Finally, FBT reaches the end of his quest to find the Doom Killer. Or does he?

Let’s hope so, he’s not doing a part five.

Part Four: Black Mesa Inbound

By now the vultures are circling, watching as Doom breathes it’s last. It’s faced inventories, 3D, character classes, cut-scenes and storylines. Sacrilege. It’s been backstabbed by Quake, bullied by Build and had strips ripped off it by clone after clone. Yet it’s not only survived, Doom’s seen off all pretenders – even LucasArts no less. Doom keeps on killing it – and while 1997’s games have done everything they can to topple it, we’re yet to play a PC game that stands on its own. And that’s because we didn’t have an N64.

Shooter. First Person, Shooter; GoldenEye 007 (Aug 1997) is further away from Doom than any FPS so far; it was a huge leap and is the Doom killer. But it’s let off on a technicality; being N64-only limited Goldeneye’s chances of influencing the FPS genre the way Doom did – PC was safe in its vacuum. But, N64 players got a taste of the future. It seems every genre was stepping up; behind the wheel we had Carmageddon, Gran Turismo and Grand Theft Auto, f fight!-fans were about to get Tekken 3, RPG had the first Fallout and Lara was back in the seminal Tomb Raider II. The most amazing thing about the 1996-97 period is how many of those franchises continue today. Midsomer Murders premiered in 1997 and even that’s still on, what happened to Doom?

While the N64 was changing everything, all we in PC-Land had were sequels. Hexen II (Aug 1997) continues to move further away from Heretic – this time we have 4 classes and a sort of XP system; but as I replay Quake-powered HII I realise Quake was even more boring than I thought. While it has some stuff going on (sheep on catapults for one thing) HII actually looks and plays just like Quake; it’s an incredibly restrictive engine – Here is the world id have provided; play through it quietly, please. Hexen II might be fantasy-based, but it’s striking how distant it all feels after Build’s close-quarter world. But it’s not just the environment. Quake is like Dad’s Army to N64’s Bond; nonthreatening, almost comfortable. This is depressing. No mayhem, no trouble, no edge or dirt to it; Where’s the energy, the risk, the breathless deathrun for the exit? Hexen II does look good, and feels good but it never gets going and it’s hard to keep going, it’s all so flatline constant. At the risk of labouring the point, I would have loved to see it in the Build engine. Yes, I am blaming Quake for Hexen II. If it had been built in a more fluid, freeing engine, it might have been a lot more involving. I’m also blaming Quake for something worse; indifference – after Quake, FPS became more than what we’d settled for. We could forgive Doom for its simplicity because it was so raucous, but Quake’s lack of heart exposed that simplicity without stepping up the mayhem and it’s made FPS meh. Quake is so horrific it ruined Heretic too. Maybe Quake killed Doom by embarrassment. God, I hate Quake.

Luckily, the other sequel we got in 1997 was closer to Goldeneye than Quake; Star Wars Dark Forces II: Jedi Knight: (Sept 1997). Proving how far the FPS genre has come, JK is miles away from Dark Forces and therefore, Doom. There’s a cracking plot; Kyle Katarn, the arm we played in DF is on the hunt for his father’s murderer. Along the way he discovers he can use a lightsaber and that dark forces are looking for a place that focuses force powers. As we shoot and saber our way through every Star Wars reference, Kyle gains force powers and wrestles with revenge vs the Jedi path; and how we wrestle dictates the ending. The plot, much like Blood is told through cutscenes but this time they’re in glorious FMV, complete with panto actors having no idea what they’re doing, fuzzy rotoscoping and cheesy dialogue only George Lucas could approve. It’s an incredibly good game, epic yet focused with good shootouts and set-pieces; it’s as close as a PC gamer is going to get to Goldeneye, and the furthest we’ve gotten from Doom so far; a story, choices, subtle advancements and technically dual-wielding with weapons and force-powers – this is good. It has aged, the force-powers are clunky, the lightsaber is just button-mashing, it’s blocky to the point of being blinding and the FMV is hilarious, but it sets a new bar. All we need now is for id to lower it again.

