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I have never seen a more tragic comments section than the one from a few weeks back when we asked our readers to . Over 200 of you shared stories of despair and woe as hard drives crashed, Uplay cloud saves glitched, or a simple misclick spelled doom for countless hours of gaming.
We've collected the saddest, most heartbreaking stories below so that you can wallow in their misery. And if you didn't get a chance to contribute your own story, do so in the comments.
This one hits hard because the emotional loss is so apparent. It's one thing to fall in love with your Morrowind character and your adventures together, but Bear's story of losing his entire library of collected books in Morrowind because of a virus really stings.
My first Morrowind character. I had made an Argonian and enjoyed the wonders that the game had to offer, discovered mods a number of hours in, got myself a few decent ones, joined House Telvanni to appreciate the irony of being an Argonian and of Telvanni, and progressed very little on the main questline but became deeply infatuated with the world.
I kept telling myself, I'll do the main quest later, and something would come up. When the "something" was the Thieves Guild, I became captivated with in-game theft, and I claimed a home that was empty after I'd murdered the owner as my loot den.
I use the word loot loosely. I was only interested in one type of item to steal: books. I ventured back and forth across the continent stealing every book I could manage, piling stacks of books as high as I could manage in my den of ill-gotten goods, occasionally tossing other stolen things on the floor, but my pride were the hundreds of books stacked taller than my Argonian. The small room would take a good ten minutes to load because of the sheer amount of books. I'd take detours while exploring just to raid places looking for books. Even if I got one book, I was pleased to be able to add it to my collection.
This was the first time I'd pumped so many hours into any game, ever. It was probably 2003 or 2004, and I had a PC that was rough around the edges at best. It was passed to me by my father as a reject for his own uses, no doubt in hopes that I would get my 12 or 13-year-old behind off the family PC with minimal trouble, and it worked. Until my young self made an uneducated choice in my forays on the internet and I picked up a particularly nasty virus while trying to download some free graphics editing software. The PC wouldn't boot. My father refused to help me fix it (apparently he had regrets for giving me my own PC, because my internet usage increased rapidly) and I couldn't figure it out.
My father finally just reformatted the hard drive and when I went to restart Morrowind, my hundreds of hours and couple years of gameplay was lost. I'd just lost the one thing that helped let me escape the troubles of being a bullied, friendless kid so easily before.
Not all of these stories have to do with losing a save file entirely. Some deal with the existential horror of being trapped in one location, never able to escape. Of course, that horror becomes a lot more tangible when there's a giant xenomorph rapping at your chamber door.
Alien: Isolation is a bit mean with the saving system. You have to find what looks like a retro telephone booth and dial a number, making sure that Mr. Alien is not about to skewer you with his tongue or show you his six freaky fingers. You can only go back two save points, so you have to be very careful.
After a month spent hiding in lockers and wetting myself, I'd progressed through the game painfully slowly. I was escaping from the nest and it looked like I was finally getting Amanda off Sevastapol for good. I only had to take a lift up to a safer level. Sadly, I dropped a gun while being chased by the Alien and it got wedged in the door in a very glitchy way. The glitch meant that although I could take the lift, the next level wouldn't load. I was stuck! I couldn't retrieve an early enough save file to avoid the glitching gun. I haven't had the courage to replay the entire game to get to that point, so I'll never know if Amanda made it.
She's left forever in that lift with the Alien banging on the door outside.
Listen, people make mistakes. Sometimes those mistakes can hurt us, but I'm not sure if I'd ever end a relationship over a lost game save. But I guess The Witcher 3 isn't your average game.
Some time ago, my ex girlfriend wanted to play The Witcher 3 and I shared it from my Steam library with her. One day she played it in my PC, and when I came to play I realized that the save files in The Witcher 3 are the same when you share from your Steam library, and she saved her game in the same slot as mine. I lost my lvl 55 Geralt, my witcher gear and swords—everything. My time in Ard Skellige looking for treasures didn't serve for anything. I broke up with her some time ago and I use this story to explain why she is now my ex hahahaha.
I'm sure parents are equally as responsible for deleted saves as failing hardware. But there's something especially tragic when it all happens because they were trying to do something nice for you.
In the late nineties, my dad surprised me for my birthday with some PC upgrades: a new monitor, bigger hard drive, and new graphics card. Of course, he'd wiped my old hard drive. Ten years of save files, writing, gig upon gig of films and music, all gone.
Commenter Grom Hellscream sums up the tragedy perfectly:
"Happy birthday, son. I formatted your entire childhood."
If you've ever saved immediately before your demise only to find that you're now stuck replaying your death over and over, you can sympathise with Berty Bennish's story.
I was playing the first Call of Duty back when it first came out. I would regularly save my games but in this instance, my last save was a couple of levels before the incident. It was the daylight St. Mere-Eglise level. After destroying the tank that comes out of the wall I ran round the corner heading towards where you would get in the car. I killed a couple of guys and ran a bit further. Game decides to auto save right when a German soldier pops round the corner and blasts me in the head. Instant death.
and so on…
What's hilarious about this particular story is that another one of our commenters had nearly the exact same problem.
When I was playing Call of Duty, way back in the day, there was a tank section. I hadn't saved for the entirety of the (rather long) mission, and contrived to save at the exact moment a shell was fired in my direction, a shell which would wipe me out.
Every time I tried to reload, the shell would fire and I would die. Over and over. I was shattered.
