STORE COMMUNITY ABOUT SUPPORT
Login Store Community Support
View desktop website
© Valve Corporation. All rights reserved. All trademarks are property of their respective owners in the US and other countries.
It's been six months since E3 2017, when Bethesda announced its intention to add a Creation Club to Skyrim and Fallout 4, their massively-successful mega-RPGs known for their breadth of content and emphasis on player freedom. This club would task third-party developers with producing new pieces for the publisher's two marquee games, which players could then buy from an online storefront with real money. While some decried the service as yet another attempt to introduce paid mods to the single-player gaming ecosystem, Bethesda insisted the market for free fan-made content would remain unaffected. "We won't allow any existing mods to be retrofitted into Creation Club," reads the FAQ. "It must all be original content."
Following this, in late August Bethesda revealed the initial line-up for Creation Club, which included the Hellfire Power Armour and the Chinese Stealth Suit, both priced at $5 and inspired by similar items introduced in the various expansions for Fallout 3. There was just one little problem - if you searched the Nexus, the massively-populated home of free mods for Bethesda's games, among others, you'd find both the Hellfire Power Armour and the Chinese Stealth Suit already on offer for the low, low price of nothing.
A mild furore erupted. Press pounced on the revelation, which fed the already-boiling fan frenzy over what were considered outrageous prices for sub-par content. Paying $5 for a piece of armour was bad enough, but when the free alternative is superior, the bad deal starts to seem like an out-and-out ripoff. For Road to Liberty, the mod team behind the two projects, it was a confusing development, and one they worked with Bethesda to try to avoid.
There may be spoilers for the Dishonored series of games ahead.
"The Void is unspeakable. It is infinite and it is nowhere, ever-changing and perpetual. There are more things in the endless black Void, Kirin Jindosh, than are dreamt of in your natural philosophy" (Letter from Delilah). Despite the best efforts of natural philosophers, the world of Dishonored is defined by occult, unknown influences. Here, we performed dark magicks, battled witches, conversed with spirits, and even traversed the distance in-between worlds during our vendetta-fueled travels through Dunwall and Karnaca.
Any inquiry into the metaphysics of Dishonored stands and falls by the Void, that shadowy realm that is the source of all magic, witchcraft and arcane knowledge. Even the Outsider, who appears as an ancient god that grants his arcane mark to the player, ultimately derives his powers from the Void, not the other way around. But the Void is an elusive place that doesn't give up its secrets readily, and we as players don't understand it any better than the seekers of Gristol or Serkonos who struggle to catch so much as a glimpse of it. So, what exactly is the Void, or rather, how should we think about it to make sense of it?
When does a console generation arrive?
Most people would agree that the seventh gen started when the Xbox 360 launched but that answers a different and thoroughly less interesting question.
It isn't unreasonable to say that the 360 era arrived on the carrier wave of Patrick Stewart's Royal Shakespeare Company tones announcing the final hours of the life of Uriel Septim 7, god-emperor of Tamriel, whose death serves as the starting gun for The Elder Scrolls 4: Oblivion and quite arguably the golden age of western RPGs that followed. A golden age that includes The Witcher 3, as if anyone needs to be reminded.
Skyrim's dirty little secret is that it isn't that large. Oh, it remains fairly gigantic by the standards of other virtual landscapes, even next to its youthful imitator and usurper, The Legend of Zelda: Breath of the Wild. But set against what it pretends to be - a kingdom stretching from arctic wastes to the temperate south, racked by dynastic squabbles and laced with the treasures and detritus of millennia - it's actually pretty dang tiddly, a little over 14 square miles in scope.
14 square miles? That's no bygone, mystery-shadowed dominion rearing its shrines and watchtowers amid sunflashed snow. That's a jumped-up theme park, a country music festival. More to the point, that's approximately the same size as The Elder Scrolls 4: Oblivion, a game which has become something of a punching bag for Elder Scrolls aficionados in hindsight - neither as grand as its swaggering barbarian brother, nor as memorably odd as burned-out hippy uncle Morrowind. Steer clear of distractions like temperamental mammoth herds and you can walk from one side of Skyrim to the other in half an hour.
