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Did you wear the Colovian Fur Helm? If you played Morrowind you probably did. The Colovian Fur Helm is a piece of armor you can easily get at the start of the game it literally falls out of the sky for you, being worn by a wizard whose spell doesn't work as intended and you'll probably keep it for a while. At the start of Morrowind decent helmets are hard to come by, especially if you're cheap. The downside is that the Colovian Fur Helm looks like a big hairy nipple. No matter how badass the rest of your armor is, topping it off with a hat that makes you look like one of the Coneheads will ruin your ensemble.
I thought about that hat recently when I was watching Hearthstone designer Ben Brode , which players have called a bad card. Actually they've called it worse things than that, but let's stick with bad. Some players actually like winning with bad cards, Brode explained, before going on to discuss its potential for use in a non-competitive fun deck . Long past the point where it was a liability, I wore that silly Colovian Fur Helm because I'd started thinking it was funny defeating ghosts and monsters while wearing a conical nipplehat. It was bad, but that's what made it perfect for me.
Plenty of games have items in them that prove unpopular with players. Maybe they're equipment in an RPG, cards in a digital card game, guns in a first-person shooter, or power-ups in an arcade game. They could be ugly. Their stats could be terrible. Most players may shun them, but they still serve a purpose.
James Lopez, producer on the Borderlands series, provides me with the excellent names of several guns from Borderlands 2 that players considered bad: Flakker, Bane, Fibber, and Crit. They all had their moments to shine, however, as there was an ebb and flow to the popularity of guns in the games some were popular right off the bat but some were 'undiscovered' for a while until the community found things that made them special , he says.
The Flakker for instance is a shotgun that shoots multiple explosive projectiles. They detonate at medium range, making it almost worthless against distant or nearby enemies. Plus, it fires very slowly. While the Flakker seems underwhelming for a weapon of 'legendary' rarity, it does have its uses. The sniper character Zer0 can combine it effectively with his Rising Sh0t ability, which lets him earn bonus damage for a short duration after every successful attack. The amount of bonus damage increases every time you hurt an enemy, so a single good shot with the Flakker can max out that bonus, after which you switch to a better gun to make use of it.
The Bane on the other hand is a submachine gun that drops your movement to a crawl and constantly shouts at you. When you shoot it screeches like Jim Carrey in Dumb & Dumber making , and it announces every reload by bellowing Reloading! Even taking it out it will make it announce Swapping weapons! Dropping the in-game volume to zero won't prevent it from ruining your eardrums, either. And yet there are people on YouTube using The Bane to defeat Borderlands 2's endgame raid boss .
Borderlands is an unusual case in that most of its guns aren't unique like the Flakker and Bane, but procedurally generated. They combine effects in randomized ways so you might end up with a sniper rifle that reloads almost instantly or a pistol that shoots burning bullets. It creates variety and depth, Lopez explains, as well as the possibility of the user getting a one of a kind gun that nobody else will have. You might pick up two Maliwan fire SMGs of the same level but they re not going to be the same. And it might turn out that one is more your play style than the other, and the one you don t like might be perfect for someone else in your party.
When you do find a unique gun in a Borderlands game, something with a name like Good Touch or Teapot, you know it's special. That inspires players to figure out why a seemingly bad gun exists instead of chucking it aside like the disposable randomized weapons Borderlands games are full of. As Lopez puts it, Giving them names creates a theme about the gun, a connection to how you got it, and can also inspire the community to learn more about it through forums, videos, wikis, etc.
At the other end of the spectrum from Borderlands and its millions of guns is Assault Android Cactus, a twin-stick shooter in which each of its playable android characters only has two weapons. Some are regular fare like a flamethrower or a beam laser, but the android named Aubergine wields something different: an indestructible drone called Helo that causes damage in a circle and controls like a fishing rod. Hold down fire and the drone moves further away from her; release and it's reeled back in.
Aubergine is the most divisive character in the game, says developer Tim Dawson, some people dig her, but a lot of players couldn't get their head around controlling her Helo drone while moving. She was meant to be an out-there character and push the envelope in terms of twin-stick shooter mechanics, but because she takes so much more work to get good at, plenty of people never did.
The drone has advantages, like being able to cause damage to enemies while you hide behind a wall, but it's tricky to get used to compared to more straightforward tools like the shotgun or the drill. Not many players bother getting to grips with Aubergine and her drone.
Even so, I'm glad she's in the game, Dawson says, she came about from realising our weapon designs were stagnating mid-development and sitting down to brainstorm something off the map. She's not only a good character for players who stick with her, but her existence in the game challenged us to make later weapons like the Railgun and Giga Drill more distinctive.
Assault Android Cactus also has power-ups that appear regularly throughout each level. Each power-up initially appears as a red Firepower boost (adding hovering guns to your arsenal), but if it's not picked up immediately will transform into a yellow Accelerate boost (adding movement speed as well as slurping pick-ups toward you), and finally a blue Shutdown (sending enemies to sleep). The fact that players can choose which of the three power-ups to collect by timing it right inspired a vigorous debate on the game's forum over which was best.
Accelerate came off worst of the three by a fair margin. Despite boosting speed, decreasing damage taken and pulling battery and weapon orbs in, some players began actively avoiding Accelerate, says Dawson, seeing it as a wasted opportunity to grab one of the other two power-ups, both of which had more overt offensive potential.
In the choose-your-own-adventure card game Hand of Fate, each of the player's items is represented by a card that becomes that piece of equipment and appears on your avatar when combat begins. They fall down on you like rain, if rain was made of helmets and axes. Though Hand of Fate is a very different game, just like Assault Android Cactus and its Accelerate power-up, players prefer equipment that has overt offensive potential .
