the sprawling RPGs I favor these days, where you have a mini-map and quest markers to help you manage all the threads. But for an agonizingly long time, I stared at an electrified fence and wires that seemed to lead to nowhere before realizing that I was supposed to enter the building where Father Grigori first appeared on the balcony. A giant bonfire of corpses out front seemed like a clear ‘do not enter’ sign, so it didn’t occur to me that I could go inside. Alas.

Speaking of which, Father Grigori is the best part of the section. He’s a total bro, giving me a shotgun at long last. I feel kind of bad when I just abandon him to his murderous flock at the end of the chapter. I hope he survives?

Familiarity and finding my footing

The new weapons are coming fast and furious now. I’m impressed at how good the combat feel is. I like the pulse rifle a lot, and that has become my go-to for most long-distance enemies. I wish I could aim down sights, but at least this feels impactful at range. Although I don’t usually favor the slow cadence of a revolver in other games, I also enjoy the magnum. The SMG serves well as a workhorse, while the rocket launcher and crossbow are satisfying tools when the right situation arises.

But my favorite weapon, far more than the Gravity Gun, is the shotgun. Especially at point-blank range and into a fast zombie’s head. Chef’s kiss. Maybe it’s my love of Doom (2016) peeking through, but any time I can go charging into a crowd with my shotgun, I’m a happy camper.

While the worldbuilding in Half-Life 2 is stellar, I don’t think the writing matches that high. Just about every brief encounter with allies starts with someone breathlessly gasping, “Gordon? Gordon Freeman?” It’s the sort of repetition that would make for an effective and dangerous drinking game.

I was surprised when I entered another vehicle section. I liked the airboat, even though the chapter ran a touch long, but this dune buggy feels a lot jankier. At least it starts with a gun attached.

I love the idea of this magnet crane puzzle. I wish it didn’t control like something from Octodad, but I do get my buggy up out of the sand.

A metal sheet is placed on the sand by the gravity gun — The “floor is lava” sequence involves placing objects with the Gravity Gun to avoid disturbing an army of angry antlions by stepping on the sand. Credit: Anna Washenko

Things start turning around for me once I reach the sandy version of ‘the floor is lava.’ That’s a cute idea. Although I keep wanting to rotate objects and have a more controlled placement with the Gravity Gun like I could when I did these kinds of tasks with the Ultrahand ability during The Legend of Zelda: Tears of the Kingdom. I understand that Half-Life 2 crawled so TotK could run, but that knowledge doesn’t mean I have a better time using the mechanic. Toward the end of the sequence, I got bored by the slow pace of creating a bridge and just barrelled ahead, willing to face a firefight just to move things along.

At this point, however, things take a decided turn for the better when I get my other favorite weapon of the game: My own antlion army! Commanding them is so fabulously ridiculous. The scene where hordes of antlions leap over high walls to attack gunmen on the towers leading into Nova Prospekt may be my favorite moment so far in the entire game. If this is how all of you felt flinging radiators around with the Gravity Gun back in the day, then I get why you love it so. I’m sure I won’t be able to keep this glorious power indefinitely, but I would happily finish the rest of the story with just antlions and a shotgun if they’d let me.

The Nova Prospekt area is the first time I really see a clear line connecting Half-Life 2 to Portal. None of the puzzles or characters thus far gave me Portal vibes, but I definitely get them here, especially once turrets come into play. By this point, I’m finally navigating the space with some confidence. That might be the result of logging enough hours or maybe it was just the sense that GLaDOS could start talking to me at any moment. Whatever the reason, I think I’m finding my groove at last.

A dialogue subtitle instructs a shotgun-wielding Gordon to start setting up turrets in an alien prison — Nova Prospekt is one of the first areas Valve made when it developed *Half-Life 2*, so it’s not surprising it bears a lot of similarity to environments and vibes in both the original *Half-Life* and in *Portal*. Credit: Anna Washenko

Somehow I am not surprised by Judith’s sudden but inevitable betrayal in this chapter. Alyx not getting along with her in the Black Mesa East chapter felt pretty telling. But then she’s just going to let Judith enter teleport coordinates unsupervised? Alyx, you’re supposed to be smart!

What do you know—now Judith has re-kidnapped Eli. Color me shocked.

Onward and upward to the end

It’s nice having human minions. They’re no antlions, but I like how the world has shifted to a real uprising. It reminds me of the big charge at the end of Mass Effect 3, running and gunning through a bombed-out city with bug-like baddies overhead.

