Almost exactly a year ago, we were publicly yearning for the day when more portable gaming PC makers could ditch Windows in favor of SteamOS (without having to resort to touchy unofficial workarounds). Now, that day has finally come, with Lenovo announcing the upcoming Legion Go S as the first non-Valve handheld to come with an officially licensed copy of SteamOS preinstalled. And Valve promises that it will soon ship a beta version of SteamOS for users to “download and test themselves.”
As Lenovo’s slightly downsized followup to 2023’s massive Legion Go, the Legion Go S won’t feature the detachable controllers of its predecessor. But the new PC gaming handheld will come in two distinct versions, one with the now-standard Windows 11 installation and another edition that’s the first to sport the (recently leaked) “Powered by SteamOS” branding.
The lack of a Windows license seems to contribute to a lower starting cost for the “Powered by SteamOS” edition of the Legion Go S, which will start at $500 when it’s made available in May. Lenovo says the Windows edition of the device—available starting this month—will start at $730, with “additional configurations” available in May starting as low as $600.
The Windows version of the Legion Go S will come with a different color and a higher price. Credit: Lenovo
Both the Windows and SteamOS versions of the Legion Go S will weigh in at 1.61 lbs with an 8-inch 1200p 120 Hz LCD screen, up to 32GB of RAM, and either AMD’s new Ryzen Z2 Go chipset or an older Z1 core.
Watch out, Windows?
Valve said in a blog post on Tuesday that the Legion Go S will sport the same version of SteamOS currently found on the Steam Deck. The company’s work getting SteamOS onto the Legion Go S will also “improve compatibility with other handhelds,” Valve said, and the company “is working on SteamOS support for more devices in the future.”
With Valve’s impressive work on the Proton tool for Linux and the Mac’s Game Porting Toolkit and CrossOver options, few games are truly “Windows only” these days. The exceptions are those with aggressive, Windows-based anti-cheating tools baked in, something that hit back hard against players eager to dive into a new superhero shooter.
Marvel Rivals, an Overwatch-ish free-to-play hero shooter released in early December 2024, has all the typical big online game elements: an in-game shop with skins and customizations, battle passes, and anti-cheating tech. While Proton, which powers the Linux-based Steam Deck’s ability to play just about any Windows game, has come very far in a few years’ time, its biggest blind spots are these kinds of online-only games, like Grand Theft Auto Online, Fortnite, Destiny 2, Apex Legends, and the like. The same goes for Mac players, who, if they can work past DirectX 12, can often get a Windows game working in CrossOver or Parallels, minus any anti-cheat tools.
Is there harm in trying? For a while, there was 100 years’ worth. As detailed in the r/macgaming subreddit and at r/SteamDeck, many players who successfully got Marvel Rivals working would receive a “Penalty Issued” notice, with a violation “detected” and bans issued until 2124. Should such a ban stand, players risked entirely missing the much-prophesied Year of the Linux Desktop or Mainstream Mac Gaming, almost certain to happen at some point in that span.
The more than two decades since Half-Life 2‘s release have been filled with plenty of rumors and hints about Half-Life 3, ranging from the official–ish to the thin to the downrightmisleading. As we head into 2025, though, we’re approaching something close to a critical mass of rumors and leaks suggesting that Half-Life 3 is really in the works this time, and could be officially announced in the coming months.
The latest tease came just before the end of 2024 via a New Year’s Eve social media video from G-Man voice actor Mike Shapiro. In the voice of the mysterious in-game bureaucrat, Shapiro expresses hopes that “the next quarter century [will] deliver as many unexpected surprises as did the millennium’s first (emphasis added)… See you in the new year.”
The post is all the more notable because it’s Shapiro’s first in over four years, when he concluded a flurry of promotional posts surrounding the release of Half-Life: Alyx (many of which were in-character as G-Man). And in 2020, just after Alyx‘s release, Shapiro told USGamer that he had recently worked on a “blast from the past” project that he would “announce… on my Twitter feed when I’m allowed to” (no such announcement has been forthcoming for any other game).
“I was working on that game for quite a while before I knew [what it was],” Shapiro said at the time of the unannounced project. “There was a rehearsal and some recordings, and after one of the recording sessions I was having a drink with the director. He told me what the game was, and nobody knows that this is coming.
