Recalling Half-Life’s iconic scenes as merely memorable experiences seems an offensive understatement. Although the sequel is ultimately the better game, my memories of the ground-breaking original from 1998 remain closer to heart.
The legendary Black Mesa tram ride and Anomalous Materials Lab, pummelling my first headcrab with the crowbar, being outwitted by the incredibly intelligent and lifelike soldiers, marvelling at the brutal yet strangely adorable aliens, gazing in awe at the stunning outdoor environments - all elements that contributed to Half-Life being so devastatingly revolutionary and eminently memorable.
Having originally played it as a wide-eyed pre-teen upon release a decade ago, I embarked on replaying it this time with ten years of shooter experience behind me and the purpose of unearthing the optimal musical enrichment. The mixed bag of resulting feelings were made up of nostalgia, of course, tinged with a disappointing realisation that I was tainting precious memories by playing a game that was long ago significantly superseded, but also an enthusiastic appreciation that Half-Life can still contribute to providing a satisfying Extreme Electronic Experience.
The dynamic nature of the game means the scope for exciting combinations is extensive. For the earlier alien-infested levels I preferred the aptly extraterrestrial sound of acid techno, while listening to twisted IDM during the fast-paced later levels left me feeling as if I had just pigged out on my favourite junk food.
The sparse and austere Xen world plays host to the games closing levels and it is this relocation that triggers a lapse in an otherwise tight and gripping experience. Nonetheless, music similarly eerie and barren, such as ambient and minimal techno, conjured up a cruel uneasiness.
With the Source update adding a much-needed gloss to proceedings; it won’t hurt to enjoy a rerun of this earth-shattering shooter, this time armed with your iPod.
An early level
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