Snipers are not a welcome addition to the enemy roster. Not sure why Barney’s whining so much. You could throw some grenades, too, my dude.

Barney tags along with my minions as we reach the Overwatch Nexus. Destroying floor turrets is probably the first time I’ve struggled with combat. These are the least precise grenades of all time. Once we make it through the interior sequence, it’s time to face down the striders. I can’t imagine how you’d play this section bringing down the swarm of them on a harder difficulty. My health takes a beating as I run around the wreckage desperately looking for ammo reloads and medkits. In theory, this is probably a great setpiece, but I’m just stressed out. Things go a little better once the combat is paired with traversal, and the final showdown on the roof does feel like a gratifying close to a boss fight.

On to the Citadel. Why on earth would I get into one of these pods? That’s a terrible idea. But apparently that’s what I’m going to do. I hope I’m not supposed to be navigating this pod in any way, because I’m just taking in the vibes. It’s another transit moment with glimpses into what the enemies have been getting up to while the rebellion rages outside. It’s eerie; I like it.

A strider looms over the player as the player switches weapons — Battling the striders as the game moves toward its finale. Credit: Anna Washenko

The Gravity Gun is the core of Half-Life 2, so it makes sense that a supercharged version is all I have for the final push. I appreciate that I can use it to fling bodies, but my reaction is a little muted since this was an idea I’d had from the start. But I do find the new angle of sucking up energy orbs to be pretty rad.

I arrive in Dr. Breen’s office, and it looks grim for our heroes. Judith redeeming herself surprises me more than her betrayal, which is nice. When he runs off, I’m mentally preparing myself as I chase him for a final boss showdown. Surely, something extra bonkers with the Gravity Gun awaits me. I climb the teleportation tower, I pelt Breen’s device with energy orbs, I’m waiting for the other shoe to drop, and…

Huh?

Context is everything

In the moment, I was torn between feeling that the opaque ending was genius and that it was an absolute cop-out. It was certainly not how I expected the game to end.

But on reflection, that wound up being a fitting final thought as the credits rolled, because I think ‘expectations’ were at the heart of my conflicted reactions to finally playing Half-Life 2. I’ve rarely felt so much pressure to have a particular response. I wanted to love this game. I wanted to share the awe that so many players feel for it. I wanted to have an epic experience that matched the epic legacy Half-Life 2 has in gaming history.

I didn’t.

Instead, I had whiplash, swinging between moments of delight and stretches of being stymied or even downright pissed off. I was tense, often dreading rather than eagerly awaiting each next twist. Aside from a handful of high points, I’m not sure I’d say playing Half-Life 2 was fun.

As I mentioned at the start, the big question I felt I had to answer was whether Half-Life 2 felt relevant today or whether it only holds up under the rosy glow of nostalgia. And my answer is, “It depends.” As an enigmatic person once said, “The right man in the wrong place can make all the difference in the world.” It’s all in the context.

Moments that were jaw-dropping in 2004 have less impact for someone like me who’s played the many titles that copied, standardized, and perfected Half-Life 2‘s revelations. Intellectually, I understand that the Gravity Gun was a literal game-changer and that a physics engine deployed at this scale was unheard of. But funnily enough, a modern player is even less likely to see those innovations as so, well, innovative when a game has as much polish as Half-Life 2 does. Half-Life 2 has almost no rough edges in the execution. Everything works the way it was intended.

Since that polish means the new ideas don’t feel like experiments, and since I’ve seen them in other games in the intervening years, they don’t register as notable.

Just as you don’t need to be a fan of Aristotle’s Poetics to appreciate drama, you don’t need to love Half-Life 2 to appreciate its legacy. As a fun game to play, whether it holds up will come down to you and your context. However, as a showcase of the technology of the time and a masterclass in world-building, yes, Half-Life 2 holds up today.

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Half-Life 2 pushed Steam on the gaming masses… and the masses pushed back

gaming, half life 2, steam, valve / Kris Guyer / November 14, 2024

It’s Half-Life 2 week at Ars Technica! This Saturday, November 16, is the 20th anniversary of the release of Half-Life 2—a game of historical importance for the artistic medium and technology of computer games. Each day leading up through the 16th, we’ll be running a new article looking back at the game and its impact.

When millions of eager gamers first installed Half-Life 2 20 years ago, many, if not most, of them found they needed to install another piece of software alongside it. Few at the time could imagine that piece of companion software–with the pithy name Steam–would eventually become the key distribution point and social networking center for the entire PC gaming ecosystem, making the idea of physical PC games an anachronism in the process.

