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Development

Half-Life in many ways was a reactionary response to the trivialization of the experience of the first-person genre. Many of us had fallen in love with video games because of the phenomenological possibilities of the field and felt like the industry was reducing the experiences to least common denominators rather than exploring those possibilities. Our hope was that building worlds and characters would be more compelling than building shooting galleries.

Valve, based in Kirkland, Washington, was founded in 1996 by the former Microsoft employees Mike Harrington and Gabe Newell. For its first product, Valve settled on a concept for a horror first-person shooter (FPS) game. They did not want to build their own game engine, as this would have created too much work for a small team and Newell planned to innovate in different areas. Instead, Valve licensed the Quake engine and the Quake II engine from id Software and combined them with their own code. Newell estimated that around 75% of the final engine code was by Valve. As the project expanded, Valve cancelled development of a fantasy role-playing game, Prospero, and the Prospero team joined the Half-Life project.

Half-Life was inspired by the FPS games Doom (1993) and Quake (1996), Stephen King's 1980 novella The Mist, and a 1963 episode of The Outer Limits titled "The Borderland". According to the designer Harry Teasley, Doom was a major influence and the team wanted Half-Life to "scare you like Doom did". The project had the working title Quiver, after the Arrowhead military base from The Mist. The name Half-Life was chosen because it was evocative of the theme, not clichéd, and had a corresponding visual symbol: the Greek letter λ (lower-case lambda), which represents the decay constant in the half-life equation. According to the designer Brett Johnson, the level design was inspired by environments in the manga series Akira. Level designer Dario Casali said the game's movement puzzles and dynamics were inspired by the Mario series of platforming games.

Valve struggled to find a publisher, as many believed the game was too ambitious for a first-time developer. Sierra On-Line signed Valve for a one-game deal as it was interested in making a 3D action game, especially one based on the Quake engine. Valve first showed Half-Life in early 1997; it was a success at E3 that year, where Valve demonstrated the animation and artificial intelligence. Novel features of the artificial intelligence included fear and pack behavior.

Valve aimed for a November 1997 release to compete with Quake II. By September 1997, the team found that while they had built some innovative aspects in weapons, enemies, and level design, the game was not fun and there was little design cohesion. They postponed the release and reworked every level. They took a novel approach of assigning a small team to build a prototype level containing every element in the game and then spent a month iterating on the level. When the rest of the team played the level, which the designer Ken Birdwell described as "Die Hard meets Evil Dead", they agreed to use it as a baseline. The team developed three theories about what made the level fun. First, it had several interesting things happen in it, all triggered by the player rather than a timer so that the player would set the pace of the level. Second, the level responded to any player action, even for something as simple as adding graphic decals to wall textures to show a bullet impact. Finally, the level warned the player of imminent danger to allow them to avoid it, rather than killing the player with no warning.

To move forward with this unified design, Valve sought a game designer but found no one suitable. Instead, Valve created the "cabal", initially a group of six individuals from across all departments that worked primarily for six months straight in six-hour meetings four days a week. The cabal was responsible for all elements of design, including level layouts, key events, enemy designs, narrative, and the introduction of gameplay elements relative to the story. The collaboration proved successful, and once the cabal had come to decisions on types of gameplay elements that would be needed, mini-cabals from other departments most affected by the choice were formed to implement these elements. Membership in the main cabal rotated since the required commitment created burnout. As development progressed, the team would become more ambitious, making the game unstable as features got added. Contributing to the high-pressure atmosphere was competition from Sin and Daikatana, which motivated the team to make Half-Life look more impressive in comparison.

The cabal produced a 200-page design document detailing nearly every aspect of the game. They also produced a 30-page document for the narrative, and hired the science fiction novelist Marc Laidlaw to help manage the script. Laidlaw said his contribution was to add "old storytelling tricks" to the team's ambitious designs: "I was in awe of . It felt to me like I was just borrowing from old standards while they were the ones doing something truly new." Rather than dictate narrative elements "from some kind of ivory tower of authorial inspiration", he worked with the team to improvise ideas, and was inspired by their experiments. For example, he conceived the opening train ride after an engineer implemented train code for another concept.

Valve initially planned to use traditional cutscenes, but switched to a continuous first-person perspective for lack of time. Laidlaw said they discovered unexpected advantages in this approach, as it created a sense of immersion and enforced a sense of loneliness in a frightening environment. Laidlaw felt that non-player characters were unnecessary to guide players if the design had sufficiently strong "visual grammar", and that this allowed the characters to "feel like characters instead of signposts". An early version of Half-Life began immediately after the disaster, with the environments already wrecked. Laidlaw worked with Johnson to create versions of the lab environment before the disaster to help set the story. He said: "These were all economical ways of doing storytelling with the architecture — which was my whole obsession. The narrative had to be baked into the corridors."

Within a month of the cabal's formation, the other team members started detailed game development, and within another month began playtesting through Sierra. The cabal was intimately involved with playtesting, monitoring the player but otherwise not interacting. They noted any confusion or inability to solve a game's puzzles and made them into action items to be fixed on the next iteration. Later, with most of the main adjustments made, the team included means to benchmark players' actions. They then collected and interpreted statistically to fine-tune levels further. Between the cabal and playtesting, Valve identified and removed parts that proved unenjoyable. Birdwell said that while there were struggles at first, the cabal approach was critical for Half-Life's success, and was reused for Team Fortress 2 from the start.

Much of the detail of Half-Life's development has been lost. According to the Valve employee Erik Johnson, two or three months before release, their Visual SourceSafe source control system "exploded". Logs of technical changes from before the final month of development were lost, and code had to be recovered from individual computers.

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