SEEING THE UNSEEABLE
In 1985, brothers James and Jim Thomas penned a film script, The Hunter, about an otherworldly creature armed with near-magical powers of camouflage. The script has a counter-intuitive take on the concept of invisibility. Rather than a mere blank spot, the Hunter exists as traces of motion without coherent form, designed to produce “a dizzying, subliminal experience” and “an intensely visual, highly emotional confrontation for the viewer.” During production, special effects teams used ‘inline mattes’ to superimpose concentric images of background foliage onto an actor. This fake translucency turns the landscape itself into an aggressor: when the Hunter or, as we know him today, the Predator finally attacks, it’s “as if the entire wall of the jungle were rushing in”.
Paid homage to in every halfway-stealthy game from , the Predator is the nearest we have to a patron saint of invisibility in games. The weirdness of invisibility in the film – not just a Clancy-esque gizmo, but an assault on the viewer’s consciousness – reflects the startlingly varied forms invisibility takes in different species of game. Invisibility can be the ultimate power fantasy, as anybody who’s ever been brain-jacked by Sombra in attest. By extension, it can be a nightmare to balance, whether you’re designing a PvP shooter or simulating the reactions of AI guards to a cloaked invader. But it can also be an atmospheric device, a source of dread and uncanniness even in the mind of the camouflaged player. At its most arcane, it
