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 Thresh s Quake Bible, 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 one thread from 1997, 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 another thread, 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 in our retrospective celebrating Quake's 20th anniversary. We're also celebrating by running a Quake server through the weekend, 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 Quake Done Quick, 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 AirQuake, 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 Fred Ott s Sneeze of the genre by modern standards, with celebrated stuff like Blahbalicious and Apartment Huntin 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 Arcane Dimensions 1.5. Last month, a brand new set of gun models 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. Darkplaces 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 QuakeSpasm focus more on accuracy.

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. X-Men: The Ravages of Apocalypse, 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 Quake Champions, 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."

Ouch, John.

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.

Provide full mod support 

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 badass and bizarre player content. Even one of its original creators has added to its legacy. 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 limitations 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.

Tell a story, but not forcefully 

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.

Go crazy with world design 

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.

Put together a wicked mixtape 

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 darkly atmospheric compositions while Quake 2 s militaristic invasion of an alien world kept rhythm to Sonic Mayhem s juggernaut metal.

 Keep moving and Quaking

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.

 Make a memorable multiplayer

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 falling short of character. It should forge heady memories as strong as FFA night on The Longest Yard. Should Quake stay strong with its identity, it may emerge once more as the flag bearer for arena gaming.

A mushroom towers above you, reaching for the sky. The place feels familiar, but the light has changed. Plants have taken root in previously barren land, new rocks jut from the earth like gnarled fingers. It s the same, but different a place inspired by what came before. A complete remake and re-imagining of Morrowind, in the words of Brandon Giles, one of the lead developers of the ambitious community project Skywind. The mod aims to draw players fresh and old to the world of Bethesda s 14-year-old RPG.

Skywind had its inception in 2012. The seeds can be found in Morroblivion, which ported Morrowind s content into Oblivion s engine. Once the project came to an end, some leftover team members decided to attempt a similar feat this time using Skyrim as their base.

It wasn t until late into the following year that the project evolved into what it is now, Giles says of the Elder Scrolls Renewal Project, of which Skywind is a part. [We] aspired to do something greater than a mere port of Morrowind. No one really knows the exact point that this switch happened, but I think as we got more and more talented individuals on board, we really broadened our horizons and looked to make something much more special. Since then the vision has only grown.

Skywind s global team was brought together by a love of the Elder Scrolls series. They re all volunteers, and their ultimate reward for the thousands of hours invested will be the finished project itself. The challenge they have set is to take a classic and renovate it, improving it graphically and bringing the world s density, life and interactions up to the standards set by today s open-world games.

The team, though scattered, has clear lines of management. Tasks are chopped into manageable chunks and assigned by the development leads. Countless spreadsheets are assembled in order to keep track of the various tasks and deadlines. The driving force is a small core team, working with and managing the vast array of people who have volunteered their time.

These team members all share the same broad vision for Skywind. Morrowind is a game that now shows its age. The locales feel barren and sparse compared to modern achievements, the fog-cloaked horizon is a stark contrast to the immense draw distances we re now accustomed to. The team have to address this disparity, filling in areas of the world with new content. This act of creation in a game so revered comes with its own difficulties the additions must merge seamlessly with the established world. Skywind will include the story and quests familiar to Morrowind players, but some carefully constructed new missions have been added. The ultimate aim is that new content should be indistinguishable from the old.

Modifying a classic is no easy task, and the team must tread carefully when deciding on additions. Every idea goes through a vetting process. When someone has a new suggestion, and they re serious enough about it, they write up a detailed plan and share it with the rest of the team, Giles says. Everyone leaves comments and suggestions and we work from there, and if it s worth implementing, we ll put in the effort to make it a reality.

Additions are rigorously scrutinised to ensure that they meet the same high standards across the board. The gatekeepers of quality are several industry professionals, who are lending their expertise partly because of a deep love for the Elder Scrolls series, and partly to work on a project that s free from corporate oversight.

