"I grew up just out D.C., and so there's all these big, really banal office buildings, and that's kind of the direction I went," says Laur. I was trying to enforce some visual cohesion, and that really ended up working." "Somebody making another level would start using them and I was like no, this is chaos, we need to restrict this, so I started naming the texture sets by the level that they were made for. "First of all I had a bunch of textures, and then everytime I made new ones, whoever was working on the new levels would be like, 'Oh fresh textures, I'm gonna use those!'," says Laur. As a result, Laur as texture artist had a lot of influence over what Black Mesa became. Different people on the team initially worked independently, and later started-over to try to turn it into something cohesive. One thing the documentary makes clear is that Valve didn't have a cohesive plan for what Half-Life should be - including where its levels should take place. I therefore assumed that its textures would likewise have been created by multiple different artists. Yet Valve had several programmers, several level designers, several character artists. Of course, '90s games were made by much smaller teams than those that build video games today, even first-person shooters. Half-Life: 25th Anniversary Documentary Half-Life: 25th Anniversary Documentary Here's the documentary, produced in partnership with Danny O'Dwyer's Secret Tape: Valve also reunited the game's original developers for an hour-long making-of documentary in which its original programmers and artists reminisce about creating the first-person classic at a time when many of them had never shipped a game before.Ĭhief among the revelations within is that all of Half-Life's textures were created by a single person, Karen Laur.
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