If a psychologist interviews me years from now and asks me why my dreams often have intermittent flashes of light, this is 100 percent the reason. Poor old toddler me.
Parents have unwittingly destroyed thousands of hours of time invested into games, but Zach Fathaigh's story flips the script. I'm assuming his mother had a hard time looking at him for a few days after.
1996's The Realm is a fun proto-MMO that my mom was obsessed with. You get four or five character slots, I can't remember which. My mom let me have one of those slots (thank you, Mom). My older brother asked me what the game was like and I wanted to show him how fun it was to start a new character. So I looked at the list and saw Mom's two really badass characters, my character, and a level 1 naked character. I deleted that one to make room for my brother's character.
The deleted character was a mule with hundreds of hours worth of loot. I forgot about this incident entirely until my mom reminded me of it over the weekend.
We've all had hardware fail. Picking up and starting a game from the ashes of an old save is awful. Having to do it twice? No thanks.
Christmas of 1999, I get the one game I really wanted under the tree. That big, ugly (beautiful?) orange and purple box. Planescape: Torment. From Christmas day until just before New Years, I put about 25-ish hours into the game. I was really into it. Then my hard drive crashed. I was devastated. I had the computer fixed within a week, but it took me another month or two to work up the nerve to start the game over from scratch. I did it, though. Even made some slightly different choices. It was a bit tedious to read ALL that text again, but after a good 15 hours or so, I got back to where I'd been. Played another 20-ish hours and... BAM, another hard drive crash.
Here's a tip, kids: Don't skimp out on your power supply when building a PC. It killed two hard drives before I knew the cause. Anyway, to say it was soul crushing was an understatement. I haven't beaten Planescape: Torment to this day. I've tried going back to it, but I end up losing interest before I ever get back to where I was. Best RPG of all time? Maybe. It's too painful for me to be able to ever know.
Speaking of hard drive failures, I can't stress enough how important it is to back up important projects. We had countless stories about people losing game saves, but entire games? Seriously, don't wind up like Matt.
I once made an entire game in RPG maker VX-ACE. It was called the Tower of Trials. It was short and utilized only the assets the game provided. It had some random elements, little story, and was intended for short-runs about 30-40 minutes long. I worked on it for two years, starting on my old laptop and eventually finishing it on my first PC. It was my own little project and only a few of my friends played it. Then I discovered why people told me not to buy cheap HDDs. My hard drive crapped out on me and two years of work was lost. My oldest version of the game was on my old laptop and only had three floors of the tower completed. Needless to say, my current rig is running on a Samsung SSD.
It's one thing to lose a save file, but to lose the ability to play a game altogether? Now that's tragic.
Back in elementary school, 2001 or so, I really liked Harry Potter. Neither me nor my parents could afford a PC or anything to play modern games (had an Atari 130 XE though), so I was very happy when someone left Philosopher's Stone installed at the school's computer lab.
I could only play video games for a limited time after classes, so I only made it to Herbology Class over the course of several months. The game felt amazing to me, probably because I was reading Harry Potter books around the same time.
Once I went to school as usual, but after arriving I noticed it was completely deserted. Normally, entire halls would be filled with sounds of children playing but there was not a single soul in sight. I went upstairs. After walking around for a minute, I was spotted by the principal's assistant who rushed me to the cafeteria.
When we arrived there, I saw that all students were crammed inside. I quickly learned from colleagues that the school was robbed overnight. Robbers broke the window and stole a boombox, whole bunch of chocolate bars from school's kiosk, and every single PC from the lab. I lost not only the save file I worked for what felt like eternity, I lost the ability to play my beloved game in the first place.
Some comments were edited for grammar and clarity.
Every year PC Gamer's editors and contributors vote on a list of the 100 best PC games to play right now, and every year our Top 100 list is contentious. A game is always too low, and another too high, and another unbelievably missing. Such is the inevitable fate of any List Of Things In A Certain Order.
But this year, we decided it would be fun to transform the heated comment threads under our list into a list of their own—the Readers' Top 100. Last week, I asked you to pick your top two games from our Top 100 list, and suggest two games to add. I then compiled the votes (1,445 of them), weighing the write-ins more highly than the picks from our list, given that it's much more likely that 50 people would chose the same game from a list of 100 than all write in the same game.
My totally unscientific method does cause a few problems, namely: how much more do you weigh the write-in votes? A multiplier of three produced the most interesting list in this case, though next year I may ditch that tactic all together and take write-ins only. The danger is that a write-in-only list might be more easily swayed by organized campaigns (though that certainly happened anyway), and for this first attempt, I wanted to include a baseline to build off of just in case the suggestions were too scattered, or too homogeneous.
It worked out pretty well despite the uneven, improvised methodology—but do think of it as a fun exercise and not a perfect representation of PC gamers' tastes. Caveats out of the way, check out the list below. (Games that aren't on our Top 100 list are in bold.)
For reference, the top 10 games on our list this year were: The Witcher 3: Wild Hunt, Dark Souls, Dishonored 2, XCOM 2, Portal 2, Metal Gear Solid V: The Phantom Pain, Mass Effect 2, Alien: Isolation, Doom (2016), and Spelunky. If you want a condensed sense of how our tastes differ from those surveyed, here are a few observations:
We like Spelunky a lot more than everyone else. It was in our top 10, but didn't even make it into the Readers' Top 100.
While Half-Life 2 has lost some stock in our minds, it hasn't in everyone's. It was 11th on our list, but 2nd on the Readers' list.