“This is going to be such a mindblowing re-up from what people have come to know,” Shapiro continued in 2020. “It’s going to really… it’s going to make people have a complete re-understanding of what they thought they knew about the story in the game prior to it, and I don’t even know if people are expecting it.”
Raised HLX-pectations
On its own, a single in-character post from a voice actor would probably be a bit too cryptic to excite Half-Life fans who have seen their sequel hopes dashed so often over the last two decades. But the unexpected tease comes amid a wave of leaks and rumors surrounding “HLX,” an internal Valve project that has been referenced in a number of other Source 2 engine game files recently.
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
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.
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
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.
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
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.
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 HL2without 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
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.
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.
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.
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.
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 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.
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.
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.
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.
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).
There comes a point in most experienced Steam shoppers’ lives where they wonder what would happen if their account was canceled or stolen, or perhaps they just stopped breathing. It’s scary to think about how many games in your backlog will never get played; scarier, still, to think about how you don’t, in most real senses of the word, own any of them.
Now Valve, seemingly working to comply with a new California law targeting “false advertising” of “digital goods,” has added language to its checkout page to confirm that thinking. “A purchase of a digital product grants a license for the product on Steam,” the Steam cart now tells its customers, with a link to the Steam Subscriber Agreement further below.
Credit: Kevin Purdy
California’s AB2426 law, signed by Gov. Gavin Newsom Sept. 26, excludes subscription-only services, free games, and digital goods that offer “permanent offline download to an external storage source to be used without a connection to the internet.” Otherwise, sellers of digital goods cannot use the terms “buy, purchase,” or related terms that would “confer an unrestricted ownership interest in the digital good.” And they must explain, conspicuously, in plain language, that “the digital good is a license” and link to terms and conditions.
I was on vacation last week, the kind of vacation in which entire days had no particular plan. I had brought the ROG Ally X with me, and, with the review done and Windows still annoying me, I looked around at the DIY scene, wondering if things had changed since my last foray into DIY Steam Deck cloning.
Things had changed for the better. I tried out Bazzite, and after dealing with the typical Linux installation tasks—activating the BIOS shortcut, turning off Secure Boot, partitioning—I had the Steam Deck-like experience I had sought on this more powerful handheld. Since I installed Bazzite, I have not had to mess with drivers, hook up to a monitor and keyboard for desktop mode, or do anything other than play games.
Until Valve officially makes SteamOS available for the ROG Ally and (maybe) other handhelds, Bazzite is definitely worth a look for anyone who thinks their handheld could do better.
Bazzite says that you can swap an SD card full of games between any two systems running Bazzite. This kind of taunting possibility is very effective on people like me. Credit: Bazzite
More game platforms, more customization, same Steam-y feel
There are a few specific features for the ROG Ally X tossed into Bazzite, and the Linux desktop is Fedora, not Arch. Beyond that, it is like SteamOS but better, especially if you want to incorporate non-Steam games. Bazzite bakes in apps like Lutris, Heroic, and Junk Store, which Steam Deck owners often turn to for loading in games from Epic, GOG, itch.io, and other stores, as well as games with awkward Windows-only launchers.
You don’t even need to ditch Windows, really. If you’re using a handheld like the ROG Ally X, with its 1TB of storage, you can dual-boot Bazzite and Windows with some crafty partition shrinking. By all means, check that your game saves are backed up first, but you can, with some guide-reading, venture into Bazzite without abandoning the games for which you need Windows.
Perhaps most useful to the type of person who owns a gaming handheld and also will install Linux on it, Bazzite gives you powerful performance customization at the click of a button. Tap the ROG Ally’s M1 button on the back, and you can mess with Thermal Design Power (TDP), set a custom fan curve, change the charge limit, tweak CPU and GPU parameters, or even choose a scheduler. I most appreciated this for the truly low-power indie games I played, as I could set the ROG Ally below its standard 13 W “Silent” profile down to a custom 7 W without heading deep into Asus’ Armoury Crate.
Valve Corporation, tired of paying arbitration fees, has removed a mandatory arbitration clause from Steam’s subscriber agreement. Valve told gamers in yesterday’s update that they must sue the company in order to resolve disputes.
