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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.
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."
Doom and Quake are the twin gods of FPS gaming. Their fates are inextricably bonded. With Doom s recent triumphant return, it s likely we ll soon catch wind of a new Quake. The time is ripe, too it s been nearly 11 years since Quake 4 released, and revisits to a more traditional, run-and-gun FPS design is a rising vogue. Whether it ll be called Quake, Quake 5, or Pennsylvania: Quaker s Revenge, id s younger sibling can draw from Doom s strengths and shortcomings to rightfully stand among the pantheon of successful reboots. Here s a few of its most important lessons.
Classic Doom is still being modded over two decades since its release and its thriving WAD community remains a testament to the creativity of its and player content. Even one of its original creators has . The same can t be said about Doom s SnapMap, a toolset intended for players to piece together and share custom levels in a seamless process. Its layout curbs complexity for approachability, and while ease-of-use for modding is a welcome concept on the PC, its sorely underscore the lack of true mod support.
Therein lies one of Quake 5 s most important lessons: don t halfheartedly embrace mods. Grant users the same tools developers wielded to craft the game and entrust the community to figure them out. WAD tutorials and Quake 4 mod beginner guides are a single Google search away; the new Quake s SDK can easily follow suit. A SnapMap-style system is a console-oriented implementation of modding that won t and hasn t achieved uniform success on a platform with modders accustomed to a far greater degree of creativity.
Id wisely chose to avoid saddling Doomguy with needless characterization. His sole concern is the exquisite art of separating demons from their organs it s all he needs to propel the plot, and no grimdark space marine trope can compare in effectiveness. Quake broadly follows suit; you re a lone warrior pitted against armies of ugly monsters. Combat rules supreme in both universes, and Doom s exposition was smartly presented as a secondary diversion instead of an unavoidable necessity. Optional data logs and brief first-person sequences of Doomguy punching some computer monitor is the best method for conveying as little or as much story as the player wants.
Quake 5 shouldn t stray from this angle. Doom s campaign doesn t falter if you skip over the finer details of the UAC s demon enslavement scheme, and neither should Quake slip if you don t care about the scientific findings of Strogg hair follicles but it s there if you want to read about it. Quake naturally fits this narrative method; in Quake 2, you could investigate, skip, or simply blow away MIA marines slowly being assimilated into Strogg.
A jaunt into the demonic home-realm of eternal torment is an inevitable checkmark on Doomguy s itinerary. The point of departure is a portal swirling in the center of the Mars UAC facility. The compound sports a straightforward rendition of corporate lab disaster interior decorating: chromed paneling, beeping science stuff, a neutral-voiced AI calmly recounting horrific casualty rates over the PA, and the occasional culty candle circle. Doom s depiction of Hell is a surprisingly tame translation: a rockier, redder Mars-style exterior with floating boulders and skulls carved everywhere. For a place acting as the planar trophy hall of conquered dimensions, Hell is less Dali and more Dio album cover.
That s not to say Hell is a visual failure. It accomplishes what it sets out to do as the barracks and arcane library of its demonic denizens. Festooning skulls and pentagrams at every turn is a safe reminder of Doom s traditional theme. Quake isn t so clear-cut. We ve already seen the original Quake s mythological medieval murk and Quake 2 through 4 s industrial sci-fi. If a new Quake paces with Doom and returns to a classic motif as a modern reboot, it should leverage the power of contemporary hardware and id Tech 6 engine effects to realize a setting with stylistic identity. It doesn t have to be suffocatingly abstract but expressive enough for it to scream Quake. Top Stroggification. Fashion a level inside a giant Elder God s esophagus.
Doom s music feels like riding the edge of a hurricane with the eye of Sauron in the middle. Composer Mick Gordon masterfully captures the seething, pulsing dread of exploring the dual desolation of Mars and Hell until the ambience shatters with an Imp s screech. Above the combat s din of ear-rattling explosions, super shotgun thunderclaps, and the gurgling foley of spilt demon blood rages an auditory transgression. Thrash drum pedal kicks pound metal guitar riffs into the braincage as the synth wails a prayer to carnage. It s melodized bloodthirst. When Doomguy s fist plunges into a Gore Nest and Rip & Tear crashes into the soundscape, it s a too-perfect tap into adrenaline mode.
Quake 5 s soundtrack shouldn t try for restrained sophistication. Quake favors savagery equally with its older sibling, and id has ample opportunity to sustain the brutality with a crunchy score befitting a violent brawl through Stroggos or Shub-Niggurath s mystical dimensions. Whatever the new Quake s choice of theme, it s important to set a great foundation for a mix of brooding ambience and cacophonous action cuts. Both have worked in the past: Quake s Lovecraftian Goth paired with Trent Reznor s while Quake 2 s militaristic invasion of an alien world kept rhythm to Sonic Mayhem s.
Both Doom and Quake shaped the very fiber of FPS movement. Their influence is used to this day: mouselook, sprinting, and sustained momentum were all molded by Doom s simple controls and Quake s 3D evolution. Doom 2016 s emphasis on old-school speed was a welcome relief to the sluggishness of Doom 3 s more survival horror style, and the frenetic combat reflected the importance of staying in motion to survive a constant threat. Quake is no stranger to this concept; it practically heralded the rise of bunnyhopping and trick-jumping in multiplayer and speedrunning circles decades ago.