Lore masters also pick over any suggestions with a fine-tooth comb guaranteeing that everything fits within the universe set out by the Elder Scrolls games. These team members have been followers of the series since the start, and are able to draw from their own deep knowledge of the world, as well as consult the extensive wikis and other reference sources. They are essentially historians historians with the advantage of being in direct communication with the creative mind behind a large part of the world and lore of Morrowind, former Bethesda designer Michael Kirkbride.

Enthusiasm can only take you so far, however, and the attrition rate among Skywind s voluntary team is high. The success of the project has been that, out of a number of people who have offered to help, you get one that really sticks with the project, Darren Habib, one of the team s veterans, says. I ll put a rough figure to it: out of every 100 people that join up to do some tasks, only one person will actually carry on to progress the project.

The bulk of development is therefore handled by the core team, but they still want the project to remain as open as possible. They leave the door open in order to attract unique individuals able to contribute. Burnout is high true of any voluntary project but the team understand this, allowing people to take breaks when they need them. They have managed to keep morale high with their continuous communication and recruitment. Everyone is kept in the loop and made to feel a part of the community.

The legacy of the original game released back in 2002 the third in the Elder Scrolls series still casts a long shadow. Its weird world is filled with wonders, from magically crafted mushroom architecture to the sprawling waterway-filled city of Vivec. Morrowind captured and continues to capture the hearts of its players.

The action mostly takes place on the island of Vvardenfell, which today stands out as delightfully alien compared to other locations in the Elder Scrolls series. All of Bethesda s worlds have had their quirks, but none have had nearly as diverse a landscape as that found in Morrowind. Each region feels fresh and different, its architecture and landscapes drawn from different inspirations.

The first Elder Scrolls games, Arena and Daggerfall, presented players with huge worlds, using random generation to map out and stock their myriad dungeons. Morrowind broke with tradition; Bethesda opted to create a smaller, more detailed, world than its predecessors. Throwing out the random generation, the game s designers hand-crafted every section of the world. This painstaking approach proved a massive undertaking, but the payoff was worth it. The developers love and attention shines through in the design of every location. From the caves of skooma-smuggling bandits, to the tombs cobwebbed with history linked to actual families in-game.

Post-Morrowind, there have been two new main Elder Scrolls releases: Oblivion and Skyrim. These build upon the foundations laid down by Morrowind, inevitably changing aspects of it as well. The strength of Elder Scrolls games especially Morrowind has always been believable world building and focus on exploration, says Max Fellinger, Skywind s game mechanics lead. Skyrim shifted away from this to present a more streamlined reward-curve, based mostly on dungeon-crawls.

The team faces the challenge of deciding which new features from Skyrim should carry over to Skywind and which should be consigned to history. They have to determine how best to retain the feel of Morrowind while keeping any improvements made by the new game. Abilities such as shouts, tied specifically to the Dragonborn protagonist, have been removed completely. In general, Skyrim felt more focused on player skill, like modern action games, while Morrowind focused on character skill, like a classical RPG.

For instance, contrary to the implications of its first-person action combat, Morrowind used the classic RPG dice roll to decide what happened in a fight. Your sword might hit an enemy s flesh, but it was a behind-the-scenes number that decided whether or not you did serious damage. It s a system that lacks responsiveness. Skyrim has far better feedback, because it s driven more by the player s actions than their character s stats.

However, as a result, Skyrim is more uniform when it comes to the character builds of its players. There are certain core abilities and skills that almost everyone upgrades, while others are largely ignored. Morrowind encouraged players to have more freedom in their choices. There s no single correct build. Some balancing issues remain, but in general players have a wider range to choose from.

The challenge, then: how best to fix Skyrim s problems without recreating Morrowind s unresponsiveness? The developers have a balancing act on their hands, merging two disparate systems into a cohesive whole. Their approach has been to strip down the Elder Scrolls and other RPGs to their core, and find out what makes them tick how the gears of their various systems mesh together. Ultimately, the team want to craft an experience that brings back some of the systems of classic RPGs, giving players the freedom to build a character in whatever way they want.