The subscriber agreement includes “changes to how disputes and claims between you and Valve are resolved,” Steam wrote in an email to users. “The updated dispute resolution provisions are in Section 10 and require all claims and disputes to proceed in court and not in arbitration. We’ve also removed the class action waiver and cost and fee-shifting provisions.”
The Steam agreement previously said that “you and Valve agree to resolve all disputes and claims between us in individual binding arbitration.” Now, it says that any claims “shall be commenced and maintained exclusively in any state or federal court located in King County, Washington, having subject matter jurisdiction.”
Steam’s email to users said the updated terms “will become effective immediately when you agree to it, including when you make most purchases, fund your Steam wallet, or otherwise accept it. Otherwise, the updated Steam Subscriber Agreement will become effective on November 1, 2024, unless you delete or discontinue use of your Steam account before then.” Steam also pushed a pop-up message to gamers asking them to agree to the new terms.
One likely factor in Valve’s decision to abandon arbitration is mentioned in a pending class-action lawsuit over game prices that was filed last month in US District Court for the Western District of Washington. The Steam users who filed the suit previously “mounted a sustained and ultimately successful challenge to the enforceability of Valve’s arbitration provision,” their lawsuit said. “Specifically, the named Plaintiffs won binding decisions from arbitrators rendering Valve’s arbitration provision unenforceable for both lack of notice and because it impermissibly seeks to bar public injunctive relief.”
Mandatory arbitration clauses are generally seen as bad for consumers, who are deprived of the ability to seek compensation through individual or class-action lawsuits. But many Steam users were able to easily get money from Valve through arbitration, according to law firms that filed the arbitration cases over allegedly inflated game prices.
Valve sued lawyers behind arbitration claims
Valve used to prefer arbitration because few consumers brought claims and the process kept the company’s legal costs low. But in October 2023, Valve sued a law firm in an attempt to stop it from submitting loads of arbitration claims on behalf of gamers.
Valve’s suit complained that “unscrupulous lawyers” at law firm Zaiger, LLC presented a plan to a potential funder “to recruit 75,000 clients and threaten Valve with arbitration on behalf of those clients, thus exposing Valve to potentially millions of dollars of arbitration fees alone: 75,000 potential arbitrations times $3,000 in fees per arbitration is two hundred and twenty-five million dollars.”
Valve said that Zaiger’s “extortive plan” was to “offer a settlement slightly less than the [arbitration] charge—$2,900 per claim or so—attempting to induce a quick resolution.”
“Zaiger targeted Valve and Steam users for its scheme precisely because the arbitration clause in the SSA [Steam Subscriber Agreement] is ‘favorable’ to Steam users in that Valve agrees to pay the fees and costs associated with arbitration,” Valve said.
Zaiger has a “Steam Claims” website that says, “Tens of thousands of Steam users have engaged Zaiger LLC to hold Steam’s owner, Valve, accountable for inflated prices of PC games.” The website said that through arbitration, “many consumers get compensation offers without doing anything beyond completing the initial form.” Another law firm called Mason LLP used a similar strategy to help gamers bring arbitration claims against Steam.
There hadn’t previously been many arbitration cases against Steam, Valve’s lawsuit against Zaiger said. “In the five years before Zaiger began threatening Valve, 2017 to 2022, there were only two instances where Valve and a Steam user could not resolve that user’s issue before proceeding to arbitration. Both of those arbitrations were resolved in Valve’s favor, and Valve paid all of the arbitrator fees and costs for both Valve and the impacted Steam user,” Valve said.
Valve’s lawsuit against Zaiger was dismissed without prejudice on August 20, 2024. The ruling in US District Court for the Western District of Washington said the case was dismissed because the court lacks jurisdiction over Zaiger.
Enlarge/ Valve has its own canon of games full of artifacts and concepts worth emulating, as seen in a 2018 tour of its offices.
Sam Machkovech
“Basically, fast-paced interesting ADHD gameplay. Combination of Dota 2, Team Fortress 2, Overwatch, Valorant, Smite, Orcs Must Die.”
That’s how notable Valve leaker “Gabe Follower” describesDeadlock, a Valve game that is seemingly in playtesting at the moment, for which a few screenshots have leaked out.
