Who better than the Witcher and Cyberpunk 2077 dev to take the weight of the Half-Life name on its shoulders and drag it past the threshold of our collective expectations?ĬD Projekt Red only really has a track record of delivering its world-building and storytelling on a grand scale, and Half-Life was never about that. Phil Iwaniuk: A studio that bullishly describes games of impossible quality and detail, and then produces them. That’s Half-Life, and Arkane could bring it back. Just as you know that a barnacle tugs the player into the air towards its nasty maw, and that flammable barrels blow up shortly after being shot, you can surmise that those two rules will work together to explosive effect. Both games have a rule: everything behaves as you would expect. Though it might be hard to see where Dishonored’s – and its spectacular sequel‘s – open-endedness matches up with the straight-line linearity of Half-Life, there’s a key point of commonality: simulation. It was also working with ex-Valve artist Viktor Antonov, and Dunwall consequently had plenty in common with City 17 – hard lines, uncomplicated textures, a sense of one history built on top of another. Arkane approaches its worlds with the same visual economy that Valve does, painting in broad strokes that belie some incredibly intricate world-building.
Arkane was slated to make a Half-Life: Episode 4Īrkane was no longer using the Source engine by the time Dishonored came out, but it often felt as if it was.
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