Everyone agrees that The Witcher 3 is great. It was first on both of our lists.
Skyrim is still chugging along. It was 26th on our list, but came in third in reader voting.
Borderlands 2 wasn't on our list, but came in 5th. Did Borderlands fans came out en masse, or are we just weird for not putting it on our list?
14th place is pretty impressive for Life is Strange. Rimworld ranked pretty high, too. Either these games are more popular than we realized, or the survey happened to be circulated among their biggest fans. Probably a mix of both.
League of Legends fans showed up to challenge our preference for Dota 2. It came in at 18, while Dota 2 was knocked down to 73. Justice?
If you'd like to compare the lists directly, I've put them side by side in a spreadsheet. Thank you to all 1,445 people who responded to the survey! Feel free to suggest new ways to compile this list in the comments, and I'll take them into consideration next year. My skill with Excel spreadsheet formulas is at least double what it was last week, a cursed power that will only have grown by next year.
Since its foundation in 2003, Obsidian Entertainment has worked with seven different publishers. Commencing with LucasArts on Knights of the Old Republic II, Obsidian has since signed contracts with Atari, SEGA, Bethesda, Square Enix, Ubisoft and most recently, Paradox Interactive. In fact, up until Pillars of Eternity [official site], every single game Obsidian had made was funded and distributed by a different publisher.
This is a highly unusual state of affairs, and has proved precarious more than once in the company’s history. But it has also provided Obsidian with a unique insight into how the world of publishing works, and how the relationship between developer and publisher has changed in the last couple of decades. This topic is especially pertinent today, as new methods of funding and distributing games have seen a significant shift in the power dynamic between developers and publishers.
I spoke to CEO Feargus Urquhart about how it all works (and doesn’t).
During the climax of Star Wars: The Force Awakens, the Millennium Falcon crashes through a dense pine forest and skirts toward the edge of an icy cliffside. The trees splinter and pancake as the space jalopy slides to a halt and our heroes emerge unscathed, leaving a shower of splinters and snow in their wake.
But the trees are not what they seem. The forests in The Force Awakens, PlayerUnknown’s Battlegrounds, and an episode of Sesame Street are all hiding something. They’re family.
A significant amount of Mother Nature as represented in games and film starts life at SpeedTree, a small middleware company out of Lexington, South Carolina. Stranger still is that co-founder Chris King credits Bethesda Game Studios director Todd Howard for the company's success and the eventual deforestation of the Star Wars pines.
Todd Howard and the timber in The Elder Scrolls IV: Oblivion are also indirectly responsible for the alien forests on Pandora in James Cameron’s Avatar. You can blame Howard for the best trees in videogames and even in a rival series, The Witcher 3, with its vast windblown forests. You can also blame him for 3D models of the White House and surrounding shrubbery, likely tossed around the US Secret Service’s network to this day.
You can allegedly blame him for (but don’t, King is totally unaware if SpeedTree's software was used as a dynamic genital hair generator. There are better solutions, I’m told. Still, it’s enough ambiguity for hope).
But Todd Howard didn’t make the trees or the alleged pubes or the technology behind them. Howard just gave a small company a big job that helped it keep pace in an industry overgrown with new possibilities.
SpeedTree is a middleware solution for videogame developers and, more recently, filmmakers who need to make realistic trees en masse, quickly. That doesn’t mean SpeedTree is as simple as a copy and paste engine, or that it spits out photorealistic trees within perfectly simulated ecosystems. It’s easier to think of SpeedTree as more of a specialized tree canvas, a tool used to generate whole forests of trees that look similar but aren’t carbon copies of one another.
SpeedTree’s tools also include massive libraries of textures for rendering vegetation, and animation tools that simulate wind moving through branches and leaves. Beyond the time and energy saved making so many trees, SpeedTree’s vegetation is also designed to conserve as many system resources as possible.
For a simple understanding of how it works, the story of their success, and where SpeedTree is being used today, I talked to King over the phone and through a few scattered email exchanges. He’s a bright, generous character, the kind of person that blends a simple answer into an extended anecdote before coming full circle into a question about me. I get the impression the trees are in kind hands.
“It’s all procedural, meaning we use curves and numbers to input into an algorithm that will generate this tree, and as you change those curves and numbers so changes the tree,” King tells me. “But once you get a definition, you can just hit randomize, one button, and it’ll make a tree that looks similar to the last, but not exactly like it. And you keep hitting randomize and it’ll keep hitting these different random variation, so you can populate a unique forest with trees very quickly.”
But it’s important to clear up a common fallacy, he says. “It's a misconception that Speedtree generates these procedural trees on the fly, when in fact, it is an offline procedural tool. The procedural part is there, but it's just a tool that the artist uses to create the shape.”
Simply put, every time you play The Witcher 3, SpeedTree isn’t procedurally generating a new forest. While a game is in development, artists, level designers, and programmers work together to generate a wholly unique forest using SpeedTree’s procedural tools, then touch up and arrange the final result by hand. Once the trees are in place, SpeedTree is also capable of handling “all the loading, culling, level-of-detail, lighting, and wind effects for entire forests” in real-time.
Without the ability to summon a forest of wholly unique trees at will and render them in a live environment, developers have to build their forests entirely from scratch. This can be done by spending endless hours making small tweaks to branch structure from the same starting model, or by building an in-house solution to generate their own trees – albeit likely one with fewer features. Now, when peering out into the verdant, swaying canopies of Toussaint, the time saved and focused elsewhere is plain to see.