While Half-Life 2 wasn’t the first Valve game released on Steam, it was the first high-profile title to require the platform, even for players installing the game from physical retail discs. That requirement gave Valve access to millions of gamers with new Steam accounts and helped the company bypass traditional retail publishers of the day by directly marketing and selling its games (and, eventually, games from other developers). But 2004-era Steam also faced a vociferous backlash from players who saw the software as a piece of nuisance DRM (digital rights management) that did little to justify its existence at the time.

Free (from Vivendi) at last

Years before Half-Life 2’s release, Valve revealed Steam to the world at the 2002 Game Developers Conference, announcing “a broadband business platform for direct software delivery and content management” in a press release. Valve’s vision for a new suite of developer tools for content publishing, billing, version control, and anti-piracy was all present and stressed in that initial announcement.

Perhaps the largest goal for Steam, though, was removing the middlemen of retail game distribution and giving more direct control to game developers, including Valve. “By eliminating the overhead of physical goods distribution, developers will be able to leverage the efficiency of broadband to improve customer service and increase operating margins,” Valve wrote in its 2002 announcement.

Valve’s Gabe Newell on stage unveiling Steam at GDC 2002. Credit: 4Gamer

On stage at GDC, Valve founder Gabe Newell took things even further, positioning himself as “a new-age Robin Hood who wanted to take from the greedy publishers what independent game developers deserved: a larger piece of the revenue pie,” as Gamespot’s Final Days of Half-Life 2 feature summed it up. Cutting out the publishers and retailers, Newell said, could be the difference between a developer taking home $7 or $30 on a full-price game (which generally ran $50 at the time).

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How Valve made Half-Life 2 and set a new standard for future games

first-person shooter, Game Design, game development, gaming, half life 2, steam, Valve Software / Rejus Almole / November 13, 2024

From physics to greyboxing, Half-Life 2 broke a lot of new ground.

This article is part of our 20th anniversary of Half-Life 2 series. Credit: Aurich Lawson

There has been some debate about which product was the first modern “triple-A” video game, but ask most people and one answer is sure to at least be a contender: Valve’s Half-Life 2.

For Western PC games, Half-Life 2 set a standard that held strong in developers’ ambitions and in players’ expectations for well over a decade. Despite that, there’s only so much new ground it truly broke in terms of how games are made and designed—it’s just that most games didn’t have the same commitment to scope, scale, and polish all at the same time.

To kick off a week of articles looking back at the influential classic, we’re going to go over the way it was made, and just as importantly, the thought that went into its design—both of which were highly influential.

A story of cabals and Electronics Boutique

Development, design, and production practices in the games industry have always varied widely by studio. But because of the success of Half-Life 2, some of the approaches that Valve took were copied elsewhere in the industry after they were shared in blog posts and conference talks at events like the Game Developer’s Conference (GDC).

The cabals of Valve

Valve is famous for influencing many things in gaming, but it was most influential in its relatively flat and democratic team structure, and that played out even during Half-Life 2’s development in the early 2000s. While many studios are broken up into clear departments big and small for different disciplines (such as art, level design, combat design, narrative design, AI programming, and so on), many parts of Valve’s Half-Life 2 team consisted of a half-dozen multi-disciplinary small groups the company internally called “cabals.”

Each major chapter in Half-Life 2 had its own unique four-to-five-person cabal made up of level designers and programmers. These groups built their levels largely independently while frequently showing their work to other cabals for feedback and cross-pollination of good ideas. They all worked within constraints set in a pre-production phase that laid out elements like the main story beats, some of the weapons, and so on.

A resistance soldier shoots at a Strider in the streets of City 17 — Each major chapter, like this battle-in-the-streets one toward the end of the game, was designed by a largely independent cabal. Credit: Valve

Additionally, similarly sized design cabals worked on aspects of the game’s design that crossed multiple levels—often made with representatives from the chapter cabals—for things like weapons.

There was even a “Cabal Cabal” made up of representatives from each of the six chapter teams to critique the work coming from all the teams.

Ruthless playtesting

Many game designers—especially back in the ’80s or ’90s—worked largely in isolation, determining privately what they thought would be fun and then shipping a finished product to an audience to find out if it really was.

By contrast, Valve put a great deal of emphasis on playtesting. To be clear: Valve did not invent playtesting. But it did make that a key part of the design process in a way that is even quite common today.