In Morrowind s original release, dialogue was largely confined to text boxes, with only a small percentage of it voice acted. Skywind again aims high. Its ultimate goal is to have all lines of dialogue fully voiced. Our biggest challenge is the sheer number of voice actors we re going for, voice acting lead Ben Iredale told me. Unlike Bethesda s situation, where they focus on a smaller cast of actors covering the majority of lines, we re looking to have a pretty massive amount of unique voices to cover the roughly 40,000 lines of dialogue that are in Skywind. We think it is worth the extra effort especially since it is one of the benefits we have as a community project there are so many dedicated fans ready to lend their voices.

Skyrim s world often comes close to a place that feels like home. At least until a guard tells you, yet again, about how their previous career as an adventurer was brought to a close by an arrow to the knee. Idle banter can make or break immersion in virtual worlds, especially those that support hundreds of hours of exploration.

For Skywind, Iredale says that a team of writers have crafted 9,000 in-game conversation lines between NPCs, giving each character their own essence of personality. The final release will include priests discussing the 36 lessons of Vivec, and merchants arguing over prices little touches that breathe life into the world.

On release Morrowind was praised for its vision and fully 3D world. Time has not been so kind. Its once vaunted graphics are now showing their age. Giving Morrowind back its beauty is a major objective for the Skywind team they want to recreate the world with all the bells and whistles we ve become accustomed to in modern games. This is no walk in the park: the team have to rebuild the world from the ground up.

Interpreting the low poly models and textures is one challenge, according to Aeryn James Davies, Skywind s lead artist. [It s] practically impossible without going back to the drawing board and looking at pre-3D concepting by the original team. We went back to the original concepts of Kirkbride and others and reworked it from the earlier stages. The 3D representation of 2D concepts are always limited by the technology of the time. Fourteen years is a big difference in processing power.

The evolution of videogame graphics in the intervening time has given the team the chance to make something really special, building on the ambitions of what came before. The redesign ranges from equipment to landscapes, with a particular focus on ensuring each area of the island has its own distinctive feel.

We felt that each region of the game deserved its own unique set of assets and textures to expand on the exotic nature of the original, says lead landscape designer Giles. As a result, each area looks and feels much different than from before. Any Morrowind purist might be upset by the new changes, but we really wanted to do something different instead of just adding shinier texture work and remodelled objects. There have been countless fans who have commented on videos or screenshots of the game saying it looks and feels exactly as I remember! so I think even with these major changes, the charm and spirit of Morrowind has definitely carried over to this new design.

Azura s coast is just one of the regions undergoing a dramatic change. It was originally sprinkled with menhirs, but the Skywind team have transformed it into a landscape filled with striking basalt formations, quietly betraying Vvardenfell s volcanic roots. An overhaul of this scale could have been a disaster, but it s handled with care by the team changing the visual identity of the region while staying true to the heart and soul of Morrowind.

The team s ambitions aren t restricted to improving the variety of the landscape, either. They re aiming to make Skywind s graphical quality in its entirety exceed that of Skyrim itself now almost five years old. The team feels able to do this because their focus is solely on the PC. Where Bethesda had to take ageing console tech into account, Skywind s developers are free to concentrate on a single, more powerful platform.

The mod itself remains without a release date the general feeling being that it ll be done when it s done. Still, there s confidence that it will, eventually, be done. In the years since the mod s initial reveal there has been the constant worry that it might end up as vapourware all stylish screenshots and video, but never making it to a final release. It s a consequence of the team s open development. Professional studios only reveal projects after years of work. Skywind has been in the wild since day one. Viewed this way, their progress in the last four years has been remarkable from a group of volunteers.

The project inches ever onwards, getting closer to its release, but there is still plenty of work to be done and new volunteers are always welcome. The team have a lot riding on this a lot of people to please but each and every one is convinced they will deliver what they have promised. They probably won t have to resort to using magic to get there.

By Edward Bals.

The good folks at The Elder Scrolls Renewal Project have released a new Skywind trailer that shows off some of the latest work that's gone into bringing the great Elder Scrolls RPG Morrowind into the great Elder Scrolls engine Skyrim.