Before setting the stage for Geralt, SpeedTree was a loose assembly of good ideas without testimony. Around the turn of the millennium, videogames with massive forests of distinct timber weren’t a common technical ambition, often reigned in by console hardware. For the most part, they were all done by hand, but off the tail of The Elder Scrolls III: Morrowind—whose development predates SpeedTree and itself contains many-a-thicket—Bethesda likely wasn’t ready to create a larger space with more realistic trees capable of running on modern PCs and emerging console hardware. They would need help, and that help was just sprouting.
Unlike most modern middleware and niche software companies, SpeedTree’s origins aren’t the result of surgical, chartered market research and Silicon Valley capital juicing. King inadvertently started SpeedTree with co-founder Michael Sechrest, the result of modest ambitions steered by restlessness and passion.
Sechrest and King met as graduate students in the Computer Engineering department at the University of South Carolina in the late 90s. “We were deeply involved with real-time visualization on those huge old Silicon Graphics Unix systems, doing visualizations for the Office of Naval Research and the Department of Energy.”
Coinciding with the release of the original Nvidia GeForce GPU in 1999, King and Sechrest wanted to start a business and bring their experience creating detailed visualizations to the PC, which was finally capable of rendering their work in real time. The pair formed Interactive Data Visualization (IDV), Inc., which King considers “A great name for a company that does engineering visualizations, not so great for vegetation in videogames and films!”
Here's what a modern SpeedTree tech demo looks like in UE4.
By 2001, the two found steady business creating pre-rendered 3D visuals and animations for a handful of companies, building architectural renders and flyovers day after day. It was good work, but rendering trees for video and stills didn’t challenge their programming skills in the same way videogames would. For King and Sechrest, it was one thing to model a scene and let a powerful computer render it overnight; and another to generate a forest and render it live in the same environment as a little Geralt and hundreds of invisible systems without setting the average household PC on fire.
But during a discussion about the creation of a particular flyover, the client and lead architect was very particular about the trees, requesting that each species be recognizable, a specific height, and to appear wind-blown.
Without software capable of achieving such effects, King and Sechrest made their own, which ended up as the very first version of SpeedTree. “It consisted of a very rudimentary version of the SpeedTree Modeler and a small 3ds Max plug-in,” King says, “It worked well enough. In 2002, we released it as SpeedTreeMAX.”
It was a useful tool for creating more detailed trees, and in creating a new program entirely, their coding know-how was stretched a bit. In time, King and Sechrest saw an opportunity in SpeedTreeMAX. If properly recycled, the two wondered if the SpeedTree Modeler could be used to make assets for videogames, and if so, whether or not anyone would need them.
To check, they posted an article on OpenGL.org to introduce developers to SpeedTree’s tech and gauge interest in a version that produces trees for real-time rendering engines. In a stroke of luck, Sebastien Domine of Nvidia read the article and downloaded the included demo, which demonstrated how SpeedTree could be used in a real-time setting. Domine was impressed by the technology, but he also figured a real-time SpeedTree would be an excellent promotional tool for a new Nvidia GPU. He contacted King and Sechrest, they struck a deal, and they started work on SpeedTree’s first true real-time demo.
In true videogame form, the demo showed a mech launching and dodging missiles amidst breeze-blown trees, and was put up for download on Nvidia’s developer portal to a fervent reception. Chris tells me that “over the next three months, more than 40,000 people downloaded the demo, including Todd Howard of Bethesda.” Videogames were growing more capable with better technology, and the task of filling bigger, more advanced worlds with realistic, varied trees was growing bigger too. And King and Sechrest now had a major game developer on board to showcase their tech.
“The only problem was that we'd never sold middleware,” says King. “We had no idea how it should be priced. Amazingly, Todd helped us determine what we both agreed was a fair price and then and there he became our first games client.”
King continues as I imagine an ambling Linklater-directed montage, Howard, King, and Sechrest huddled over a pile of paperwork and tree textures, pinning them to the wall and nodding as revelations dawn one after the other. Emails and phone calls don’t make for a good montage.
“Fast forward to March 2006. Oblivion is released for the Xbox 360. It was a monster hit and the SpeedTree logo appeared on the back of the box,” says Chris, “The perception was that SpeedTree may not be efficient enough to run effectively on a 360 or PS3. Because Oblivion demonstrated in grand fashion that SpeedTree was ready for primetime on any platform, it's probably the single most important title we've ever been a part of. We will always be grateful to Todd.”
At the time, an open world game at Oblivion’s scale running on a console was unheard of. And while the final Xbox 360 version is widely considered a buggy, nearly unplayable mess, SpeedTree demonstrated that it could manage to render trees on 16 square miles of land on hardware that predated even the most average of gaming PCs in 2006. It worked, and that was enough to draw industry-wide attention to SpeedTree.
The exchange went both ways, too. Would Oblivion have captured imaginations like it did with boring and repetitive forests? It doesn’t look great by today’s standards, but at the time, streaming in diverse stretches of vegetation on the relatively meager Xbox 360 specs was a technical breakthrough, proving that open world games could work on lesser hardware at a high fidelity. It set a trend and games with even denser forests followed suit, evidenced by games like The Witcher 3, which would look very different (or wouldn’t exist at all) if not for SpeedTree.