The Half-Life 2 team would send representatives to public places where potential fans might hang out, like Electronics Boutique stores, and would approach them and say something along the lines of, “Would you like to play Half-Life 2?” (Most said yes!)

A group of game developers sits on couches and takes notes while a PC gamer plays Half-Life 2 — A photo from an actual early 2000s playtest of an in-development *Half-Life 2*, courtesy of a presentation slide from a Valve GDC talk. Credit: Valve

The volunteer playtesters were brought to a room set up like a real player’s living room and told to sit at the computer desk and simply play the game. Behind them, the level’s cabal would sit and watch a feed of the gameplay on a TV. The designers weren’t allowed to talk to the testers; they simply took notes.

Through this process, they learned which designs and ideas worked and which ones simply confused the players. They then made iterative changes, playtested the level again, and repeated that process until they were happy with the outcome.

Today’s developers sometimes take a more sophisticated approach to sourcing players for their playtests, making sure they’re putting their games in front of a wider range of people to make the games more accessible beyond a dedicated enthusiast core. But nonetheless, playtesting across the industry today is at the level it is because of Valve’s refinement of the process.

The alpha wave

For a game as ambitious as Half-Life 2 was, it’s surprising just how polished it was when it hit the market. That iterative mindset was a big part of it, but it extended beyond those consumer playtests.

Valve made sure to allocate a significant amount of time for iteration and refinement on an alpha build, which in this case meant a version of the game that could be played from beginning to end. When speaking to other developers about the process, representatives of Valve said that if you’re working on a game for just a year, you should try to get to the alpha point by the end of eight months so you have four for refinement.

Apparently, this made a big impact on Half-Life 2’s overall quality. It also helped address natural downsides of the cabal structure, like the fact that chapters developed by largely independent teams offered an inconsistent experience in terms of the difficulty curve.

With processes like this, Valve modeled several things that would be standard in triple-A game development for years to come—though not all of them were done by Valve first.

For example, the approach to in-game cutscenes reverberates today. Different cabals focused on designing the levels versus planning out cutscenes in which characters would walk around the room and interact with one another, all while the player could freely explore the environment.

A screenshot of Combine soldiers fighting antlions in Nova Prospekt — Nova Prospekt was one of the first levels completed during *Half-Life 2*‘s development. Credit: Valve

The team that focused on story performances worked with level designers to block out the walking paths for characters, and the level designers had to use that as a constraint, building the levels around them. That meant that changes to level layouts couldn’t create situations where new character animations would have to be made. That approach is still used by many studios today.

As is what is now called greyboxing, the practice of designing levels without high-effort artwork so that artists can come in and pretty the levels up after the layout is settled, rather than having to constantly go back and forth with designers as those designers “find the fun.” Valve didn’t invent this, but it was a big part of the process, and its in-development levels were filled with the color orange, not just gray.

Finding the DNA of Half-Life 2 in 20 years of games

When Half-Life 2 hit the market via the newly launched Steam digital distribution platform (more on that later this week), it was widely praised. Critics and players at the time loved it, calling it a must-have title and one that defined the PC gaming experience. Several of the things that came out of its development process that players remember most from Half-Life 2 became staples over the past 20 years.

For instance, the game set a new standard for character animations in fully interactive cutscenes, especially with facial animations. Today, far more advanced motion capture is a common practice in triple-A games—to the point that games that don’t do it (like Bethesda Game Studios titles) are widely criticized by players simply for not taking that route, even if motion capture doesn’t necessarily make practical sense for those games’ scope and design.

And Half-Life 2’s Gravity Gun, which dramatically built on past games’ physics mechanics, is in many ways a concept that developers are still playing with and expanding on today. Ultrahand, the flagship player ability in 2023’s The Legend of Zelda: Tears of the Kingdom, could be seen as a substantial evolution from the Gravity Gun. In addition to offering players the ability to pick and place objects in the world, it gives them the power to attach them to one another to build creative contraptions.

There’s also Half-Life 2’s approach to using environmental lines and art cues to guide the player’s attention through realistic-looking environments. The game was lauded for that at the time, and it was an approach used by many popular games in the years to come. Today, many studios have moved on to much more explicit player cues like the yellow climbing holds in so many recent triple-A titles. As you’ll see in an upcoming article this week written by someone who played Half-Life 2 for the very first time in 2024, Half-Life 2’s approach may have set the stage, but modern players might expect something a little different.