Everything shown is but a small fraction of work done on Skywind over the last few months, the YouTube description states, noting that the video is taken from a private developer alpha and, as such, is subject to change. Music, voice acting, sound effects, quest implementation, bug fixes, etc. couldn't be shown properly in this video, but are being developed alongside the visual progress.

It's a gorgeous trailer, and the prospect of playing a version of Morrowind that doesn't look like it was hot stuff 14 years ago is powerfully appealing. But I can't let it go without leveling some sort of complaint, and in this case it's the music: Nice enough as a generic RPG tune, but it's really got more of an Oblivion vibe than Morrowind. Other selections from the soundtrack are definitely more on-the-money, though: You can listen to bits and pieces courtesy of Soundcloud.

There's still no word on when Skywind will be ready for release, but you can follow along with the development (and join in if you're so inclined) at tesrenewal.com, and read our recent feature on the modders who keep recreating Morrowind right here.

We've republished this feature to celebrate Morrowind's 15th birthday.

For millions of players, Morrowind was their introduction to the world of The Elder Scrolls, but even Elder Scrolls veterans who cut their teeth on Arena and Daggerfall left Morrowind with an impression that lasted. For some of those players, Morrowind made such an impression that they never wanted to leave at all. Those fans have spent the past years painstakingly updating Morrowind, brick by brick, texture by texture, into Bethesda’s more modern engines.

Even returning to Morrowind 14 years later, it’s easy to see why. Morrowind's island setting of Vvardenfell offsets a few standard fantasy clichés—a villain who lairs in a wasteland of volcanic ash and dwarven ruins full of monsters—but also more visionary ideas. There's a prison inside a moon floating over a city built on a lake, a transport network of giant fleas controlled by riders who directly manipulate their steeds' nervous systems, and a settlement where most of the buildings are the hollowed-out shells of gigantic dead creatures. Vvardenfell is a memorable place, more outlandish than anything seen in the Elder Scrolls games that preceded or followed it.

Morrowind was also the first Elder Scrolls game to come with a Creation Kit, a gift from Bethesda that gave players the opportunity to alter that world and make it their own. The best mods tended to leave the setting be and instead tinker with the clunky RPG mechanics it was filtered through, changing the way leveling works and the rate skills improve and so on.

The Morrowind of tomorrow

Bethesda would continue experimenting with those mechanics in later games, alongside making technical improvements like the obvious graphical ones as well as the additon of full voice acting and tweaks to the animations (it took until Skyrim for people to be able to move their legs the right way when running diagonally). Since both Oblivion and Skyrim came with their own Creation Kits, they were just as moddable as Morrowind. While many of Morrowind's mods anticipated future improvements, the most ambitious mods for Oblivion and Skyrim are those that look back, inserting the entirety of Morrowind's setting and story into the newer games. They're called Morroblivion and Skywind, and each is a massive undertaking that has required teams of modders and years of volunteer work.

A modder who posts on the forums at The Elder Scrolls Renewal Project as Brainslasher points me to a Morroblivion History thread that breaks down the timeline. It began with a modder named Galadrielle whose dream was to remake Vvardenfell in Oblivion, but with a new story that would occur during the same time period. Later modders re-imagined Morroblivion as a straight re-telling of the original, unwilling to alter the game they loved beyond some visual and mechanical improvements. As Brainslasher puts it, they were motivated by love for this game and its crazy world with its weird architecture and creatures, the hostile world that you as a player are thrown into without knowing anything about it.

(Someone suggests their next project right there in that history thread: Now let's do it all again with Morroskyrim! )

That crazy world is something that gets brought up again and again in my conversations with people who worked on these overhauls. They talk about its dwarves going beyond beery miner stereotypes to become a culture of Babylonian steampunk objectivists, or Hlormar Wine-Sot, the drunken barbarian who enlists your help in getting his clothes back from a witch. One of them namechecks The Lusty Argonian Maid, a book of in-setting erotic fiction. It s not every RPG that goes so far as to have its own saucy novels, but that level of commitment to detailing every part of the setting is what inspired similar commitment in its fans.