A snippet from White House Down featuring SpeedTree.
By today’s metrics, Oblivion is an old game. Now we get thousands of new games every year, a good chunk of which use SpeedTree, and some of which want a little more than a procedural tree tool. What about modeling the life of a tree? When I ask King whether simulation of arboreal biology is a priority for them, I’m told no in the best way possible: an extended anecdote from the left-est of fields.
“One of our competitors was based in Europe, and the US Secret Service, believe it or not, is a customer of ours, and they put together simulations of the White House grounds, or at-least they were talking to us about it.”
It turns out that spending resources on creating systems that consider the laws of nature would only sequester SpeedTree to an even smaller niche.
“So they call the European people and told them what the problem was and they said, ‘Well, our stuff is botanically accurate and Southern Magnolia's don't grow 80 feet high, so our software won't do that.’ King gets a little louder, “And they called us and we were like, ‘Shit, we'll make it 8,000 feet high, we don't care. It makes no difference to us, we're not bound by these botanical rules. What do you want it to be? Do you want it to be White-House-shaped? We can do that as well.’”
The Secret Service weren’t even the first clients to request similar detailed models of the White House lawn. King says it’s requested so often that it’s become a running gag in the company. The amount of games and movies that feature it as a setting is surprisingly high, and the request for technology that can emulate the nearby vegetation is in equal demand. Filming there is prohibited, and so the the more often SpeedTree becomes a requested tool, the easier it is for future film crews to turn to them.
From Oblivion to the Secret Service, SpeedTree has since branched out into generating vegetation in general. King and his cohorts are also currently prepping the full release of SpeedTree 8, which is a big leap forward in physically based rendering (PBR) tech, and showcases their new material scanning hardware and software used for an ever-growing database of megatextures and models. To create such a deep library, King even employed a specialist whose job is to literally scan as many plants as possible. Imagine that, strolling about the planet looking for pretty plants to immortalize every day. Noble.
Prior to placement in a game or film and removed from the discerning touch of an artist, the trees and shrubs and cacti look serene, eerie. They’re nature’s aesthetic devoid of context, cleaner and healthier than any plant will ever be, the Stepford wives of common ferns. They look real, and to someone looking up at the prominence of a potential mountain of work creating their own assets, SpeedTree’s prices are a much more appealing alternative. Still, as useful and seemingly advanced as SpeedTree’s tech might seem to developers, it has plenty of room to grow.
“You could say we're currently near the center of the spectrum of digital fidelity in tree models. We look good from the distance players typically view trees in a game situation—on or near the ground and maybe 10 to 100 feet away.” says King, “So, in ten years, hopefully we'll be zooming from space to a vein on a leaf seamlessly!” With more games like Star Citizen and Dual Universe looking for the same scale and adaptability, King knows they have their work cut out for them.
In the meantime, with every wave of new games, we get a firsthand look at how it’s changing. King can’t disclose everywhere you’ll see SpeedTree used next, but Destiny 2, like the original, will make use of SpeedTree. He also tells me that Industrial Light and Magic has more or less standardized SpeedTree, and that barring any breakthroughs in vegetation generation it’ll be used in most of the upcoming Star Wars films.
Ubisoft also brokered a deal with SpeedTree in 2016, agreeing to use it as their standard vegetation modeling tool. Given the size of Assassin’s Creed: Origins’ map, SpeedTree makes perfect sense. Since Avatar, SpeedTree has been used in nearly 100 films and well over 1,000 games, making it the industry standard. It's everywhere.
Rogue One’s beachside battle on Scarif, arguably the series’ best battle ever, used SpeedTree. Whenever you slap a new player into a tree in Absolver or make a hasty getaway through the forest from an irate honey badger in Far Cry 4, SpeedTree is there. So the next time you take cover behind a big hardwood in PUBG, remember who generated its bulletproof bark, and in turn, set the table for this chicken dinner and many more to come.
Crumbs, four years since we last posted about wildly ambitious Fallout: New Vegas prequel mod Project Brazil [ModDB page] and it’s still not finished. It is a mighty big project, adding a fully-voiced new campaign in a new wasteland. But hold strong! “We are beginning our final approach to releasing this gargantuan mod,” developers Radian-Helix Media said today, repeating that they expect to launch it later this year. They also revealed that it’ll actually be named Fallout: New California. (more…)
You may recall that in Doom and Doom 2, multiplayer matches took place in standard campaign maps. In other words, deathmatch had no maps designed especially for PvP skirmishes. It seems unthinkable now, because nowadays multiplayer maps are a fine art of their own (though plenty of level creators ended up making special deathmatch maps for Doom anyway).
With Quake, id Software started adding multiplayer maps of their own, and in a recent interview with PCGamesN, Tim Willits made the claim that it was his idea. Explaining how he wanted to use remaining map fragments from single-player levels to adapt for multiplayer, Willits claimed his idea was roundly mocked.
"They [John Romero and John Carmack] both said that was the stupidest idea they'd ever heard. Why would you make a map you only play multiplayer when you can play multiplayer in single-player maps? So I said 'No, no, no, let me see what I can do.' And that's how multiplayer maps were started. True story."
But is it true? Apparently not, according to other id Software veterans including Romero, Tom Hall and American McGee. The former wrote a lengthy blogpost on the matter, specifically denying the exchange between Willits, himself and Carmack ever happened.
