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Half-Life 2: Episode One cover

With the video game market increasingly moving toward more expensive consoles and cinematic game experiences spanning dozens of hours of game time (and therefore commanding huge budgets that restrict the field to the top small handful of publishing titans), it's no surprise that many independent third-party studios are looking for an alternate delivery method for their games. Valve Software, which made its big break with Quake: Half-Life in 1998, is one such pioneer, having developed a direct-download delivery system called Steam in 2002.

Steam's parallel distribution of Half-Life 2 in conjunction with brick-and-mortar delivery by Sierra Entertainment (later Vivendi Universal, which had purchased Sierra) resulted in one of the most high-profile legal cases to hit the games industry, a complex battle over digital distribution rights fought between 2002 and 2005. In late 2004 a Seattle judge ruled in favor of Valve's exclusive right to digitally distribute its property, stating that Sierra/Vivendi was indeed in breach of contract by distributing Half-Life to Internet café patrons on a pay-to-play basis without Valve's permission. This case became a flash point in developer-publisher relations and was closely watched by the gaming world, the result considered a victory for independent developers.

Now with Half-Life 2: Episode One, Valve has again taken the first step forward in alternative distribution, foraying into the realm of episodic game content. The result, some say, is a gaming experience superior even to the highly acclaimed Half-Life sequel. Episode One, available via Steam download for $20 (and with its odd echoes of George Lucas's titling misfortune), is the first in a trilogy of compact continuations of Half-Life 2. The second episode will be released at the end of 2006, and the third in mid-2007.

We pick up where Half-Life 2 left off, accompanied by the spunky Alyx and her charismatic robot, Dog. As did its predecessor, Episode One offers richly detailed textures and superb facial animations on all characters. Most impressive to me, however, was the animation of Dog, a hulking yet playful seven-foot-tall robot with an electronic mind arguably superior to his human companions'. Human facial animation can be attributed to advanced motion capture, but in Dog the skill of the animators truly shines: his actions convey emotion and intelligence, from playful antics to disturbingly calculating undercurrents that give him a true sense of alien intelligence, all delivered without hands or eyes.

While it can be argued that third- versus first-person perspective preferences are largely a matter of taste, my being firmly in the former camp inhibited my ability to fully immerse in this game. The camera and character movements are so smooth as to feel unreal, and the vagueness of first-person positioning makes certain views that should instill a sense of vertigo—such as looking down a dangerous cliff—lack impact. This is an artistic touch that World of Warcraft manages to achieve (en route to Durotar I've climbed mountains sporting views that literally made my stomach drop), yet Half-Life 2, with its vastly more detailed textures, does not. In some respects the high detail actually works against it, as it approaches what roboticist Masahiro Mori called the Uncanny Valley; the semblance becomes too real, such that our human social recognition systems activate and immediately pick out the subtle cues that tell us a person is not emoting quite enough, and is unhealthy, instinctively repulsive.

Doubtless the many fans of Half-Life 2 would disagree, and for them this additional content should be highly satisfying. The game play is tighter; the creators' familiarity with their world and their tools is evident; and for $20 this is a satisfying return. The episode takes about five hours to complete, and in addition to helpful close-captioning for the hearing impaired, Valve has provided another first: a commentary audio track, available in the starting options. This feature alone will intrigue those seeking a closer look into the game development process, and, like many of Valve's pioneering advances, it's just darn cool.

Erin Hoffman is a writer and game designer living in Troy, NY. She works full time for 1st Playable Productions and herds cats on the weekends. Read more at and She has contributed to Fantasy Readers Wanted—Apply Within, Enchanted Realms II, and The Best Software Writing I: Selected and Introduced by Joel Spolsky.

Erin Hoffman is a writer and game designer living in Troy, NY. She works full time for 1st Playable Productions and herds cats on the weekends. Read more at and She has contributed to Fantasy Readers Wanted—Apply Within, Enchanted Realms II, and The Best Software Writing I: Selected and Introduced by Joel Spolsky.
Current Issue
30 Jan 2023

In January 2022, the reviews department at Strange Horizons, led at the time by Maureen Kincaid Speller, published our first special issue with a focus on SF criticism. We were incredibly proud of this issue, and heartened by how many people seemed to feel, with us, that criticism of the kind we publish was important; that it was creative, transformative, worthwhile. We’d been editing the reviews section for a few years at this point, and the process of putting together this special, and the reception it got, felt like a kind of renewal—a reminder of why we cared so much.
It is probably impossible to understand how transformative all of this could be unless you have actually been on the receiving end.
Some of our reviewers offer recollections of Maureen Kincaid Speller.
Criticism was equally an extension of Maureen’s generosity. She not only made space for the text, listening and responding to its own otherness, but she also made space for her readers. Each review was an invitation, a gift to inquire further, to think more deeply and more sensitively about what it is we do when we read.
When I first told Maureen Kincaid Speller that A Closed and Common Orbit was among my favourite current works of science fiction she did not agree with me. Five years later, I'm trying to work out how I came to that perspective myself.
Cloud Atlas can be expressed as ABC[P]YZY[P]CBA. The Actual Star , however, would be depicted as A[P]ZA[P]ZA[P]Z (and so on).
In the vast traditions that inspire SF worldbuilding, what will be reclaimed and reinvented, and what will be discarded? How do narratives on the periphery speak to and interact with each other in their local contexts, rather than in opposition to the dominant structures of white Western hegemonic culture? What dynamics and possibilities are revealed in the repositioning of these narratives?
a ghostly airship / sorting and discarding to a pattern that isn’t available to those who are part of it / now attempting to deal with the utterly unknowable
Most likely you’d have questioned the premise, / done it well and kindly then moved on
In this special episode of Critical Friends, the Strange Horizons SFF criticism podcast, reviews editors Aisha Subramanian and Dan Hartland introduce audio from a 2018 recording for Jonah Sutton-Morse’s podcast Cabbages and Kings which included Maureen Kincaid Speller discussing with Aisha and Jonah three books: Everfair by Nisi Shawl, Temporary People by Deepak Unnikrishnan, and The Winged Histories by Sofia Samatar.
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