Sad as it is, I bet many young people think Citizen Kane is just some overrated old movie about an asshole who misses his sled. Despite having so much to offer as merely a straightforward story, the age-old line about Kane is that out of all the great Hollywood pictures, it is the one that requires the keenest eye toward technical and structural innovations. No matter how invested you are in the tragic tale of Charles Foster Kane, it’s undeniable that the movie is at its jaw-dropping best when plot works in tandem with the viewer’s awe of Welles’ deep-focus shots and oddball narrative framework. To be unaware of these novelties is to miss an entire motif of the film. I am not saying that Half-Life is “the Citizen Kane video games” (partly just because I believe that label is absurd); if it were a movie, its story and themes could barely support mid-tier John Carpenter, much less one of cinema’s undisputed masterworks. But like Kane, an integral part of understanding Half-Life is not only recognizing what Valve did differently, but how those changes created a deeper, more emotionally satisfying product. Continue reading