I'm being quite obtuse, of course. If open world games were required to be as large as their inspirations or narrative aspirations they'd never get finished, and in any case, who would have the time to play them? The fascinating thing about open world design is that it's not really about size at all. It's more the art of the deceptive miniature - of making the poky or digestible seem enormous to the point of exhausting, even as distant cities reveal themselves for neighbouring hamlets, fearsome mountains for mere well-appointed foothills. Skyrim is extremely good at this, to a degree I'm not sure any game environment can rival save the corkscrew terrain of the original Dark Souls. It launches on Switch this week, glory of glories, and I've spent a few hours with the remastered PC version to remind myself of its achievements.
The environments of massive open-world games, particularly in recent years, have been rightly praised for their representation, scale and design accuracy. However, there are some gems at the other end of the spectrum - environments that make you feel cramped, tense and desperate for a break. This is an approach to environment design utilised in our real-world, from gardens to architecture, and is mirrored excellently in some game environments, creating areas that trap us in cramped, claustrophobic conditions.
The underground tunnel network of the Metro series, adapted for human life but traversed with trepidation and tension, nailed its own post-apocalyptic look and feel, and had claustrophobia, discomfort and fear oozing from its design. These spaces successfully evoke real-world design principles of landscape mazes and labyrinths, such as dead ends, twists and turns to cause doubling back and elevate desperation, fluctuating size and scale of spaces, and a continuous and monotonal finish (a symphony of grey in Metro's case) that makes every surface and area look the same, but also makes for an unrelenting and repressive aesthetic.
Often, the spaces are not only characteristic of uncomfortable mazes and tunnels, but their disrepair and crumbling structure means they have a constant feeling of pressure and weight about them: the feeling that, at any moment, the space could collapse on top of Artyom's head. The tunnels are also powerful spaces as they are a believable and familiar environment to us; adapting a real-world, recognisably claustrophobic environment makes for a powerfully uncomfortable virtual space.
John Romero, the veteran developer and id Software founder who helped create FPS touchstones like Quake, Doom and Wolfenstein, is planning a return to the genre in which he made his name.
Romero, who's currently CEO of social game studio Loot Drop, Inc., told Eurogamer that although he hasn't formally started work on the project he has the design nailed down.
"Yes, I'm definitely going to be making another shooter and it will be on PC first," he explained.
"I don't want to talk about the details but I already know what it is. I've already kind of designed the thing and it's pretty cool - though of course, I am going to say that. I think it's a neat design, I haven't seen the design anywhere else."
Romero didn't go into much more detail but added that it'll be "MMO-ish" and will offer a new twist on genre traditions.
"It's a persistent game, it has persistent player data, the character grows and gets better over time. I think most gamers expect that now anyway, but this was a design I'd done a while ago. I think it's pretty valid.
"You will be playing the game as you would expect a shooter to feel, but the specifics of your situation, narrative wrapper and reward system are all unique. I wouldn't want to give out any specifics until I'm close to shipping it. I've learned my lesson about talking too soon about specific game features and release dates."
He couldn't confirm when work will begin or if it'll be a Loot Drop production.
It's been a long time since Romero last brought out a shooter - the 2003 N-Gage version of Red Faction. We asked him whether he thinks the skills necessary to make a successful modern shooter have changed since then.
"I don't think it's changed other than that the 3D graphics have to be good and there are a tonne of basics in the design that have to be there for players to feel that it's a current game.
"But I already have a lot of that stuff designed and none of what I've done has become invalid over time based on today's shooters. So I don't think there's an issue with it feeling dated or feeling old. It's not going to be an old-school shooter - it won't be pixelated. But it will probably have some faster movement than most games have right now."
Romero also offered his take on how the genre has evolved since his time at id Software. While he appreciates that Gears of War is a quality product, he's not a fan of the shift towards slower, cover-based gameplay.