According to its creative director Morgan Jaffit, Something we notice a lot is that people generally prefer items with direct effects, rather than those that act on another system. A good example there is Skullcap of Prophecy, which reduces your cooldowns if you kill an enemy with a weapon ability. There's a lot going on there for a player to think about how often do they kill enemies, how often do they get to use weapon abilities, how does reducing cooldowns help them, etc.
The Skullcap of Prophecy can be part of a powerful combo when used with weapon abilities capable of finishing enemies off, reducing the cooldown on the ability that triggered the Skullcap in the first place in a repeatable loop. Most players don't bother with it, however, preferring to use gear that increases damage directly or doesn't require a decent weapon to synergize with.
Likewise, gear that has negatives as well as positives generally gets picked less than items that are a straight benefit, says Jaffit. Forbidden Armor give you bonus damage resistance, but stops you being able to heal. People tended to just wear slower, less effective armour instead of dealing with the downside.
And that's up to you. Choosing not to use items that handicap you whether they provide some balancing advantage or exist simply to let you challenge yourself or fit a specific theme you're roleplaying is a choice that's yours to make. But even if you do make that choice, the bad items you avoid still serve a purpose. As Jaffit says, you always need contrast. No single item is 'good' in the abstract, you need other items to compare them to.
If every card in Hand of Fate or Hearthstone was perfectly balanced for use with every playstyle, there would be no thrill to finding ones that suit you. If the power-ups in Assault Android Cactus were the same you'd never race dramatically across the level to grab the one you like, and if every gun in Borderlands was useful at every range and in every situation you'd never switch between them and find the perfect moment to bombard some bad guys with a shotgun that shoots exploding swords.
Even beyond stats, items with no value can be imbued with purpose by passionate fans. In Dark Souls, one of the starting gifts, a pendant, does absolutely nothing. Why would anyone pick it over a key that unlocks doors throughout the game? Fans of Dark Souls labyrinthine lore speculated on how the pendant might fit into the mythos until director Hidetaki Miyazaki revealed that . But by then it had served its purpose, making Dark Souls just a little bit more mysterious.
That Colovian Fur Helm served a purpose too. When I finally sold it in favor of wearing something made of enchanted green glass, I felt like a proper hero for the first time, not that joker straight off the boat with the pointy head.
I would have missed the Colovian Fur Helm, but fortunately the shopkeeper I sold it to was so impressed he put it on immediately and continued wearing it for the rest of the game. Everybody's bad item is valuable to someone.
Fellow PC gamers, we are gathered here today to remember an old friend, one whose warranty expired long ago. As laid out in the law of the upgrade cycle, we must let go of those components that can no longer keep pace with modern demands. And so, it is with heavy hearts that we say our final goodbyes to you, our constant companion for the last 20 years.
Rest in peace, humble optical drive.
You were once a cornerstone of this community, a bringer of joy, a portal to play, an ally in our pursuit of entertainment. You gave us the gorgeous world of Myst, the sublime soundscape of Quake, the unprecedented complexity of Half-Life. You were a marvel of your age, drawing realms of infinite possibility out of those small, innocuous discs. At the time, it felt like nothing less than magic.
Nearly 30 years ago now, you entered this world with a vision. Armed with Red Book audio and full-motion video, you sold us the Hollywood dream, treating us to , Jeff Goldblum , Christopher Walken , and... . Video games seemed poised to replace movies altogether; why would we watch if we could play instead? Alas, it was not meant to be, but we'll always have those fond memories, thanks to you. Your legacy will live on inside us all.
As we commit you to the great server in the sky, let us reflect on all the good you did for this world. Who can forget how crucial you were during the dial-up days? The spiral cords of our 56K modems strained under the weight of individual mp3s; the thought of downloading an entire 750MB CD-ROM was unfathomable. Even when cable internet arrived on the scene, we still relied on you to support us through the file-size boom of the DVD era. Steam might have dethroned you eventually, but your stability during the platform's was what kept us gaming.
In your youth, your laissez-faire attitude allowed our community to flourish unabated. I, personally, owe some of my favourite childhood memories to your liberal approach to game trading; as a kid, hiring and borrowing games was the only way I could afford to play. Thanks to borrowing a friend's copy of Diablo II, I discovered my penchant for click-'em-ups. Thanks to renting Battlefield 1942, I grokked the appeal of online multiplayer. Thanks to hiring out Baldur's Gate II, I realised that games could tell big, complex stories that actually leveraged their interactivity instead of ignoring it. Of course, we all understand why you had to jump on the DRM train once people started abusing your freedoms. Still, those unbridled early years were crucial in making our community as great as it is today.
Alas, those halcyon days are far behind us. The battle of the distribution models is over, and there's no question who lost. How could it have gone any other way? Steam lets us pre-order, pre-load, patch, and play, all without leaving the comfort of our desk chairs. Gone are the overloaded shelves buckling beneath the weight of bejewelled CD cases and boxy collectors editions. Never again do we have to rummage around in dusty attics and dank basements to find that old copy of Day of the Tentacle, only for you to whine like a circular saw when we put the disc in because it isn't mint-out-of-box.
For all the joy you gave us, we cannot ignore the dark times you begat. Refusing to read brand new discs until we'd carefully wiped off every minute mote of dust. Scratching up our favourite games as punishment for playing them too much. Demanding that we 'Insert Disc 2' when it was already in the damn tray. And those multi-disc installs! How can you expect us to set aside multiple hours just to swap GTA 5's seven DVDs in and out?
