In the video below, I play through the first level of the game, highlighting the strengths and weaknesses of its rendering - and it's this initial stage that was our first glimpse of the game back in Crytek released a demo of this area with a full level editor, where you could spawn weapons, entities and enemies that only show up later in the game.
It was a short, but comprehensive showing of all of Crysis' systems and grandeur in one 1. The game started as it meant to go on. In the very first scene alone, there's a separable gaussian depth of field on foreground objects, soft z-feathered particles for the fog in between the alien stalactite structures, and even ray-marched volumetric lighting that is visible as the alien vessel opens up.
From here we transition over to a shot of Raptor team's transport flying into the island and we are greeted with some subtle metallic sheen on the jet itself, and some quite gorgeous rendered volumetric clouds with permeability, back scattering, and even inner shadowing. Let's remember that this hails from the year of course, where most games still were relying on static skyboxes.
And then there was the character rendering - and bam, it's right in your face. At this point in time, Crytek knew that its character technology was way ahead of its contemporaries, so you get to appreciate it right away. Being a forward shading engine, Crysis uses a lot of bespoke shaders in multiple passes to achieve very specific materials. So character eyes and hair all use their own special shading model that tries to approach "realism". It's not physically-based materials like you see in modern games, but nonetheless, an attempt to give a similar effect.
This opening cut-scene also gives you a first glance at the game's extensive use of post-processing. Every character movement is exaggerated and weighted with a very high quality per-object motion blur, which has a great and subtle tail and rather low shutter speed, with many samples. On a high-end GTX at x resolution, that effect alone would consume 4ms of GPU time - a full 25 per cent of the frame-time required to hit 60fps.
Suffice to say that not many PCs were going to be getting a stable 30fps at the highest settings. Here's Alex's full minute deep dive of what made Crysis so special, and how good a sequel could be using today's technology. From there on out, the game continues to throw high-end effects at you - like the impact on the ocean itself after your parachute fails, the water caustics based upon the surface normal and with a partially volumetric effect in the water volume itself and you also see the refraction above the water surface.
As you swim around you can see your own feet and arms moving about you to communicate presence. And then there's the beach, where you get your first interactions with objects, pushed to an almost silly degree with turtles, twigs - and even people - available to pick up.
This is at a time when environmental interaction in games was telegraphed by the objects just floating in front of your character as you move. In spite of the level of realism in most of its materials for the era time period, Crysis does not use image-based lighting from cube maps, or other types of probes, for that matter.
You won't see glass objects with cubemap reflections in them, for example. But as a result, the only real specular lighting that really occurs is that from direct forward light sources, like the sun or any other real world lights.
Only Crysis 2 and the later re-release of Crysis on consoles would take advantage of image-based lighting to increase the plasticity of indirect lighting. By just turning around as you move up the beach head, you can admire the dedication put into subtleties of rendering in the sky and vegetation.
You can see screen-space crepuscular 'god' rays filtering through the leaves from the moon, causing a specular sheen to show on the waxy surface off the leaves, and permeating through to their back side. And edge-blend anti-aliasing system is deployed, giving an FXAA-like effect that only impacted vegetation. Yes, Crysis was a heavy game on system resources and to this day it has a reputation that it was 'unoptimised'.
Now, on the one hand, it was clear that Crytek took liberties with a platform that was, in effect, infinitely expandable across time with a view of technology catching up wth its design choices.
As then-Crytek now id software rendering mastermind Tiago Sousa told us back in the day : "In Crysis 1 times, our attitude was, 'oh what the heck, what's one more additional full resolution FP16 target or a couple of full screen passes, let's just add it' But on the other hand, performance tweaks were incorporated. True volumetric clouds at the beginning of the game gave way to texture billboards once you landed, while the first member of Raptor team you meet - Jester - carries about a flashlight with a simplified spotlight effect which swaps back to a full volumetric effect in cutscenes.
A modern Crysis game based on the latest CryEngine would do this rather differently and in a way that is more physically accurate. The current tech - and its off-shoot in Amazon's Lumberyard - support a frustum voxel fog, where lights and shadows cast through it. Every light is technically "volumetric" with no picking and choosing due to performance reasons; the cost is much more flat. There would be no need for fake god rays from the sun or moon, as those effects just happen naturally as part of the rendering pipeline.
Crysis is fully capable of a full 24 hour time of day lighting cycle, but the game has areas where the passing of time is linked to progress through the level, leading up to that famous moment where you overlook the harbour, tasked with taking out jamming equipment. Like the opening scene in the plane, there are so many of Crysis's graphical effects coming into play here: the ocean rendering, the atmospheric scattering simulation, the crepuscular rays from the sun, the back lighting on the trees, and the incredible view distances just filled to the brim with AI and AI creatures.
And then there was the vegetation and trees, with their procedural breaking of branches right down to the twig level. Head down to the harbour, shoot an oil barrel and watch it leak based on where you shot it. There's a level of simulation here you just don't see any more in modern games - the focus has changed, as we've explained recently in our Far Cry tech retrospective. Some rendering effects we saw in Crysis do still persist into present day titles. Share Embed. Add to Cart.
Bundle info. Add to Account. View Community Hub. About This Game The classic first person shooter from Crytek is back with the action-packed gameplay, sandbox world, and thrilling epic battles you loved the first time around — now with remastered graphics optimized for a new generation of hardware.
What begins as a simple rescue mission becomes the battleground of a new war as alien invaders swarm over a Lingshan island chain. Armed with a powerful Nanosuit, players can become invisible to stalk enemy patrols, or boost strength to lay waste to vehicles. In the ever-changing environment, adapt tactics and gear to dominate your enemies, in an enormous sandbox world. Adapt: In an ever-changing environment, adapt your tactics to dominate on battlefields ranging from frozen jungle to alien environments.
Customize: A huge arsenal of modular weaponry provides unprecedented control over play style, with options ranging from the experimental to the alien. Conquer: Life-like enemy AI requires a strategic and flexible playstyle, as new challenges — including a zero-g battlefield— require players to take the offensive and be proactive.
Explore: Choose your own path through the open world of Crysis, destroying obstacles, driving vehicles, and using the environment itself against your enemies. See all. View all. Click here to see them. Customer reviews. Overall Reviews:. Review Type. All Positive Negative All Steam Purchasers Other All Languages Your Languages Customize. Date Range. Crysis is released.
Crytek Kiev is founded in Ukraine. Far Cry is released. Crytek signs a license agreement with Ubisoft for its first game, Far Cry, based on the X-Isle demos. The Yerli brothers found Crytek in Coburg, Germany. Techraptor - Best of E3 - Hunt: Showdown. Destructoid - Best of E3 - Hunt: Showdown.
Develop Award - Visual Arts - Crysis 3. A Develop Studio. GameStars - Studio of the Year - Crytek. Tweaktown E3 - Best Game - Crysis 3. IGNcom Best of Video Game Award. Voodoo Extreme Best of E3 - Crysis 2.
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