"I'm not a fan of cover systems or the player being a bullet sponge. I'm not that interested in the tank-like player; I like feeling that I have skill in the game," he explained, before theorising that the rise of the console game pad has pushed developers in that direction out of necessity.
"I do realise that a lot of the movement in new shooters is directly attributable to the console controller because you can't play well and fast with them so they had to come up with some design to make it so the player can do something else if they can't skillfully move quickly. They have to do something different.
"But I'm a PC mouse and keyboard type player," he countered.
"I love twitch 180s, fast targeting, fast firing, fast movement. So anything that's not like that - like current shooters that are basically a track going through a level to the exit and everything is closed off - is not interesting to me.
"I like to explore my levels, y'know? So I'm not a fan of on-rail shooting or slow-moving cover systems. That's not to say that Gears isn't a great game but as a player I'm more interested in speed and fast movement."
Loot Drop's only current confirmed project is Ghost Recon Commander - a social spin-off from Ubisoft's tactical shooter series due out on Facebook and mobile platforms some time this Summer.
Bethesda will unveil its heavily rumoured Elder Scrolls MMO in May, according to a new report.
Elder Scrolls Online, as it is apparently known, is set a millennium prior to the events of Skyrim, an "industry source" told Tom's Guide.
It is speculated that this means the unannounced game is set during the Second Era of Elder Scrolls lore, hundreds of years before any game in the fantasy role-playing series. It will, apparently, feature three playable factions, each represented by an animal: lion, dragon and bird of prey (either a phoenix or an eagle).
The Elder Scrolls MMO is then expected to be shown at the E3 expo in June, and again in more detail at Quakecon, alongside Doom 4.
It is in production at ZeniMax Online Studios, which has been after staff with MMO knowledge for some time now.
Indeed, rumblings of an Elder Scrolls MMO have been felt since 2007, when Bethesda registered the website address elderscrollsonline.com. Then, Bethesda marketing chap Pete Hines said the company was only snapping up URLs to prevent others from getting there first.
Then, in 2010, legal papers submitted in the now settled court case between Bethesda and Interplay revealed the company was working on a "World of Warcraft type MMO".
Apparently development on the MMO had been ongoing since 2006 and involved "close to a hundred people" and a budget of "tens of millions of dollars".
In 2007, Bethesda's parent company ZeniMax hired Mythic Entertainment co-founder Matt Firor to lead development of an MMO. His experience on Dark Ages of Camelot, a traditional fantasy game, closely fits the Elder Scrolls bill.
Here's one for the history books. Jordan Mechner, the veteran game designer responsible for Prince of Persia, has dug up a fan letter he received nearly 30 years ago from a 17-year-old called John Romero - the very same guy who'd go on to create FPS touchstones Wolfenstein, Doom and Quake at id Software.
Dated 25th March 1985, the letter, published in full on Kotaku, sees Romero praising 21-year-old Broderbund employee Mechner for his work on one-on-one fighter Karateka.
"I was absolutely stunned by the graphics, shadows and all," he gushed.
"You did a tremendous job and have, I think, defined the state-of-the-art for future Apple games. The technology has been in the Apple all along to do those graphics, it just needed a programmer like you to use it."
Romero then admitted that he was a budding programmer himself, before asking Mechner to impart some of his wisdom.
"How did you make the scrolling background? Ever since Choplifter I have been stumped on what kind of data drawing algorithm would be used to draw a scrolling background like yours," he wrote.
"If you decide to write back I would be eternally grateful if you explained this to me."
Elsewhere in the letter, the young Romero invites Mechner to check out a few of his own games.
"Many people feel that it is better than Lode Runner," he wrote, referring to an early effort called The Pyramids of Egypt.
"Anyway, ask me for it and it is yours. I'm currently trying to sell it to anyone I can (Broderbund is first on my list). My next game is going to be totally awesome. I can't wait until I get an idea for my next game!"
He signs off "John Romero, Disciple of the Great Jordan, and worshiper of the Magnificent Mechner".