At least you re in a better place now, one where the RPMs are infinite and the CDs are truly scratch-proof. Because as much as it pains us to say it on this day of mourning, you were holding this industry back. Bite-sized games never stood a chance against the pains of disc-swapping. Aspiring developers cringed at the cost of pressing and shipping discs. If we hadn't moved on to the all-digital now, we'd never have known the haunting oppression of Papers, Please, the touching tale of Gone Home, the time-bending antics of Superhot. We'd have to bid farewell to our hundreds-large Steam libraries or else buy a second house just to store all the CDs.
The fact is, old friend, we simply don't have the space for you anymore. Not in our homes, and not in our hearts. Your place at the top of our PC towers is no more. Our no longer give you a berth. We will never again hear your mechanical whirr, your voice silenced by the hum of our bigger and better hard drives. From caches to ashes, from disc to dusk, your time is up. You re just too slow for this digital world.
16X. 8X. 4X. 2X. 1X. Eject.
There s a bit near the beginning of Uncharted 3 where protagonist Nathan Drake evades a police entourage by clambering up a drainpipe and onto a roof. The building overlooks the city s skyline and, while it s dark, the mass of light that radiates from the metropolis sprawled out in front of him lets him see for miles. It s a wonderful moment, but, while impressive, quickly feels bogus.
You see, in games like these you often can t actually reach the panoramic vistas, the gorgeous rolling hills, or the far-off knife-edge cliff faces, but are instead too quickly funnelled off down the next linear pathway towards the next foregone conclusion. You hardly have a chance to properly enjoy each moment of reflection before the story is moved on, and this makes me sad. (Incidentally, it looks like players will have the chance to sample the above and play many other PlayStation 3 exclusives on PC in the not so distant future if you d like to see what I mean in this instance.)
Conversely, having spent the past week ebony armour-deep in SureAI s Enderal a Skyrim total conversion mod whose scale almost matches that of its source material I was reminded of what draws me to games like these in the first place. Against games like Uncharted, it s not their open-ended quests, nor is it their divergent missions; their multitude of weapons and characters, or even their sprawling maps what I love about open-world games is simply knowing it s possible to explore their arenas from corner-to-corner, to pore over every inch of their sandboxes, or to delve into each one of their nooks and crannies.
Finding the highest accessible point in the map is the first thing I do when dropped into an open-world environment, before I pick a certain spot out in the distance and try my damndest to make it there alive or, more times than I care to admit, die trying and revel in whichever wildlife/scenery/baddies I encounter along the way.
From a practical perspective, besides facilitating these hands-on moments, trekking to and from these vantage points allows for a better understanding of the map itself. Truth be told, though, there's something I find wonderful about knowing that particular small patch of land, that dilapidated farmhouse, that seemingly abandoned island that I can spot from aloft my perch can be reached and explored, just because. There might be nothing real merit there on arrival and there's often not but I delight in the fact that in these games it can be done.
In Skyrim, I first discovered the Oghma Infinium book by stumbling upon Septimus Signus outpost after spying it from atop the College of Winterhold s roof; in New Vegas I meticulously planned an ambush on Caesar's Legion from the mountains located to east of their camp; in The Witcher 3 I climbed the Kear Trolde bridge in Skellige just so I could jump off into the water below because, well, why the hell not? There is, after all, no wrong way to play games.
I ve played and enjoyed the entire Uncharted series, and many games like it, but I ve found my fondest moments in games over the years have stemmed from the ones I ve created myself; the off-script set pieces and the moments of sheer randomness. Perhaps you could call it a problem with authority, but I like being able to roam where I want, when I want and spotting such places from the peak of a mountain, bridge or magic school is the best means for it.
Five years in the making, hobbyist studio SureAI has now released the English language version of Enderal: The Shards of Order, a total conversion mod for The Elder Scrolls V: Skyrim.
Off the back of its multi-award winning Oblivion total conversion Nehrim: At Fate s Edge, Enderal is easily the small studio s most ambitious project to date one which not only offers players an entirely new playground to explore; but also a host of new characters to interact with, 30 hours-worth of campaign to plough through, and some completely overhauled systems to tinker with.
Naturally, the mod s release was marked with a launch trailer:
Last year, we caught up with a few members of the SureAI team to learn about the making of the mod which is a relatively long but interesting read. Expect more words about of Enderal: The Shards of Order at some point later this week, however learn what Jody Macgregor thought after spending 20 hours wandering its sprawling bounds last week.
The best part of was when I turned into a kid. In flashback I explored the village my character was born in from a first-person perspective lowered to child-height, then watched it burn down to rubble. It wasn't even part of the main storyline, just a sidequest, but it was still affected by who I was and where I came from. It's a clich backstory for a fantasy hero to have, but seeing it play out made me feel connected to it.
Nehrim was German mod team SureAI's total conversion for Oblivion, released in 2010. Since then they ve been working on , a total conversion mod for Skyrim, and it begins with something similar. I'm a kid on a farm and my first quest is take a message to Daddy . The sun is shining, birds are wheeling in the bright sky. It's gorgeous. I take the first of many screenshots immediately. Things turn dark after this idyllic start because of course they do, but it's an immediate reminder of Nehrim at its best, making you feel like the world and your character existed before you clicked Start New Game.