The game has been known as “Neon Prime” and “Citadel” at prior points. It’s a “Competitive third-person hero-based shooter,” with six-on-six battles across a map with four “lanes.” That allows for some of the “Tower defense mechanics” mentioned by Gabe Follower, along with “fast travel using floating rails, similar to Bioshock Infinite.” The maps reference a “modern steampunk European city (little bit like Half-Life),” after “bad feedback” about a sci-fi theme pushed the development team toward fantasy.
Since testers started sharing Deadlock screenshots all over the place, here’s ones I can verify, featuring one of the heroes called Grey Talon. pic.twitter.com/KdZSRxObSz
Valve doesn’t release games often, and the games it does release are often in development for long periods. Deadlock purportedly started development in 2018, two years before Half-Life: Alyx existed. That the game has now seemingly reached a closed (though not closed enough) “alpha” playtesting phase, with players in the “hundreds,” could suggest release within a reasonable time. Longtime Valve watcher (and modder, and code examiner) Tyler McVicker suggests in a related video that Deadlock has hundreds of people playing in this closed test, and the release is “about to happen.”
McVicker adds to the descriptor pile-on by noting that it’s “team-based,” “hero-based,” “class-based,” and “personality-driven.” It’s an attempt, he says, to “bring together all of their communities under one umbrella.”
Tyler McVicker’s discussion of the leaked Deadlock content, featuring … BioShock Infinite footage.
Many of Valve’s games do something notable to push gaming technology and culture forward. Half-Life brought advanced scripting, physics, and atmosphere to the “Doom clones” field and forever changed it. Counter-Strike and Team Fortress 2 lead the way in team multiplayer dynamics. Dota 2 solidified and popularized MOBAs, and Half-Life: Alyx gave VR on PC its killer app. Yes, there are Artifact moments, but they’re more exception than rule.
Following any of those games seems like a tall order, but Valve’s track record speaks for itself. I think players like me, who never took to Valorant or Overwatch or the like, should reserve judgment until the game can be seen in its whole. I have to imagine that there’s more to Deadlock than a pile of very familiar elements.
Epic CEO Tim Sweeney has long been an outspoken opponent of what he sees as Valve’s unreasonable platform fees for listing games on Steam, which start at 30 percent of the total sale price. Now, though, new emails from before the launch of the competing Epic Games Store in 2018 show just how angry Sweeney was with the “assholes” at companies like Valve and Apple for squeezing “the little guy” with what he saw as inflated fees.
“I bet Valve made more profit… than the developer themselves…”
The first mostly unredacted email chain from the court documents, from August 2017, starts with Valve co-founder Gabe Newell asking Sweeney if there is “anything we [are] doing to annoy you?” That query was likely prompted by Sweeney’s public tweets at the time questioning “why Steam is still taking 30% of gross [when] MasterCard and Visa charge 2-5% per transaction, and CDN bandwidth is around $0.002/GB.” Later in the same thread, he laments that “the internet was supposed to obsolete the rent-seeking software distribution middlemen, but here’s Facebook, Google, Apple, Valve, etc.”
Expanding on these public thoughts in a private response to Newell, Sweeney allows that there was “a good case” for Steam’s 30 percent platform fee “in the early days.” But he also argues that the fee is too high now that Steam’s sheer scale has driven down operating costs and made it harder for individual games to get as much marketing or user acquisition value from simply being available on the storefront.
Enlarge/ Calculating…. calculating… profit maximizing point found!
Getty / Aurich Lawson
Sweeney goes on to spitball some numbers showing how Valve’s fees are contributing to the squeeze all but the biggest PC game developers were feeling on their revenues:
If you subtract out the top 25 games on Steam, I bet Valve made more profit from most of the next 1,000 than the developer themselves made. These guys are our engine customers and we talk to them all the time. Valve takes 30% for distribution; they have to spend 30% on Facebook/Google/Twitter [user acquisition] or traditional marketing, 10% on server, 5% on engine. So, the system takes 75% and that leaves 25% for actually creating the game, worse than the retail distribution economics of the 1990’s.”