Quake II (December 1997). This is a new id engine so I’m going to give id the benefit of the doubt and assume they loosened some of Quake’s vacuum-sealed grip and really put us in the boots of whoever the hell the Quake character is; it does actually have a storyline, so I’m sensing a change in the air. Is id actually going to kill Doom?

The oddest thing about Quake II is it has nothing to do with Quake. It’s rumoured QII wasn’t even a Quake game during development, id just couldn’t come up with a better name. Just how unimaginative were id by this point? Quake II is set in a sci-fi environment where a Space Marine named Bitterman (Bitterman would have made a better title) is split up from his company when they’re deployed on the home-world of the Strogg, an invading force attempting to take over earth. A blazing opening scene sets the story in motion, unlike anything we’ve experienced before and exactly what I was looking for. This is epic, against the odds stuff! Finally, a war-movie shooter; tight, claustrophobic, brutal … wait. Goddamnit. The game is nothing like the setup; no desperation, no frantic firefights, no overwhelming odds, no ‘oh shit’ moments. The corridors are better looking than before, and the bad guys move with a fluidity we’ve not seen before, but it’s plain, straight shooting. QII doesn’t add anything to the experience, there’s nothing wild or unexpected; Bitterman is Doomguy with a name tag and while being more cohesive than Quake, having a singular forward-pushing level design, against Goldeneye and Dark Forces II, QII offers nothing; it’s a throwback on a shinier engine. It was hailed on release, but again that’s just the Multiplayer talking; at first I thought id were timid – unwilling to step away from their comfort zone, but no more excuses; QII, actually, is arrogant. id – you thought this would do? At least Doom II turned it up to 11, made you work for it; this is just filler. That’s it. id, you’re dead to me.

So that was 1997, a year where IBM’s Deep Blue beat chess master Kasparov. Afterwards he claimed the machine made imaginative moves, implying human interference but considering IBM dismantled Deep Blue immediately, I think it become self-aware and they shut it down before it could launch missiles against Russia. They should have given Deep Blue a job at id.

Once, someone (me) likened id to Nirvana and said Doom was their Nevermind. Now they’re corporate MOR, the kind of thing you’d find on Jeremy Clarkson’s Driving Anthems CD, given away free with the Daily Express. But thankfully, we had our Foo Fighters; Epic. Unreal (April 1998) follows JKDF II’s form and gave PC gamers their Goldeneye. This could be the Doom killer – just when I thought Doom died of old age.

You play an unnamed prisoner enroute to space-jail when the ship crashes, leaving you the sole survivor with a legion of baddies between you and freedom – but there’s another layer; the planet’s peaceful inhabitants are subjugated by the baddies, forcing them to mine a valuable ore abundant on their planet. Our hero fights through the invaders as per standard, but saves the locals in the process. Or not. As an escaped prisoner, it’s your (moral) choice.

Unreal seems to understand what’s been missing; it draws you in as much as you draw your pistol; this is a FPS that feels exciting but rather than Doom’s pure ‘oh shit’ mentality, you’re playing with a sense of curiosity and against a subtle threat. This is the most compelling world we’ve seen yet. You feel like you’re on an alien planet; it’s full of odd, weird but logical things, spread across a world you progress through. Diaries and notes left by the aliens and other survivors fill in the background of a world filled with puzzles, interaction and situations – Unreal gives you an exploratory feel as you find your way, and how you make your way is dictated by various power-ups and improvements you can make to yourself. Helping the aliens feels good, not just level-up friendly, while the slavers are brutal and varied enough to keep things interesting. It looks dated of course, but you don’t notice; you have a world to save. This is how it’s done; Unreal is real. But did it kill Doom?

Unreal wasn’t a Doom killer, it was an id killer. They never recovered after being roundly punched off their pedestal. Instead of striking back with something new, they dropped all pretence and returned with Quake III – as multiplayer only. They’re going backwards. But Epic were ready for them. Unreal Tournament and Quake III battered each other Oasis vs Blur style but that was the beginning of the end for id. Carmack once dismissed the Unreal engine with “you’re just never as big when you’re second in line”, and I could just end on that quote, leaving it to linger like a Redneck fart, but I can’t let it go; what did id do to justify their first-in-line status? Doom 3. Like I said, backwards.