Morroblivion can be played right now, but Skywind is still in development, and has been for four years. Will Jordan, who posts to The Elder Scrolls Renewal Project forum as Smitehammer, has been there for two and a half of those years, joining just as Skywind changed scope from simply porting the old game into a new engine to what he calls a full re-imagining of Morrowind . That means creating a lot of new designs from scratch, guided by the concept art, rather than simply inserting objects from Morrowind and cranking the textures up. It also means creating new quests to fill in gaps and adding new dialogue so that NPCs can chat to each other rather than just the player.

Jordan is both a writer and one of the team leads in the voice acting department alongside Taerkalith, aka Benjamin Iredale, who has been working on Skywind for almost as long, hopping from job to job. I've done a bit of West Gash landscaping, creating the initial river design through the canyons, worked on spells such as Silence and Icarian Flight, and helped jumpstart the music and SFX departments which had slowed down about a year ago, Iredale says. They're now some of our healthiest departments. Also a bit of quest fixing and dialogue implementation, but that overlaps closely with my department so it comes with the territory of voice acting.

Coordinating voice actors is a big job, since Morrowind was very heavy on the text and only a handful of NPC greetings (and one god) were voiced. Early on it entailed acquiring all the text data for the scripts and coming up with a method of identifying appropriate lines by NPC and creating scripts, says Iredale. Now I'm doing implementation of the voicetypes/voicefiles which entails working in the Creation Kit along with third-party supporting applications.

Jordan actually started as one of the actors, inspired by the performer whose greeting is the first you hear in the game. Jeff Baker came up with a very unique voice for the male Dunmer which few people on the team could match. I learned rudimentary sound editing and recording techniques to improve my audio quality, and began coaching others on how to improve their own sound quality and acting forming ideas on how each race should sound for some internal consistency.

Michael Pewtress, aka SFX team lead Corpus X, is a more recent addition to the team. He's been part of what he calls the Skywind universe for just over seven months, though he'd been following the project for a couple of years before that. When I came in for a visit last September it felt like nothing was happening and I thought I could offer my help to get it going, he said. When I joined I was just an SFX contributor, but the team lead at the time left the project about a month or two into my tenure so we ran team leadless until I took over in December. It's a lot of work for volunteer pay, but I really enjoy the community and almost everyone laughs or plays along with my jokes so I think I'll be staying.

Very few of Skywind's modders worked on Morroblivion and some of them, like Pewtress, have never worked on a game before at all. This has been a fun learning experience, he says. Iredale, on the other hand, worked on personal mods before stepping up to join Skywind. Given how long it's been and the still unfinished state of Skywind though some of the screenshots they've shown and the videos on their YouTube channel make their achievements so far look very impressive I ask if there s some worry that a new Elder Scrolls game will come out before Skywind does.

Iredale isn't bothered, saying, There is a good chance we'll release before the next Elder Scrolls game if they keep to their typical timetable. Even if we released shortly afterward, I think people would still want to play it, as the graphics and gameplay are still faring decently with the assets we've been creating.

Pewtress notes that Skyrim is still plenty popular, even though it's now almost five years old. I'd say we have a least four years before something is released and I want my SFX guys done [with] our job in six months, he says with enthusiasm. Sound Effects Division Rules!

When a new Elder Scrolls game comes out, whether it's set in Valenwood, Hammerfell, Black Marsh or any of the other provinces of Tamriel, it's possible that Morrowind will find itself being recreated by modders yet again in place of the new location. Porting Skywind into Valenwind, Hammerwind, Blackwind, etc. would require a lot of additional asset creation and complicated data wrangling, says Iredale. There's a good chance it may be done, but I don't think the current team largely is interested in doing that.

According to Mewtress, As long as there's a Creation Kit in a new Elder Scrolls game, it'll be used to make Vvardenfell again. He compares their slightly unhinged dedication to the Star Trek fans making fan films. They're even getting sued by Paramount and that's not stopping them!