A trainyard in City 17 — Environments like this were carefully designed to guide the player’s eye in subtle ways. Today, many triple-A games take a less subtle approach because playtesting with broader audiences shows it’s sometimes necessary. Credit: Valve

One thing about the environment design that Half-Life 2 was praised for hasn’t been replaced these days, though: a commitment to subtle environmental storytelling. World-building and vibes are perhaps Half-Life 2’s greatest achievements. From BioShock to Dishonored to Cyberpunk 2077, this might be the realm where Half-Life 2’s influence is still felt the most today.

A legacy remembered

Looking back 20 years later, Half-Life 2 isn’t necessarily remembered for radical new gameplay concepts. Instead, it’s known for outstanding execution—and developers everywhere are still applying lessons learned by that development team to try to chase its high standard of quality.

Even at the time, critics noted that it wasn’t exactly that there was anything in Half-Life 2 that players had never seen before. Rather, it was the combined force of quality, scope, presentation, and refinement that made an impact.

Of course, Valve and Half-Life 2 are also known for multiple memorable cultural moments, some of the industry’s most infamous controversies, and playing a big part in introducing digital distribution. We’ll explore some of those things as we count down to the “Red Letter Day” this Saturday.

Samuel Axon is a senior editor at Ars Technica. He covers Apple, software development, gaming, AI, entertainment, and mixed reality. He has been writing about gaming and technology for nearly two decades at Engadget, PC World, Mashable, Vice, Polygon, Wired, and others. He previously ran a marketing and PR agency in the gaming industry, led editorial for the TV network CBS, and worked on social media marketing strategy for Samsung Mobile at the creative agency SPCSHP. He also is an independent software and game developer for iOS, Windows, and other platforms, and he is a graduate of DePaul University, where he studied interactive media and software development.

How Valve made Half-Life 2 and set a new standard for future games Read More »

New ‘Half-Life 2’ VR Mod Lets You Dual-wield Gravity Guns (or any other weapon)

half life 2, half life 2 vr, PC VR News & Reviews / Rejus Almole / October 25, 2023

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A recently released fork of one of the premier VR mods for Half-Life 2 (2004) added a number of features that should make you feel a little less like Gordon Freeman, and a little more like John Wick.

Mod creator Vittorio Romeo calls the unofficial fork of SourceVR Team’s HL2VR mod ‘HL2VR Unleashed’, which includes unique VR interactions such as dual wielding, universal melee attacks, and a virtual stock for customizable shouldering positions—basically turning you into an indiscriminate Combine-killing machine.

You can download the mod here for free, which also includes a handy installation guide. Here’s the full list of new features for HL2VR Unleashed:

Universal Melee

– Allows physical melee attacks with any weapon, or even with empty hands.

– Can be toggled in the tweaks menu, the damage can also be tuned as well.

Physical Jumping

– Translates physical jumping into in-game jumping.

– Can be toggled in the controls menu.

– Jumping threshold can be tweaked via the hlvr_control_physical_jump_threshold CVar.

Dual Wielding

– Allows each hand to independently equip and operate a weapon.

– Requires the following actions to be bound on both controllers in the SteamVR bindings menu:

"Fire", "Alt Fire", "Eject Magazine", "Open Weapon Selection".

– It is recommended to rebind "Toggle Menu" to be a long press or chord to not interfere with left hand "Alt Fire".

– It is also recommended to unbind "Sprint" on the left hand, as that is the most natural bind for weapon selection. Sprinting is still possible by double-tapping the joystick.

– Obtaining a weapon makes it usable by both hands. E.g., as soon as you collect the crowbar, you’ll be able to dual wield crowbars.

Virtual Stock

– Interpolates two-handed aiming with the player’s approximate shoulder position, giving more stability when aiming down sights.

– Can be toggled in the tweaks menu, where also the shoulder position can be tuned.

Grip-Holster Mode

– Automatically holsters weapons when the grip is released, and equips the last holstered weapon when the grip is held.

– Any hand interaction (e.g. grabbing a prop, using the flashlight) takes priority over equipping the last holstered weapon.

– This is the recommended setting when dual wielding, as it simplifies the reloading process for two weapons a lot.

– Helps to quickly interact with the world (e.g. collect an item, climb a ladder) without having to open the weapon selection menu.

– Compatible with the “Toggle grab” option, that, if enabled, will require simply pressing the grip button rather than keeping it held.