"This never happened (Carmack verified this to ShackNews)," Romero writes. "In fact, we had been playing multiplayer-only maps in DOOM for years already. There had been hundreds of maps that the DOOM mapping community had made only for deathmatch by that time. DWANGO was a multiplayer-only service that had many multiplayer-only maps that are legendary today.
"American McGee even released a multiplayer-only map in November 1994 named IDMAP01. The incredible DOOM community invented the idea of designing maps only for multiplayer mode, and they deserve the credit. The game owes so much to them."
It's worth reading all of Romero's post for the nitty-gritty, where he also discredits Willits' claim that he had designed the first episode of Quake (it was a collaboration, with Willits designing less than half of the maps). He also points out that other FPS games, such as Rise of the Triad, had featured bundled multiplayer-only maps before Quake did.
Whatever the case, American McGee denied Willits claims on Twitter, and Carmack confirmed with ShackNews that he doesn't remember the conversation happening. We'll update this story when (or if) Willits responds.
There is a high school reunion backstage at QuakeCon. The silver pots of catered food delivered by the towering Gaylord Texan above keeps everyone buoyant, and occasionally a good samaritan wanders in with a short pyramid of Domino’s pizzas. The casters are hard at work on the corner of the stage, and the on-deck circle is filled with whirring computers hardwired to LAN cable for any enterprising team looking to get a few more reps in before showtime. For the most part, the Quakers are relaxed. There is laughter and shit-talk, and enveloping bear-hugs offered between friends who haven’t seen each other in far too long.
In recent years, fans of the mercurial Quake franchise haven’t had much reason to play outside of id Software’s yearly love letter to the franchise, but the upper echelon of the scene remains sturdy. Tim “DaHanG” Fogarty and Andrew “id_” Trulli are both in their late-20s and play for Team Liquid’s Overwatch squad—but they’ve each taken a respite from that game to form a (slightly impromptu) team for this year’s Quake Champions tournament. The lithe Shane “Rapha” Hendrixson is here—since 2008 he’s traded titles in the 1v1 dueling bracket against Alexey “Cypher” Yanushevsky. He’s entering this year’s show defending championships from both 2015 and 2016.
I spot Sander “Vo0” Kaasjager sequestered away from the rest of the crowd, playing endless deathmatches to keep himself frosty. In his jersey and trademark gamer grimace, he doesn’t look much different from the man who famously lost to Johnathan “Fatal1ty” Wendel in the grand finals of the 2005 Cyberathlete World Tour in what was then the biggest prize pool in the history of competitive gaming. Together, they represent the first generation of esports—the first men who dared to make a living playing video games. The world has passed them by, but they’re not leaving without a fight.
“I started playing Quake in 2001, I’ve known some of these guys for 10 years,” says id_ backstage with a tub of lunch in his hands. “Quake has a longstanding community for over a decade, and those players will always come out of the woodwork to compete. Not just for money, but for the pride and the title, that’s something that Quakers live for.”
For the past seven years, the Quake game de jure was Quake Live, the still-active browser emulation of the legendary Quake III: Arena. It served as the franchise’s testament and tomb. There hadn’t been a new Quake game since 2005’s middling Quake 4, and as the esports industry hit its tipping point, id software instead chose to focus on their single-player ambitions with the ambitious Rage and the long-gestating Doom reboot. The cadre of Quake pros still showed up to QuakeCon every year to reignite old rivalries, but there wasn’t much to play for beyond that.
However, the mood is different this year. For the first time in forever, QuakeCon is headlined by its namesake game. The free-to-play Quake Champions is on the horizon, and the QuakeCon tournament, which previously focused on minor bounties in stale Quake Live brackets, now features a million-dollar Champions prizepool. You could consider it a commencement ceremony for an esports initiative that aims to make Quake a crucial fixture in the scene again. Already, Bethesda has announced before the end of the year, and both are paying out decent prize money. The marketing here is transparent—at this point it’s harder to find a game company that’s not doubling-down into esports—but the circumstances are unique given the heritage that was already present. These Quake players would’ve gathered here anyway, but now, they get to be professionals again.
Rapha fits the bill of the long-suffering FPS pro perfectly. He’s an incredible duelist who can track down railgun headshots with his eyes closed, but he hasn’t been able to find a game that fits his skillset since the Quake scene dried up during his prime. He had a brief affair with Ubisoft’s dead-on-arrival ShootMania, and he tried and failed to find his groove on the Team Liquid Overwatch team. But that was it. He was doomed to a purgatory of yearly Quake Live matches against the same tired competition he faced as a college kid. The Quake Champions announcement changed everything. He can finally go back home.
“It’s amazing for me. I’m just excited for the opportunity to play in multiple tournaments again,” he says. “I really liked Overwatch but it feels like a lot of the skills there are confining. … I gave it my all, but Quake is just my game.”
Rapha isn’t the only one. Id_ tells me he’d consider making a full-time comeback if the Champions scene stays healthy. Anton “Cooller” Singov inked a deal with esports giant Na’Vi to return to his roots. Alexey “Cypher” Yanushevsky after logging time with both Counter-Strike and Overwatch. Quake legends around the world are watching Bethesda put their money where their mouth is, and are graciously taking the opportunity to see if they've still got what it takes.