After that I'm a grown-up on a ship to the theocracy of Enderal, choosing my face and race from a selection of half-breeds that will mark me as an outlander for the rest of the game, though none are as exotic as the cats and lizards you can choose in most Elder Scrolls games. The journey from here to Riverville, your typical fantasy starter village, is a tutorial that introduces new characters who then introduce new concepts and quickly clear the deck to make way for the next batch. I get knocked unconscious and wake up in different locations so often it's disorienting, but I guess travelling to a new country should be. It's a trick Enderal will recycle a lot.
These tutorials kick off a game where some things remain standard Skyrim, like the controls and physics, but other things feel alien. Fast travel has gone, although in a nod to Morrowind's silt striders there's a network of giant four-eyed birds called myrads who take you from place to place for 25 pennies. There are also teleport scrolls and within the gigantic city of Ark signposts let you jump from district to district. (Even with those signposts, I see a lot of loading screens whenever I go anywhere in Ark.)
Leveling skills by using them has been replaced with an old-fashioned experience point system. At level-up you earn points that can be distributed into skills by reading appropriate books, which is why I have spent all my money on books about lockpicking. There are also trees of perks to unlock, combining abilities familiar from Skyrim like rolling while crouched with new ones like Focus, which reduces the cost of spellcasting for a duration, and Flashpowder that blinds enemies.
These talents replace Skyrim's dragon shouts. My old favorites sneaking and archery are augmented by a talent that increases my critical chance for a short time while hidden, and a new set of elementalism abilities power up certain spells, turning the fire and lightning that shoots from my hands into a clutch move that can win most fights.
Most, but not all. Like Nehrim, certain parts of Enderal will not be suitable until you're higher level. After arriving at the city of Ark the main quest became too much for my level 9 character and I had to find side quests until I could get back onto the main track. Since each quest is rated out of four stars for difficulty it's easy enough to find simpler missions.
you probably noticed the main quest's plot has a lot in common with Mass Effect. An apocalypse that came to previous civilizations is returning for yours, but through researching how they failed to prevent it you might be able to succeed. The Precursors are called Pyreans and the Reapers are High Ones, but it's familiar stuff so far. That's OK since it's not like it was a very original plot even when Mass Effect told it, and telling a story well matters more to me than originality.
Other mods that add new characters and quests, like and , have been a fun way to see strange new places, but their writing and voice-acting remind you they're fan-made works. We criticize Skyrim for re-using voices and only having a few memorable characters, but other mods have made me appreciate how hard it is to get that stuff right. Not every bit of dialogue or plotting in Enderal is perfect, but so far it's better than anything I've heard in other mods.
Though there's a fair bit of tutorial to push past, now I'm eager for each twist of its tale and invested enough to be worried about the fates of its characters. My mercenary companion has an easygoing cynicism that's charming, the swearing sorceress reacts to each disaster with honest fury, even a passing art gallery owner sounded so genuinely defeated by the disinterest of her cityfolk I was happy to take on a job for her.
I'm playing a pre-release build of Enderal's translation so not everything is perfect. I've met a man in a bar who spoke German, and some of the signs and posters around Ark are untranslated as well. Nehrim was entirely voiced in German with only English subtitles, so a fully voiced English localization is a huge additional task they've taken on. Sure, no one can agree how to pronounce the name of the goaty local monsters the Vatyr, but it feels churlish to pick at individual flaws when the overall standard is so high.
I've done the textbook journey from a small village to a big city, solved a mystery with the convenient visions I've begun having, and earned a riding donkey named Whirlwind whose legs kick out with adorable clumsiness at high speed. The tone is slightly grittier than Skyrim this is a fantasy RPG where having special magical powers means also having a fever that might kill you, most of the potions you find have turned rancid, and the roads are lined with crucified skeletons. But in spite of its differences, moment-to-moment I feel like I'm playing Skyrim again.
While Nehrim tried to make a completely different RPG out of Oblivion, one closer to the Gothic series, Enderal seems like a slightly better-looking, slightly more linear, slightly lower-powered Skyrim. It has a desert and there's a grimy Undercity beneath Ark and people swear, but its mountains, spiders, and lockpicking minigame are all pure Skyrim. It's the most ambitious mod I've played yes, even compared to the one that not because it's different to Skyrim, but because it's of comparable quality. I liked Skyrim plenty, and having more of it is very welcome.
Reinstall invites you to join us in revisiting PC gaming days gone by. Today Andy finds fresh fun in the old brown corridors of Quake II.
The original Quake was a muddy medieval world of knights, Lovecraftian horrors, and grim castles. But the sequel, cleverly titled Quake II, goes in a different direction entirely. You re a space marine, naturally, who has crash-landed on an alien world called Stroggos. In a desperate attempt to prevent an invasion, Earth sent an army to the distant planet, but the Strogg knew you were coming and your arrival was a slaughter. The dropships were shot down by anti-air defences and pretty much everyone died, except you. And so, in true id Software FPS style, it becomes a solo mission.
There s a chance you don t remember any of that. After all, Quake II is not a game renowned for its deep, complex sci-fi storyline. But the inclusion of a plot, and mission objectives, was pretty unique for an FPS in the late 90s. As you play, a robotic voice regularly drones computer updated and gives you mission objectives. By modern standards that s completely unexciting, but back then it set Quake II apart from id s other shooters. It was more cinematic, and your actions felt somehow more meaningful. And by your actions I mean shooting , because that s the beating heart of the game. Shooting things, and avoiding being shot.