As Doom demonstrated, embracing quick movement and level design modeled for circular killing sprees encourages an exhilarating challenge. Quake 5 should stay up to speed by adapting its predecessors aptitude for aerial improvisation combined with a mirroring of Doom s snappy acceleration. If Quake keeps the needle in the red, it ll hew as close to its roots as Doom did and could cornerstone a new era in speedruns, Defrag races, and acrobatic multiplayer frags.
Id wanted Doom s multiplayer to embody the genre s modern standards a progression system, loadouts, and so on but it also didn t want to stray too far off the path beaten by successful games which, paradoxically, elaborated on Doom s own format over the years. Those contrasts didn t translate into standout material; sprinkling an area with jump pads and having rockets flying everywhere isn t some sort of magical pedigree for an arena shooter, and locking away weapons behind the progression system didn t gel with the equal-footing ethos many came to expect from id.
This is Quake 5 s moment to shine brightly with a strongly defined multiplayer. It boasts the advantage of utilizing an experienced framework tempered by Doom s easily avoidable inconsistencies and the heritage of Quake 3 s competitive heyday. Its weapons and powerups should evoke the same breathy reverence as the railgun, rocket launcher, and quad damage instead of . It should forge heady memories as strong as . Should Quake stay strong with its identity, it may emerge once more as the flag bearer for arena gaming.
The British Academy of Film and Television Arts BAFTA has announced it will be handing this year s Fellowship award to none other than John Carmack.
This means the man behind Doom, Quake and now Oculus Rift (as well as some rockets on the side) will be honoured with the Academy s highest honour, which is awarded in recognition of an outstanding and exceptional contribution to film, television or games .
Carmack will receive his one-eyed face trophy thing and I d expect a hell of an ovation at the British Academy Games Awards, taking place April 7 at the Tobacco Dock, London.
Carmack commented thusly on the award:
Receiving a BAFTA Fellowship is a great honour. Over the course of my career, I ve remained passionate about the potential for engineering and technology improvements to expand the range of human creativity. Graphics, networking, extendable platforms, and now virtual reality; each has enabled magnificent new things that delight millions of people. I am as excited about the future today as I was when I started.
Hopefully he ll give a Quakecon-style keynote at the BAFTAs, discussing all manner of ludicrously interesting concepts for a couple of hours. A man can dream...
CS:GO's deathmatch maps don't get a ton of love. They're generally thought of as arcadey warm-ups for its traditional, team-based modes. But modder Zool Smith has been experimenting with an interesting Quake-themed free-for-all map for CS:GO. With lava waterfalls as a backdrop, F4ST Castle lays out jump pads, item and health pickups alongside accelerated movement that enables easy bunnyhopping and makes players more elusive. Does the AWP make a decent railgun replacement? You be the judge.
CS:GO's lack of a rocket launcher may leave you missing true arena style-weapons in this context, but it's neat to see someone tinkering with this sort of crossover. F4ST Castle isn't yet up on Steam Workshop, but you can admire Zool's other projects in the meanwhile, which include a first-person take on Mario in Garry's Mod, new particle effects for TF2, and turning TF2's go-kart minigame into Mario Kart.
Bethesda has announced that QuakeCon 2016 will take place from August 4-7 at the Hilton Anatole in Dallas, Texas. The event will once again open with Studio Director Tim Willits' annual QuakeCon Welcome presentation, and feature panels, tournaments, hands-on with Bethesda's new games, and of course the famous QuakeCon BYOC [Bring Your Own Computer] event.
"The event is a true 'grassroots' organization; founded by only a group of fans and volunteers 20 years ago," Willits said. "The event is still supported by fans of id Software/Bethesda and largely staffed by volunteers today. The event has grown and matured over the last 20 years but what has always remained the same is the spirit of community gaming; people coming together to play their favorite games with friends and family."
Chris and Ian went to last year's QuakeCon, which Bethesda said was the biggest one yet, and learned some stuff about the new Doom, Fallout 4, and The Elder Scrolls Online. We also got a bunch of pictures of some really cool case mods.
Reservations for QuakeCon 2016 at the Hilton Anatole Hotel may be placed here.
Once, the early Fallout RPGs were available on GOG. Then Bethesda and Interplay had a big fight, and Bethesda gained full rights to the Fallout series. Fallout, Fallout 2 and Fallout Tactics all promptly disappeared from GOG and Steam, and then—months later—returned to Steam only. That was it for the epic saga of The Company Who Owned A Thing. Until today.
GOG and Bethesda have finally struck a deal, and the Fallout games are back in DRM-free form on the distribution service. Also, GOG is now selling a number of other Bethesda-owned classics—all DRM free. Two of these new old games are being made available digitally for the very first time.
Here's what's now available:
A number of deals are also available throughout the next week. Purchase all three Elder Scrolls games, and you'll get a 33% discount. Purchase all three Id games, and you'll get a 33% discount. Purchase all three Fallout games, and you'll get a 66% discount. Finally, purchase any of the above games and you'll get The Elder Scrolls: Arena and The Elder Scrolls II: Daggerfall for free.