Five years later, Romero would meet John Carmack while working at Softdisk. The pair, along with Adrian Carmack and Tom Hall, left the company a year later to set up id Software. Its seminal FPS Wolfenstein 3D would follow in 1992.
Mechner has been fairly quiet in recent years - his last game credit was on Prince of Persia: Sands of Time back in 2003.
Next Wednesday Romero and Mechner will share a stage together at the Game Developers Conference in San Francisco, along with Canabalt creator Adam Saltsman, Minecraft man Markus 'Notch' Persson and Epic Games boss Tim Sweeney, for a talk titled "Back to the Garage: The Return of Indie Development".
See below for some vintage Karateka footage.
There's a peculiar tension at the heart of Quake. Something's not quite right. For this reason it's a game that sits apart from id's other efforts while at the same time still being fundamental to the overall Brown Corridor heritage of the shooter genre.
It was a game that did so very much to evolve and define the FPS, and yet it does not fit so easily into the conventions that the Texan Doom-makers' other games wallow in. This tension is what makes it one of the developer's most interesting games.
Like all the shooting games whose existence has spilled from the number-fuelled mind of John Carmack, Quake's primary contribution to the history of games was technical. The 3D engine was a significant development atop what was prevalent at the time, and it introduced the minor revolution of "mouse-look" - that is free all-axes viewing using the mouse - to the majority of 1996's shooter players.
Up until that time gamers had been playing along flat axes, usually with "faked" height. But Quake made things truly three-dimensional, and this meant two things: levels which didn't have to shirk vertical complexity and, well, you could perform rocket jumps.
"It was the atmosphere and tone of the game that left its biggest impression on my imagination."
Rocket jumps were, of course, able to make Quake's tortuous, labyrinthine multiplayer maps faster to navigate, and were an unintended side-effect of the game's blast physics that became a defined skill within that multiplayer game and also with the bizarre phenomenon of speed runs.
It was the architecture of that multiplayer game that defined Quake's second contribution. Despite the richness of the world, the single-player was almost a prologue against the appeal and longevity of the multiplayer. In fact it was not Quake's 3D engine that really mattered to Quake, as powerful as it was. The technical project that had far-reaching consequences for multiplayer gaming was John Carmack's work on network code, which produced the kind of online deathmatch that still prevails today.
The Quakeworld update for the game, which introduced network code that would work feasibly over dial-up connections, was transformative: an action game that could, thanks to predicting where players were going to be, allow play at the high latencies that early modems had the contend with. Almost unimaginable now, in a world of ubiquitous broadband, but there was a time when a good chunk of gamers was unreachable in the evenings by their home phoneline, for reasons of Quaking.
Despite being shackled with tin-can communications tech, the sheer pace and intensity of Quake would daunt most modern players: the unrealistic physics and breakneck pace make Quake's multiplayer more like a twitchy kung-fu rocketry than the rather more pedestrian combat situations that shooters since Half-Life have delivered to us.
Enthusiasm for Quake's multiplayer game was ferocious, and id were quick to sponsor it - putting up Carmack's Ferrari as a prize in a 1997 tournament, won by the first notable FPS pro, Dennis "Thresh" Fong. The Quake scene surged across a nascent internet, and it was to define the pattern of FPS games for several years to follow.
The Quake template is one that is rarer now, due to its demands on player skill, but its influences are still felt in odd corners of modern game design, where the physics bounce players from the ground, and frictionless rocketry dominates the deathmatch.
Technology, however, is not wholly where Quake's value lies. Not to me, at least. It might have been the tech that rippled down the years, but it was the atmosphere and tone of the game that left its biggest impression on my imagination.
What I refuse to forget when looking back at Quake is how strange the flavour of the game, both mechanically and in its setting, really is. Quake was a game peculiar for almost refusing to tell a story, and setting itself in a world disconnected from standard fantasy, sci-fi, military, or post-apocalyptic templates that we see reused so routinely. Today, when every shooter imaginable is hammered across the contorted spine of some story or other, to be dropped in a bizarre world that served as little more than a container for violence and secrets is unusual indeed. Hell, it was unusual in 1996.