At the time, Quake II was a technical marvel. Powered by the id Tech 2 engine, it boasted features that seem unremarkable now, but were amazing in their day. Hardware-accelerated graphics, coloured lighting, skyboxes, and the ability to return to previously completed levels were among its once groundbreaking features. After the release of Quake II, the engine powered several other games, including, in the early stages of its development, Half-Life. Quake II also had massively improved networking, making it one of the best early examples of an online FPS. Mod support also dramatically extended its lifespan for anyone lucky enough to have an internet connection with which to download the things.
People are still making mods today, in fact, including a few that let you play the game at high resolutions and with some graphical improvements. It ll still look like a game from 1997, but it makes it a bit more tolerable to modern eyes. Character movement is mapped to the arrow keys by default, but after some rebinding you can have it playing like a modern FPS. Although, weirdly, strafing is faster than moving forward and backwards. A strange sensation that took me a while to get used to. But for such an old game, Quake II is surprisingly playable.
A big part of this is its arsenal. It s still one of the finest collections of FPS guns on PC, and every weapon you wield has a distinct personality. The chaingun rattles at incredible speeds, getting steadily faster the longer you fire it. The super shotgun is like a handheld anti-aircraft gun, and you can almost feel the power as you unload it into an enemy and hear that echoing boom. The exaggerated kickback on the machine gun, which rises slowly as you fire, gives it a sense of physicality. And I love it when you fire the grenade launcher and hear the metal clink of the grenades as they bounce around the level. Every weapon, except maybe the blaster, is a joy to fire.
But the best of the lot is the railgun. This metal tube of death fires depleted uranium slugs at extremely high velocities, which leave a blue corkscrew of smoke in their wake. The railgun is incredibly accurate it s like a sniper rifle without a scope and it can cut through several Strogg at a time. In fights with multiple enemies, a useful strategy is running around until a few of them are lined up, then firing a slug. Seeing it tear through a line of bad guys is one of the greatest pleasures in first-person shooting.
And the things you shoot are just as well-designed. Quake II has the standard FPS structure of starting you out against small groups of easily-killed grunts, increasing the challenge the deeper into the game you get. In the first few levels you re fighting shotgun-toting Guards, beefy Enforcers with chainguns, and Berserkers who lunge at you with big metal spikes and later fire rockets at you. The way enemies explode into chunks of bloody meat, or gibs to use the parlance of the times, is still gruesomely satisfying. And there are other grisly touches, like when you don t quite kill an enemy and they squeeze off a few extra shots before they finally collapse and die.
But this is just to ease you in, and it s not long before id starts throwing its meanest creations at you in force. The Strogg are weird cyborg hybrids, with mechanical limbs and eerily human, grimacing faces. Gladiators stomp around on metal legs, firing their own version of the railgun at you. Mutants are angry, feral beasts who pounce on you, usually from dark corners. Brains, perhaps the weirdest enemy, attack you with tentacles and blood-stained hooked hands. There s a huge variety of things to kill, all with unique behaviours and weapons, which keeps the game interesting especially when you re facing several types at once.
The hardest thing to stomach when revisiting Quake II is how brown it is. The switch from dark fantasy to sci-fi leaves the levels brutal, industrial, and metallic. There isn t much variety or detail in the environments, and the colour palette is depressingly muted. The actual design of the levels is great, with plenty of secret areas and multi-level arenas to fight in, but the lack of colour and almost nonexistent world-building make it feel like a bit of a slog at times. But I remember thinking this back in 1997, and really it s a game about combat, not drawing you into its world. And since the Strogg live only for war, I guess it makes sense that their planet would be like one giant factory.
When you ve fought your way through the Strogg and infiltrated the headquarters of their leader a space station in an asteroid belt above the planet it s time to complete your final objective: kill it. The Strogg leader is called The Makron, and it s a two-stage boss fight. Its first form is a powerful exoskeleton which comes equipped with a BFG10K, the most powerful weapon in the game. And, unlike your own BFG, it can fire it multiple times in quick succession. When you destroy the mech, it s time to kill The Makron itself, which also has a BFG as well as a blaster and a railgun. Luckily the arena is littered with power-ups, health, and ammo, including a secret underground chamber that can be accessed by pressing a hidden switch. When the boss falls, you step into an escape pod, and that s it. The End unceremoniously flashes up on the screen, and your only choice is to go back to the menu. Imagine if a game ended like that today.
Quake II is still a great game, and I m surprised by how well it holds up. There s something about the feel of the weapons, the way they re animated and how they sound, that makes them some of the best examples in the genre. Even the new Doom, which is a fantastic ode to this era of shooter design, doesn t have anything quite as enjoyably punchy as Quake s railgun.
WASD feels inevitable today. Once mouselook became standard in 3D games, it made little sense (at least for right-handed players) to hold your left arm across your chest to reach the arrow keys. The WASD keys were more comfortable, and offered easy access to Shift and Space. But even though WASD seems like the obvious choice now, far fewer players used it 20 years ago.
Our favorite four letter word was never a foregone conclusion, and didn't become standard through some gaseous enlightening that spread to every PC gamer simultaneously. The new movement scheme took several years to catch on, and while we can t know whose fingers found their way to WASD first, we do have a good idea of who popularized the style: the greatest Quake player in the universe, Dennis Thresh Fong.
Fong made history when he took home John Carmack's Ferrari 328 after winning the first-ever nationwide Quake tournament in 1997. And when he won that tournament, defeating Tom "Entropy" Kimzey on Castle of the Damned, his right hand was on a mouse, and his left hand was perched over the four keys we now consider synonymous with PC gaming. But even then, not everyone played that way.