Jordan agrees. One interesting thing about Skywind is that nearly all the assets are our own. The animation skeletons are taken from Skyrim or modified from Skyrim's, but nearly all the textures, models, and a great deal of the sound effects and music are to be completely fan-made. This means if another Elder Scrolls game comes out using an updated engine, it would be fairly easy (and legal) to port over anything we've made. We're thinking long-haul for this project, laying the groundwork for not only the project in its current form, but planning for its future development. If we do the grunt work now, future TES modders will be able to focus on refining and embellishing without having to remake an entire game from scratch again.

So what is it about Morrowind in particular that makes it worth rebuilding at least twice, if not more? Morrowind, for me, was the first video game that truly realized a D&D world in three dimensions, says Iredale. The bizarre and complicated lore and religious-political hierarchies made it a world you wanted to know more and more about.

Developers like Michael Kirkbride went out if their way to make the world seem as alien as possible, while keeping suspense of disbelief possible, says Jordan. The world has all these fantastic creatures and strange architecture, but none of it looks out of place. For him, an important moment came when he noticed relationships between the different stages in the lifecycle of the humble Kwama, which he calls quadrupedal insecty things that are raised like cattle-chickens by the Dunmer for their eggs.

Their adult forms, the Kwama Foragers, Workers, and Warriors, are encountered frequently by players, and inside the tunnels where they nest you can meet their Queens. But they also have a larval form, called Scribs, which you'll spot both in the wilderness and depicted on the signs that guide you to Vvardenfell's taverns (you can see one outside the South Wall Cornerclub in Balmora, for instance). Their eggs and cuttle turn up as items, and they're mentioned in passing in dreams and conversations, just enough pieces to let your mind puzzle it all together in a way that makes sense.

It's this sense of interconnectedness, from the lowly Kwama and their eggs all the way up to the legends of ascended gods Vivec, Almalexia, and Sotha Sil that makes Morrowind special. The individual pieces fit together like they would in a real culture, and the longer you spend inside the game, the more of those pieces assemble into something greater.

The Skywind team are doing impressive work on making Morrowind look and sound better, while also helping it become a little less frustrating to play thanks to Skyrim's mechanical improvements, all to allow the Morrowind we built up inside our heads as we first played it to live again. To some degree, though, no matter which game's variety of combat and leveling are applied to it, no matter which level of fidelity it's polished to, that version that will always live inside our imaginations.

When Skyrim came out I played it on a pretty sweet rig, running it on its highest settings and eventually adding high-res mods so I could see every twist in every peasant s rope belt. Now I m going back to it on a laptop with an Intel HD 4000 graphics card that struggles to run it on low, dropping below 30 fps whenever a fight breaks out or I absorb a dragon soul in that swooshy display of lights and effects. Fortunately, there are mods for this situation too.

The Shadow Remover mod takes the blocky shadows that distractingly flicker over everyone s faces on low settings and gets rid of them entirely, which gives an immediate performance boost. We can do better though, and with the Ultra Low Graphics mod suddenly I m getting between 50 and 60 fps, even if the world now looks like abstract art and some of the faces are a bit freaky. Everything s smooth and plastic, like action figure accessories. It s fascinating to see a familiar setting warped like this though, and I m enjoying seeing twisted versions of sights that had become commonplace.

It s all thanks to Alex, aka The LowSpecGamer, a YouTuber who makes video tutorials to help people get high-end (ish) games running on low-end PCs. I remember struggling to get games running as a kid on the cheap computer my working class parents could afford, but LowSpecGamer goes above and beyond, demonstrating how to edit .ini files and mess around with mods as well as showing which in-game settings give the biggest boost.

Though he lives in Barcelona now, The LowSpecGamer (as he likes to be called) was born in Venezuela and grew up unable to afford the newest hardware. For him, learning to push games below their minimum settings was the only way to play them. There s always this narrative about PC gaming being about trying to get the best out of the game, trying to get the best graphics and so on, he says. That s the main narrative in gaming culture. That didn t really fit with what I was doing or how I felt and I thought I was the only one.

Obviously he isn t, as the thousands of views on his videos show. In those videos he passes on some of the expertise he s picked up from several years of modifying files and changing priority settings to lowspec games as diverse as BioShock Infinite, Life Is Strange, and Goat Simulator. Even if you re not interested in following his advice, it s fascinating to see him surgically altering the guts of games.