– Can be toggled in the controls menu, where the related “Toggle grab” option can also be tuned.

Difficulty Tweaks

– Allows fine-tuning of damage, recoil, and bullet spread.

– Both inflicted and taken damage can be tuned, allowing a more deadly and intense (i.e. no bullet sponges) yet fair experience.

– It is recommended to reduce the recoil multiplier a bit to make dual wielding automatic weapons more enjoyable.

– Can be tuned in the tweaks menu.

Miscellaneous

– Manually tweaked the offset of every weapon to keep the player’s hand in the same position, improving aiming consistency.

New ‘Half-Life 2’ VR Mod Lets You Dual-wield Gravity Guns (or any other weapon) Read More »

‘Half-Life 2: RTX’ Remaster Could Mean Big Upgrades for ‘Half-Life 2’ VR

half life 2, half life 2 rtx, half life 2 vr, half life 2 vr mode, hl2vr, News, VR Game, VR Mod / Mike M. / August 24, 2023

NVIDIA this week announced Half-Life 2: RTX, a community-made remaster of the legendary game featuring all-new assets, textures, and lighting. Pieces of the remaster are likely to make their way to the already existing Half-Life 2: VR Mod.

When it rains, it pours, as they say.

After years of delays, Half-Life and VR fans have been treated over the last 12 months to full VR mods of Half-Life, Half-Life 2, Half-Life 2: Episode One, and Half-Life 2: Episode Two.

And now it seems that fans are in for another treat; the Half-Life 2: VR Mod is likely to get a range of graphical upgrades thanks to the newly announced Half-Life 2: RTX remaster.

Though it already featured improved graphics and lighting over the original Half-Life 2, the Half-Life 2: VR Mod largely focused on touching up the game’s existing assets, and enhancing some key 3D models while building out full support for VR.

Half-Life 2: RTX, on the other hand, is a complete graphical overhaul says Nvidia.

The project is described as being in “early development,” with developers consisting of a range of experienced Half-Life 2 modding teams, including folks from the Half-Life 2: VR Mod team. The teams are working under the banner Orbifold Studios and say they’re seeking more talented people to work on the project.

According to Nvidia, the project will see “every asset reconstructed in high fidelity,” textures built with physically-based rendering techniques, and RTX ray-tracing support.

And while the project will likely mean that high quality 3D assets will make it over to the Half-Life 2: VR Mod, unfortunately RTX ray-tracing probably won’t.

A member of the Half-Life 2: VR Mod team called modding the full Half-Life 2: RTX game to support VR “just a pipe dream at the moment.”

“Currently RTX Remix [the platform used to build Half-Life 2: RTX] is not compatible with Half-Life 2: VR Mod, since they both hook into the rendering pipeline and abuse it in different and incompatible ways,” they said.

But, the member says there are plans to “work with other members of this new super-team [that’s working on Half-Life 2: RTX] on back-porting as much of the shiny new HD content as we can to the old source engine, and putting them into our Half-Life 2: VR Mod graphics update.”

There’s no timeline at the moment for when that might happen, but hey, these things, they take time.

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‘Half-Life 2: Episode 2’ VR Mod Gets Launch Trailer Ahead of April 6th Release

half life 2, half life 2 vr, half life 2 vr mod, News, source vr mod team, VR Game / Rejus Almole / April 5, 2023

Following last month’s release of the Half-Life 2: Episode 1 VR mod, the Source VR Mod team is set to release Episode 2 on April 6th. A launch trailer shows how the episode has been fully adapted to be played in VR.

After years of starts and stops on various attempts to turn Half-Life 2 into a fully playable VR game, the Source VR Mod Team released the Half-Life 2 VR Mod to major acclaim last year. Since then the team has followed up with an equally well received VR mod for Episode 1.

Less than a month later, the team is set to release the Half-Life 2: Episode 2 VR Mod on April 6th, including a full set of VR features like hands-on weapons, comfort options, real ladder climbing, and—of course—a crow bar you can actually swing.

The Source VR Mod Team released a launch trailer for the game ahead of release, showing the classic Episode 2 action that players can now relive in VR.

The Half-Life 2: Episode 2 VR Mod is free, but requires that players own the original Episode 2 game in order to play. The mod supports all SteamVR headsets like Index, Vive, and Quest via Oculus Link.

All three of these Half-Life 2 VR mods are built by volunteers who make up the Source VR Mod Team. If you want to support their current and future work, they accept contributions on their Ko-fi page.

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