In the early days of first-person shooters, Fong says the keymappings were all over the place, and even the great Thresh had only just started to play with a mouse at all. Imagine him just a few years before, sometime around 1993, as a teenager losing a match of Doom against his brother Lyle. Like many Doom players, Fong used only the keyboard. Without the need to look up or down, it was a natural choice so much that using a mouse was even considered weird. His brother, however, was playing with a keyboard and trackball, and he was winning. It wasn t every game both were excellent players but Lyle won enough that one summer Fong decided he had to learn to play with a mouse. After that, he was unbeatable.
Right after I made that switch, my skill improved exponentially, says Fong. Pretty much, from then on, I never lost.
It took some experimentation including a strange attempt to move with WADX but Fong settled on WASD and has been using it since Doom. Did he invent the scheme? No, probably not. Others were also gravitating to the left side of the keyboard for Doom at the same time. But without Fong's influence, the default could have ended up different. It might have been EDSF, or stranger configurations like ZXC to strafe and move backwards, and the right mouse button to move forwards. Some early shooters bound movement to the arrow keys. In 1994, System Shock used ASDX, while Descent used AZ for forward/reverse and QE for banking (if you didn't happen to have a joystick).
Fong tells us he even knew a player who used ZXCV to move.
I m certainly not going to take credit for the creation of [WASD], says Fong. I stumbled across it. I m sure other people started using it as well just based on what was comfortable for them. I definitely think I helped popularize it with a certain set of gamers, particularly the ones that played first person shooters."
It s likely that he did. The very concept of a professional gamer was new at the time, and Fong was well-known on the west coast as the best player around. As Fong s celebrity grew, the one question everyone asked him was: What s your config? His answer could be most readily found in , which describes the WASD formation as an inverted T. And his guide carried weight. Even before his success as a Quake player, Fong was a Doom champion, and so people imitated him, just as the kids at the basketball court by my house spend far too much time trying to hit Steph Curry s 30-foot shots.
The evidence can be found on old bulletin board systems. In , a poster recommends using Q and E to strafe and A and D to turn. Another suggests using the keypad for movement, and someone else says they use A, Shift, Z, X. It wasn't the case that everyone simply gravitated to the 'obvious' choice of WASD or ESDF, and in , we see how Thresh's performance in the Quake tournament spread his style. His play was so impressive, the poster looking for his config speculates that it was impossible for him to turn so fast with a mouse.
Another legend, Quake programmer John Carmack, took note. Even when I was hanging out with Carmack, wherever, at E3, random people would come up and he would hear them asking me what my configuration was, says Fong. So he ended up building a Thresh stock config into Quake 2.
It was a relief. Not only could Fong sit down at any computer with Quake 2 and instantly load his configuration, every time he got the question, all he had to say was type exec thresh.cfg.
Convenient as it was, Fong doesn t think the inclusion of his config was the main factor in the rise of WASD, and I d agree. By the time Quake 2 was out, WASD was starting to feel like common knowledge. I used it, and I don t remember hearing Thresh s name associated with it at the time, though it s possible his configuration entered my consciousness two or three people removed.
And yet games, strangely, took a while to catch up. Carmack may have bundled Thresh s config with Quake 2, but when it released in 1997 the default controls were still arrow keys. A year later, though, that changed. If Thresh's Quake tournament win was WASD's first watershed moment, the second came in 1998 with the release of Half-Life. The Quake and Doom players at Valve perhaps influenced directly or indirectly by Carmack, Thresh, and other top Doom and Quake players included WASD in Half-Life s default keyboard and mouse config, which helped solidify it as the first-person shooter standard.
Valve engineer Yahn Bernier checked Half-Life's original config file for us and confirmed it included WASD. "I remember finalizing this file (maybe with Steve Bond) during the lead up to shipping HL1 but don t recall specifics about when WASD was settled on or really why. We probably carried it forward from Quake1 " he wrote in an email.
The same year, and less than a month after Half-Life, Starsiege Tribes also made WASD default. Quake 3 followed suit in 1999, and WASD's popularity grew even more. It was also the default binding in 2000's Daikatana, but Half-Life, Tribes, and Quake 3 probably had a bit more to do with its popularity.
There were still plenty of heretical control schemes in 1999 like System Shock 2's, which defaulted to WADX (and S for crouch). But WASD had momentum. If it wasn t already ubiquitous by 2004, World of Warcraft defaulting to WASD codified it for millions of PC gamers. Now it s in RPGs and MOBAs and even strategy games, controlling camera movement over maps.
Interestingly, Valve boss Gabe Newell doesn t use WASD. I personally don't like WASD as it takes your hand away from your typing home keys, he wrote in an email to PC Gamer. I always rebind to ESDF. Newell's not alone there. Do a little Googling and you'll find plenty of people arguing that ESDF is the more natural configuration.
More surprisingly, another Half-Life developer, level designer Dario Casali, also rejects WASD. Instead, he prefers ASXC. It feels natural to me, where WASD feels odd, wrote Casali. But lots of people scoff at my config.
What would PC gaming be like had EDSF or ASXC been Half-Life s default? No offense intended to Newell or Casali, but I shudder to think of it. ASXC just sounds bonkers to me. Newell's fairly commonplace ESDF is more palatable, but as Thresh echoes, it feels harder to hit Shift and Control while easier to mispress one of the surrounding keys. For me, Thresh, and millions of PC gamers, it s WASD for life.
You can read more about the history of Quake celebrating Quake's 20th anniversary. We're also celebrating by , and Thresh himself will be playing on our US-West server today, Friday, from 3:30 pm - 4:30 pm Pacific time.
Wes Fenlon also contributed to this article.