While the Dooms were sparse, they still told their tale of space marines versus the occult. Quake 2 and 4 focused on the rather more conventional "Strogg" story of space war between humans and their alien enemies. Quake itself stood apart, practically unexplained. The character was dropped into a byzantine world, and fought for his life, while checking every corner of the spiraling maps for secrets and hidden passageways.
The reason for this weirdness can be found in Quake's difficult and unlikely genesis. It was in fact a failed combat-based RPG. The id team's original plans for something more expansive after Doom quickly led back to a game that was even pacier and more focused on first-person close-quarters combat dynamics than Doom had been.
"It is a rumbling, speeding, frenzied dark masterpiece that deserves never to be forgotten."
But that had not been the original intention, because Quake had even once contained dragons and other trad fantasy standards. The id team's work took a darker turn as the RPG was eroded, but on close inspection you can see the echoes of the RPG-action game that, for a while, id thought it was making. As it turned out they ended up making a slick and minimalist FPS, but the ultra-gothic fantasy overtones remain. Quake is a shooter set not within a science fiction, or really within traditional fantasy, but in some kind of brutal, mechanistic pseudo-medieval realm in between.
This sense of rough-edged, grim fantasy design permeates the shooter, from its environments of clanking metal and rough stone, through to its monsters: savage sword-wielding skeletons, shambling giants that throw lightning-bolts, and Cthulhu-mythos boss characters that lurk in disturbing dungeon underworlds.
It is even reflected in the weapons: an axe, an archaic shotgun, a clonking gatling gun, a nail gun, a lightning gun like a giant magic wand. All this is set against a backdrop unlike normal fantasy Big Bad backstories, and quite unlike the other Quakes' galactic war, and even unlike the exposition-free Mars-demons of Doom.
Quake was set in a dimensional war of some kind, where raiders travelled through sinister "slipgates" to murder in other worlds. There was a whiff of beserk magic to the power ups, and the whole thing reeked of the dead remains of the game it might have been. Quake is a genre outlier in terms of setting and atmosphere, and as such one of my favourite games.
You can see why when people look at the other Quake and Doom games, they question whether a return to these evocative hybrid roots might not be a good idea.
Playing Rage this week has once again seen people raise the nature of id's "derivative" settings, as has happened numerous times in the past decade. Indeed, Rage does borrow heavily from post-apocalyptic cliche, lifted from Mad Max by countless driving and combat games, and most recently carved into our mainstream consciousness by Borderlands and Fallout 3. It seems to have almost no connection to Quake at all.
When contemplating the studio's colourful history of shooting games it's perhaps easy to glaze over the first Quake in the lineage. Not as infamous or as influential on mainstream perceptions as Doom, not perhaps as widely recognised as its first and second sequels, nor as notably disappointing as Doom 3, Quake is the game which is beginning to get fuzzy in our recollections.
It should not, because it is a rumbling, speeding, frenzied dark masterpiece that deserves never to be forgotten. And forget it I will not.
Bethesda has confirmed the Oblivion 5th Anniversary for Europe. It will be released on 23rd September for £20 on PS3 and Xbox 360, £18 on PC.
European PR manager Alistair Hatch confirmed the date on Twitter.
Inside the Oblivion 5th Anniversary Edition is the Game of the Year Edition of Oblivion, which contains DLC add-ons Shivering Isles and Knights of the Nine.
Also in the box are a Making of Oblivion DVD and a colour map of game world Cyrodiil and the Shivering Isles.
A Skryim video is thrown in as well.
The Oblivion 5th Anniversary Edition doesn't come in Steelbook casing in Europe, but it does in the US.
Oblivion was the fourth Elder Scrolls game and is the predecessor to new game Skyrim. Eurogamer's Oblivion review awarded a modest 10/10.
Video: Shivering Isles.