It’s hard to articulate exactly what these pros find in Quake that they can’t in other FPSes, but one thing is certainly clear: there’s no true 1v1ing in Overwatch. If you’re familiar with those old CPL derbys you know what I’m talking about—two players coasting the circumference of an arena, stacking green armor, weapons, and health in hopes of winning a frantic, five-second engagement. The 1v1 format tested your twitchiness, but it also evaluated how well you could read and react to your opponent, a perfect marriage of mindgames and rocket launchers. It’s a unique, and rewarding style of play that’s been missing in our era of role-based skirmishes for quite some time. If you grew up on whip-around nailgun blasts, perhaps Soldier 76’s auto-aim might seem a little cheap. “It’s just you and the other guy. There’s no other factors. It’s just who can play more consistent, and who can outsmart the other guy,” says Rapha.
“It’s incredibly personal,” says James “2GD” Harding, another former Quake pro and someone who’s been around esports for a long time. “[In 1v1] all of your intelligence and all of your dexterity is being challenged by the best players in the world. It challenges you so much that you can never really master it, but you can try to be the best at certain things. Like, maybe you try to win a tournament by being the best at aiming, or win a tournament by being the smartest player, or being the most aggressive player. It’s very painful to lose in 1v1 sometimes, because it wasn’t the game you lost to, it’s your opponent.”
Bethesda values the format enough to corner off $330,000 of the QuakeCon prizepool to the 1v1 bracket alone. Tim Willits has called Quake Champions’ dueling the to the company’s esports plan, reckoning that it’s the one thing Champions has that other games don’t. It remains to be seen if Quake can crossover like it did in the ‘90s and early 2000s, but in the meantime it’s wonderful to watch the veterans get a run at something they used to obsess over. The QuakeCon tournament was full of great matches: in 2017 we had the pleasure of watching high-stakes sets between Cooller and Rapha, DaHanG and Noctis, Av3k and Vo0. These men have wives and kids, and they were still blasting off their feet in acrobatic rocket jumps. No matter what happens from here, we at least had the chance to watch the founding fathers of pro gaming live the dream one last time.
But maybe that’s also the one thing holding Quake Champions back. Esports, like any other competitive field, needs a trickle of new blood to survive. Running back the same posse of professionals under brighter lights and a felicitous bankroll doesn’t bode well for the future. “I think in some ways we’re hoping to be replaced,” says 2GD, noting that the average age of the players at Dota 2’s The International landed somewhere around 21.
That might sound like a strange thing to say, but then again, everyone at QuakeCon was there for the same reason. They love and fear for Quake, and while they’re happy to play a brand new game for a significant wad of cash, their primary concern is the continued prosperity of their favorite game. They won’t fall on their sword, but they’ll happily welcome the next generation if they earn it.
That wish was granted on the third day of the tournament. Team 2z were completely anonymous when they walked through the doors of the Gaylord Texan. Their Twitter account sports a scant 199 followers. They are unsponsored, unsanctioned, and reachable by a blasé gmail address answered directly by the players. Mostly, they’re in their early 20s and late teens, green as grass, and stacked up against a combined century of Quake experience in the other teams.
And yet, they pulled off a clean sweep of every Quake Champions match at the show. 2z took home the team-based Sacrifice tournament with definitive wins over Team Liquid and the prodigious NOTTOFAST, and the 19-year old Nikita "Clawz" Marchinsky flat-out embarrassed Vo0 in the 1v1 championship with an icy 3-0 blow-out. They were, by far, the least famous players entering the weekend, and they exited as the undisputed best in the world.
“For me personally it was very special to compete against all the legends I grew up watching and idolizing. I think we were very underestimated LAN-wise before this event because all of them have so much more experience than us,” says Clawz, a few days after his victory. “It felt even more like that in the 1v1 tournament, where any predictions containing me among the top three were made fun of by the old legends. It felt amazing to prove them wrong and to show the world what I'm capable of.”
All four members of the 2z squad are excited about the upcoming Dreamhack tournaments: eager to defend their first-place status and clearly aware of the targets on their back painted by a legion of veterans. But they didn’t get to the top with any trickery or cheese, they’re simply outstanding FPS players who outworked their opponents in the film room and on the ladder.
Frankly, I was surprised that they decided to choose Quake. You get the sense that 2z could easily excel at Overwatch, or Counter-Strike, or any other FPS with a healthier, less-nubile scene than Champions. One of the players, Kyle “Silentcap” Mooren has a history with Quake III and Quake Live, but the others are arriving without any ruddy nostalgia. It speaks to the game’s legacy that they still found their home here.
“I've played some Overwatch and a bit of CS:GO as well, and as much as I enjoyed them, none of them are quite like Quake,” says Clawz. “Quake is fast, brutal and ridiculously hard to become good at.”
“I like to keep this tradition, I mean to play the first and the very best, hardest shooter in the world,” says Alexander “Latrommi” Dolgov.
QuakeCon is a high school reunion. They came across oceans to eat catered cheeseburgers, to reignite old rivalries, to remember how things were. There’s a brand new game, a lot of money, a lot of hope, and for the first time in a decade, they’re losing. For the first time in a decade, that’s the best news they could possibly get.
I’m not an athletic man, but in Doom VFR, the upcoming VR version of 2016’s hit reincarnation of id’s classic shooter, I am Death Himself. As a possessed soldier tries to shoot me, I point a teleport marker and watch as everything slows down. I duck his bullets, teleport close, and shoot him in the face with a shotgun.
After a few shots, a Mancubus starts to flash, indicating it's ready to be torn asunder. I point my cursor into the center of the Mancubus and release the trigger, teleporting myself into the center of the obese demon. The Mancubus explodes and his immense body sags to the floor, the corpse so large that I have to step out of the empty shell to move on with the fight. Clearly, VR is cool.