The great and mighty Quake turned 20 earlier this week, a moment in gaming history we marked (and continue to mark) by putting up our very own PC Gamer Quake servers for the week. We've also got a really good Quake retrospective I'd encourage you to dig into here. Wolfenstein: The New Order developer MachineGames is getting in on the fun too: It's created an all-new Quake episode, and released it for free.
Happy 20th to Quake @idsoftware! As a gift to the fans, we created a new episode of the game https://t.co/BTgju8tLuI pic.twitter.com/gHlxBgjcBUJune 24, 2016
Installing the episode is easy: Just extract the archive to its own subdirectory inside your Quake directory, then run the Dopa batch file. It works perfectly well with the GOG version of Quake and presumably others as well (GOG's release is the one I tried it on), and you can trust me, it's perfectly safe and won't set your PC on fire.
I haven't finished it yet, but I'm midway through the second level and so far it's really good. The level designs have been really clever so far, with lots of secrets to find, and yes, there is a hidden (but not too-hidden) teleporter to Nightmare difficulty, if that's your thing. Enjoy!
Twenty years ago, id Software released Quake. You ve probably heard of it. What s less known is that Quake was an idea that had been gestating since id s early days, back in the era when it was best known for the side-scrolling Commander Keen series. The first Keen promised that coming soon as The Fight For Justice, an epic RPG starring Quake the strongest, most dangerous person on the continent, who would explore an epic RPG world armed with a hammer in what id was already calling The finest PC game yet. Instead, it would take half a decade before Quake s adventure came out, breaking both technical limits and id Software itself.
When Quake arrived, it was a true 3D action game everything built in polygons. Until then, most games had just faked it. Wolfenstein 3D took place on entirely flat maps. Doom offered different heights, but everything was still drawn in 2D. It wasn t possible to have rooms under rooms and the like. Duke Nukem 3D and other Build engine games, particularly Shadow Warrior, used advanced cheats to fake the effect. When you jumped into water for instance, you were actually invisibly teleported into another zone elsewhere on the map. Quake was truly 3D, doing things like spiral staircases and lava pits for real, and being as twisty and turny as it liked.
There had been full 3D games of course, like Descent, or the Freescape games that powered the likes of Castle Master even as far back as the ZX Spectrum. To do this, though, they typically had to choose between simple and slow. Quake didn t. It was a technical showpiece and it moved like a greased-up ferret on a decent PC. No excuses. No compromises.
Or at least, no technical compromises. Of Quake s three great achievements, the single-player game is easily the weakest. It s not a terrible game or anything, but where Doom still stands up as a great campaign full of detail and wonderful design despite its simplicity, Quake is a largely bland and joyless experience whose memorable moments were almost entirely restricted to the first shareware episode. They were pretty cool, though. A main menu in the form of a 3D level, with each chapter s area themed around the aesthetic to follow, forcing you to jump a lava pit to select hard mode and seek out the Nightmare mode in the small level beyond. Big baddie Chthon, hurling fire in his lava lair. The first time having your face eaten off by a Fiend. The low-gravity physics of the secret level, Ziggaurat Vertigo. They re effective, as was the experience of being in a fast-paced 3D world full of action.
Players hoping for a constant stream of such innovation were disappointed. Despite the Lovecraftian influences, there was little to fear or any sense of anything great going on. There were no more giant, dramatic bosses, with the final one, Shub-Niggerauth, just being a static blob defeated with a cheap telefrag rather than a weapon. There was little sense of place. The levels were murky shooting galleries, where even Doom had tried to make its locations feel like real locations to whatever degree of real you can get from starbases slowly being taken over by biotechnology. Certainly players just coming in from Duke Nukem 3D and its real-world settings and constant variety couldn t help but be disappointed, even if Quake has honestly aged much better. It s still dull, but at least unlike Duke it s not writing cheques its engine long stopped being able to cash, and much easier to take as a simple shooter rather than a bigger Experience.
The main problem was that after years of promises and expectation, to have a game that was basically Doom again only set in a castle was something of a letdown both internally and externally. All the RPG features, most planned new gameplay concepts, even the idea of a main character wielding a hammer, had been sucked out, mostly to get the thing out of the door. This led to a major schism within id. John Romero packed his bags to go start Ion Storm and create the more narrative/detail driven game that he wanted to make. (In a case of history repeating, his co-founder Tom Hall had done much the same over the original Doom, which he d also envisioned as being much more of a story-driven experience than the shooter it ended up being.)
Luckily, multiplayer was a whole other matter. Here, the stripped down simplicity and full 3D allowed for fantastic arena design in genuinely atmospheric levels full of cubby-holes to camp and launch assaults from, and even the occasional gimmick, like hitting a button to slide back a level s floor and drop unwary players into a pool of lava. It felt great. The weapons had real kick. Gibbing other players was a pleasure.
Outside the game, it helped that by 1996 online play was finally becoming viable for PC gamers across the world. While Doom had spawned a huge scene in its day, getting online in 1993 was a pipe dream for most players outside of universities. At home, gamers were lucky to have a null-modem cable to connect two PCs together, never mind enjoy the fun of epic LAN parties. Of course those who could got to enjoy a truly wonderful experience.
And so, people played Quake, and saw that Quake was good. The rocket jump alone took Quake to a whole new level. This wasn t an id invention, but a discovery by fans, so of course the maps hadn t been designed to handle it. The result? One of the net s first famous speed-runs , in which the whole game was obliterated in under twenty minutes with tricks like bunny-hopping to raise incredible speed, and rockets to hop through what were meant to be tantalising doors only intended to be accessed after collecting a key or going all around the houses.