Based on experience with Fortnite and Paragon, Sweeney estimates that the true cost of distribution for PC games that sell for $25 or more in Western markets “is under 7% of gross.” That’s only slightly lower than the 12 percent take Epic would establish for its own Epic Games Store the next year.
Years before Epic would bring its own case against Apple, Sweeney was somewhat prescient, noting that “Apple also has the resources to litigate and delay any change [to its total App Store control] for years… What we need right now is enough developer, press, and platform momentum to steer Apple towards fully opening up iOS sooner rather than later.”
To that end, Sweeney attempted to convince Valve that lowering its own platform fees would hurt Apple’s position and thereby contribute to the greater good:
A timely move by Valve to improve Steam economics for all developers would make a great difference in all of this, clearly demonstrating that store competition leads to better rates for all developers. Epic would gladly speak in support of such a move anytime!
In a follow-up email on December 3, just days before the Epic Games Store launch, Sweeney took Valve to task more directly for its policy of offering lower platform fees for the largest developers on Steam. He offered some harsh words for Valve while once again begging the company to serve as a positive example in the developing case against Apple.
Right now, you assholes are telling the world that the strong and powerful get special terms, while 30% is for the little people. We’re all in for a prolonged battle if Apple tries to keep their monopoly and 30% by cutting backroom deals with big publishers to keep them quiet. Why not give ALL developers a better deal? What better way is there to convince Apple quickly that their model is now totally untenable?
After being forwarded the message by Valve’s Erik Johnson, Valve COO Scott Lynch simply offered up a sardonic “You mad bro?”
GameDiscoverCo provides a good summary of other legal tidbits offered in the (often heavily redacted) documents published in the case file this week. Wolfire is now seeking a class-action designation in the suit with arguments that largely rehash those that we covered when the case was originally filed in 2021 (and revived in 2022). While Epic Games isn’t directly involved in those legal arguments, it seems Sweeney’s long-standing position against Valve’s monopoly might continue to factor into the case anyway.
Enlarge/ Valve took a look inside Portal 64, saw itself inside near something involving Nintendo, and decided to shut down the experiment.
Valve/James Lambert
Any great effort to generate appreciation for Nintendo’s classic platforms, done outside Nintendo’s blessing, has a markedly high chance of incurring Nintendo’s wrath. This seems to apply even when Nintendo has not actually moved to block something, but merely seems like it might.
That’s why, one week after announcing that his years-long “demake” of Valve’s classic Portal to the Nintendo 64 platform had its “First Slice” ready for players, James Lambert has taken down Portal 64. There’s no DMCA takedown letter or even a cease-and-desist from Nintendo. There is, as Lambert told PC Gamer, “communication with Valve” that “because the project depends on Nintendo’s proprietary libraries, [Valve] have asked me to take the project down.”
Ars contacted Valve and Nintendo for comment and will update the post with any new information. Lambert could not be reached for comment.
It’s far from the first time Valve has taken preemptive action to avoid Nintendo’s involvement. In mid-2023, a Wii/GameCube emulator, Dolphin, halted its planned release on Valve’s Steam platform after Nintendo contacted Valve and requested the emulator not be released. In that case, the Dolphin emulator’s weakness to potential action under the Digital Millennium Copyright Act’s anti-circumvention provisions was its use of a proprietary cryptographic key from the Wii. Rather than argue about keys, BIOS files, and other matters in court, Dolphin gave up on Steam, while keeping the project alive elsewhere.
Valve has seemingly been silent on Portal 64 until now. Playing the game required access to a Steam-purchased copy of Portal, with one of that game’s data files then patched by Lambert’s software to work inside Nintendo 64 emulators. Lambert wasn’t charging for his project, although he did have a Patreon to further his work on it. Lambert told PC Gamer that he thought “Valve didn’t want to be tied up in a project involving Nintendo IP,” and he didn’t blame them.
The “Nintendo’s proprietary libraries” at issue inside Lambert’s project appear to be Libultra, the official SDK provided to those developing Nintendo 64 games on Silicon Graphics machines (and later other platforms). There exists an open source N64 SDK, libdragon, but Lambert told PC Gamer that he wouldn’t move over to that without assurance that it would appease Valve—and, by proxy, Nintendo. Lambert has many more N64-related and adjacent projects to work on, judging from his YouTube channel.