But even for a relatively young technology, there have been very few major game releases for virtual reality headsets. It makes Bethesda’s all-in approach a confounding surprise, but by bringing Skyrim, Fallout, and Doom to VR, the company is in a good position to change the pace. In associating some of the biggest names in gaming to VR, Bethesda is trying to set itself up as a leader in VR development, build its own internal expertise, and help jumpstart a technology that has grown in fits and starts.
“If you believe something is going to be big, you can't just say, ‘oh, this will be big in six or eight years, so let's ignore it until it's big, and then we'll jump on the bandwagon,’” Doom VRF executive producer Marty Stratton tells me at Quakecon this year. “There's so much to be learned, and there's so many opportunities to be leaders. We want to be technical innovators, so when we see something we believe in, we want to be at the forefront.”
Of the three VR prototypes heading for release this fall, Doom is by far the best. The closed-in spaces of the UAC’s corridors look sleek and sci-fi inside a VR headset, and teleporting up and down hallways to blast imps and shotgun cacodemons feels spectacular, fast, and smooth. Time slows for teleportation or switching weapons, so I always felt able to react faster and be more badass than my weak, fleshy mortal body could ever allow. No matter which weapons I used, pulling the trigger of the controller felt as natural as aiming down the sights.
Sadly, all of these reasons are exactly why Skyrim VR, which is coming to PSVR first in November and PC sometime in 2018, is the weakest of the bunch. The wide-open vistas of Skyrim look pixelated and low-res running on the Playstation headset, and the 180-degree motion detection of the PSVR meant that I had to constantly use physical buttons on my controller to rotate myself and change direction.
Descending one of a Skyrim dungeon’s many spiral staircases was dizzying as I used a teleport button to hop down a step or two, then tap-tap-tap-tap-tap to rotate my body, teleport, then rotate again.
None of this compares to how disappointed I was when I first heard the call of an enemy bandit. I readied my sword only to find myself waving a wand in space, awkward and unsure if I was even making contact. I wiggled it around a few times and the bad guy fell over. Both of us looked embarrassed about the whole thing. Instead of feeling bold as the Dovahkiin, legendary hero of Skyrim, I felt like a child playing Fruit Ninja on a Nintendo Wii.
“Everybody says that,” says Pete Hines, VP of Marketing for Bethesda, when I complain about how the melee weapons feel. “The problem is that when you do this [he pulls a trigger on a gun], you don't detect the funkiness of the action because it's on a predestined path.” The gun behaves like a gun, in other words, and you’re pulling a trigger just like you’d pull a real-life trigger. “But when the sword swings however you move it, you notice it a lot more, now it does feel more like Fruit Ninja.”
Even though Skyrim will be coming to VR mostly unchanged, with all its quests, dialog, and NPCs in place, Hines expects that players will change how they play the game based on what feels good. In particular, he expects more players to become mages. “Because of the nature of VR and magic, it works exactly like you'd expect it to, because you're not missing the feedback.” Dual-wielding magic, in particular, works better in VR. Being able to move your hands independently gives you the chance to shoot fireballs in two directions at once, or hold a shield against one enemy while you shoot lightning at another.
I enjoyed Fallout VR more than Skyrim VR at least, because the world running on a PC looked a lot better and my ability to turn in a full circle was unrestricted. Though I had the option of attacking raiders with a baseball bat, Fruit Ninja Skyrim style, I could easily ignore it since Fallout has a huge array of guns that feel good to use. Launching a mini-nuke at a Deathclaw and watching the blast in VR was every bit as fun as it sounds.
Still, it wasn’t quite right, and I’m not sure if the trade-offs are worth the momentary wow-factor of stepping into VR. Can I explore the Commonwealth Wasteland for hundreds of hours in this gear, or will I always start to feel green like an irradiated ghoul after half an hour?
These are limitations that come with taking an existing game and bringing it into VR. Problems with movement and feedback just aren’t solved yet, and these problems wouldn’t exist if a game was built for VR from the beginning. I can’t help but compare my time with Skyrim VR with , an incredible game that was built to showcase everything VR can do right now, and nothing that it can’t.
But for Bethesda, getting experience is worth it even if the end product isn’t quite perfect. They’ll put out the best version of their games that can exist in VR right now, and they’ll gain valuable internal experience with VR design. I can see how it’s a win-win for Bethesda to take a risk with these experiments, but I’m not as confident that buying these experiments offers much to long-time fans of these games desperate for a familiar experience in their seldom-used VR gear.
Skyrim VR is only scheduled to come to PSVR in November, with a PC release possibly coming in 2018. Fallout VR is coming to PC on December 12, and Doom VFR is coming to both platforms on December 1.
Splash Damage’s 2011 first-person shooter Brink [official site] is, out of the blue, now free. Swing by Steam and its yours for keepsies – it’s not a free-to-play conversion, just Brink being set free. Publishers Bethesda don’t say why they’ve done this (perhaps to celebrate QuakeCon this weekend?) but hey, thanks. Brink does Splash Damage’s usual Wolfenstein: Enemy Territory sort of class-based and object-driven action, this time taking it to a dystopian futurecity and introducing a natty parkour system. I didn’t play Brink for very long back in the day, but I do still fondly remember the parkour and bold, battered character faces. (more…)