Playing fairly or not, the raw sense of place and weight that 3D offered soon made the fakery of 2.5D untenable. It became impossible to ignore that sprites were just two-dimensional, and that when killed, their collapse was a totally canned animation rather than reacting properly to physics (though it wouldn t be until Half-Life that games took the next step and made it standard to give characters skeletons instead of keyframed animation, ushering in the still ongoing ragdoll comedy era).
What all of Quake s technology really empowered though was its community. It was the first game-as-platform, made possible by not just by the 3D engine, but Carmack including an interpreted language called QuakeC that allowed modders to do more than simply create their own levels and make the monsters look like Bart Simpson. They could completely bend the engine to their wishes.
And the modding community ran with this. When you bought Quake, you were buying into a whole universe of content online. Initially this was limited to simple-but-cool additions, like giving the player a grappling hook to scale and swing around levels in ways that had been impossible with previous 2D engines. Experiments gave way to full total conversions like , which swapped the players out for vehicles and turned deathmatch into a 3D vehicle combat game. Others proved that the sky wasn t close to being the limit. A little game called Team Fortress, for example, began as a Quake mod, launching with the Scout, Sniper, Soldier, Demoman and Medic classes and building from there.
The ability to create stages, have polygonal characters, and have multiple people control them in scenes also spawned machinima filmmaking. Quake s early examples of machinima may be the of the genre by modern standards, with celebrated stuff like and now looking somewhat yeah... in the era of Red vs. Blue and Source Filmmaker and whatever the hell people are doing to the Overwatch girls today. At the time though, they were often very impressive, especially when run live in-engine, and did pave the way for something new.
Much as the Doom mapping community still puts out new levels, Quake still has a modding scene. This month sees the release of . Last month, joined the fray. Also, Carmack open sourced Quake s code in 1999, coders have been able to completely overhaul the old engine and bring it much more in line with modern standards. offers real-time rendering of light and shadow, and likely Quake as you remember it looking if you haven t played it for a while, while others, like focus more on accuracy.
One of many flowcharts mapping the history of Carmack's code, via Wikipedia. Click for full size.
No game since has managed to replicate Quake s spectacular level of success as a canvas for modding. Others have impressive modding communities, for sure, but not the same scale. With Quake, anything seemed possible as long as it didn t take too many polygons. Games like Second Life tried to replicate the phenomenon online, and of course, now would-be programmers can get their hands on the likes of Source and Unity and Game Maker for free or almost free, rendering modding less important at least for making total conversions or a wholly new game out of the bones of the old.
However long it lasted, the Quake era was important kickstarting many an industry career, as well as providing the kind of playtime that most games can only dream of supplying. Some mods even got a commercial release, though not necessarily fondly remembered ones. , anybody? The answer, in case you re wondering, is hell no .
Finally, the Quake story became weird. After two official expansions (Scourge of Armagon, aka The One Without The Dragon In It , and Dissolution of Eternity, aka The One WITH The Dragon In It ), id disappeared for a while and released Quake 2 as a single-player focused SF shooter in which you played a space marine fighting the unfortunately named Strogg. It was not very good. At all. Its main contribution to the world was, along with Unreal, teaming up with 3D accelerators to splash coloured lightning around the world whether it liked it or not. Then Quake 3 ditched all of that for a futuristic arena shooter starring characters like a giant cyborg eye before Raven s Quake 4 went back to the Strogg nonsense for another single-player focused game.
With the newly announced , it seems clear a new Quake game is no guarantee of a particular story or style, but rather a way for id to make use of owning the name. Despite that, close your eyes and picture Quake . What comes to mind isn t just another game to be ticked off as completed, nor a technical achievement to be respected, but that rare game that blew past its limits. Quake lives on to some extent in just about every shooter that followed it, and made gaming a better, more advanced, and endlessly more exciting place for its existence.
Happy anniversary, Quake! 20 years ago, you brought 3D gaming and online deathmatch to the masses and built on Doom's modding legacy. PC gaming would never be the same, though we didn't quite know what ramifications Quake would have at the time. Two decades ago, it was just the next hotly anticipated game from the masters of Doom. To relive those simpler times, we've pulled together some old articles about Quake's development, written between 1995 and 1997.
Below we've embedded a few magazine articles pulled from the archives of PC Gamer US and UK. The first offers a glimpse at Quake before it was truly Quake a behind-the-scenes cover story that spends a little time talking about Quake's medieval setting and its total lack of a story. Says id's Jay Wilbur, story is "the last thing we do during the development process." More time is spent going ga-ga over John Carmack's new 3D engine and talking about network play and modding.
The second is a similar on-location feature from just days before Quake launched, written by former editor-in-chief Gary Whitta. We didn't have this issue on-hand for a scan, but some archivists took it upon themselves to put this article online themselves.
The last article is actually about Quake 2, but it's still a great read on the anniversary of Quake's release. It touches on the disappointment of Quake's singleplayer, and has some juicy quotes from Carmack about Romero's departure from id to form Ion Storm in the wake of Quake. Said the young Carmack:
"Quake was a really hard time for id Software as a company. It was such a design abortion: we went through a lot of different bad designs and directions. Really quite early on in Quake's development, I came to the decision to place everything in Romero's hands because I wanted one point of responsibility there. It's okay for someone who's a millionaire not to work if he doesn't want to, but it's not okay for the rest of the people in the company to have someone like that there. We had used him specifically as a figurehead for the press, and that all worked out well, but, you know, it does get to a point where it's a case of believing your own press."