It takes a lot of effort to make these videos, with plenty of time consumed in testing tweaks for games made using the same engine to see if they carry across and trawling forums to check out what enterprising players have already done. I have to try everything because it s very often that I will find a Steam discussion where someone will tell me some magical procedure to increase performance of a game and then I will try it and it will actually make it worse, he explains. I do have to extensively test everything.

Some games are more resistant to this process than others. For the three videos he s made about Metal Gear Solid 5 he did a lot of research in the mod community, eventually hitting gold in a thread on NeoGAF where modders were trying to decrypt its configuration files. I don t know, 40, 50 pages into it some guy started figuring out how to do an ultra high graphics mod and he explained his steps for his research. I saw the files he was tweaking and I thought to myself, Wait, I could use this exact procedure but instead of making things higher I could make them lower. Which is exactly what I did.

One of his most popular videos is about The Witcher 3, with over 500,000 views. Following its advice I installed the Hunter s Config mod and disabled various options, then went into the game s user.settings file and edited it to remove even more effects and drop the resolution below the minimum available in the options menu, all the way down to 800x600.

My PC with an i7 processor and 8GB of RAM but a not-so-hot Radeon 7600 graphics card can normally only run The Witcher 3 at about 15 fps. Now it s jumped up to the high 20s, sometimes nosing up to 32, though it looks like it was released around the same time as Oblivion. Foliage springs into existence as I ride past it, Geralt s shadow is only visible at certain angles and only from the knees up, and most of the surfaces look a bit like they ve been coated in milk.

Some of the commenters on LowSpecGamer videos are strangely angered by the idea people are happy to play games this way.

I don t mind because I remember playing games on my parents old 486 in a tiny window in the corner of the screen, but some of the commenters on LowSpecGamer videos are strangely angered by the idea people are happy to play games this way. They say things like don t buy the game at all if you can t run it and claim that it totally ruins the experience . There s an odd defensiveness, as if they re seeing a mural of Jesus permanently muddled by inept restoration rather than someone turning down textures because they can only afford a mediocre laptop.

I remember one guy commenting, I don t see the point of this, you can get a good computer for X amount of dollars at your local store and put it together so I don t see the point of your channel. I was about to answer him when one person responded, The world doesn t end at your doorstep. It s a good point. What the LowSpecGamer demonstrates is ingenuity that comes from necessity, and it should inspire our respect rather than contempt. It s easy to think that it s easy to get a good computer when you live in a developed country. As I know because of the country I was born in, that is not the case for a lot of people, and judging by the analytics of the channel a lot of people from many countries around the world enjoy or feel represented by this.

Not every game has cracked open and revealed its secrets under his pressure, however. He maintains a list of what he calls the doomed games," and they include a couple of obvious suspects. Batman: Arkham Knight seems to particularly frustrate him. To this day I keep regularly re-downloading the game and trying stuff. I haven t given up yet but it s amazing how it ignores the configuration files for so many things. Even the way the configuration files are set up is messy. The problems with Arkham Knight aren t only superficial, they are very evident everywhere. Then you have games like Assassin s Creed: Unity, which is one I particularly dislike because even when getting into the configuration screen of the game, trying to switch things into low, when you check back into the configuration file it will barely change.

There are a couple of games on that list for better reasons though, ones that don t obfuscate their configuration and instead make it so easy to alter them that there s nothing left for him to do. Games like Saints Row IV and Middle Earth: Shadow Of Mordor are good examples, as both can be changed so dramatically in their own options menu there s no need to push them any further.

And while some players aren t impressed by what he does to their favorite games, the developers don t seem nearly as precious. Recently the team behind Oddworld: New n Tasty!, the remake of Abe s Oddysee, reached out to him personally to offer some advice on how to lowspec their game. To have a developer—especially of that game, I really loved the original Abe s Odyssee—to have the developer help me tweak around the remake to make the video, it makes me extremely happy.

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...