Meanwhile, Epic’s Unreal engine became the industry standard, powering not only hundreds of games, but exploited in non-game applications too; the FBI use it for crime scene training and the US Army for IED defusing tactics. It’s been used in Hollywood for pre-vis work (by Spielberg amongst others) and it did real-time, on-set rendering of ‘Kay-Tuesso’ on Star Wars Rogue One. And it generated the virtual sets on Lazy Town; now that’s cool. id? id who? You mean the guys who followed Doom 3 with … Doom 3 remastered? Then Rage, aka Doom in the Desert? Least they came up with a new title. Then followed that with … Doom 4 – which was so bad it didn’t even get a release. id, get second in line.

There’s no denying id’s influence. They are gods. Carmack changed the world with his engines, but game wise, id couldn’t even get cloning right; the King of Clones, Call of Duty has been punting out a reskin for nine games in a row yet it’s huge, primarily for the multiplayer – which id pioneered. Somehow, id forgot how to game.

Knowing what’s coming, Unreal could be argued as the new Wolfenstein. Which makes SiN (Oct 1998) Blake Stone … Set in some not too distant future, our beefy hero, Blade (the last of the classic era hero names) is head of some security firm investigating a super drug which turns folks into mutants. The Sinclaire Megacorp, headed by the unnaturally sexy Elexis Sinclaire is behind it so Blade shoots through various locations to find her and the antidote.

Elexis is one of those characters you’re not quite sure how to take. Either a parody of sexism or just an incredibly sexist fantasy figure, she’s Jessica Rabbit meets Anna Nicole Smith at a Motley Crewe video shoot; so sexualised it’s difficult to watch without blushing. But she has her smarts. It’s a shame SiN didn’t do better, let us *ehem* explore her further as Elexis is not only a great boob-hiss villain, but has the opportunity to be a parody or celebration of feminism or sexism; the ending, a nod to Basic Instinct’s favourite moment is amusingly intercut with Blades utterly transfixed face; female empowerment using physicality to manipulate the male sex-driven psyche or just smut? I dunno, I’m gonna play it again to be sure – and there is a hidden scene where you catch Elexis masturbating in a hot tub. Not sure that helps the satire argument. Thank god we’re not playing as Lo-Wang.

Problem is, Blade’s world is as under-developed as Elexis isn’t. The AI, once out of scripted moments is idiotic and the level designs are hugely lacking, sparse and unfocused; you wander rather than push forward and worst of all, we’re playing someone we’ve already played; Blade is a muscled tough-guy with a dislike for orders and a huge weapon compensating for something; but unlike Duke, Blade is a strictly straight-to-video star; I’ve never played a game where the hero is so completely upstaged by the villain – I’d rather be working for Elexis.

There are some advances to be fair. Blade is also aided by a hacker called JC who works nicely to set the scenes, damage you deal relates to the body-part you hit, there’s a (not very good) interactive computer element, tons of destructive environments and some hairy non-linear moments; choices can make later events easy or a right pain.

SiN could have worked as a satire/throwback had it been a bit more polished, but what really sinks SiN is it just wasn’t quite ready to leave behind classic FPS; sticking to the kind of stuff that would amuse Lo-Wang is half its downfall – the other half was life; SiN was rushed to beat Half-Life to the shelves, and suffers for it.

With Unreal and Goldeneye out there, you can see exactly what needs to happen to deliver the killing blow, and SiN misses the mark. I’m kinda sad about it really, there is a game to be had, but it’s frustratingly out of reach. SiN did manage a not-quite sequel; intended to be split across DLC episodes, Emergence was the only one released and that showed some promise, a nice mix between solid gunplay and Elexis in a bikini.

Just coming in under the wire, the original clone closes out the era. Heretic II (Oct 1998) deserves a mention just because I love Heretic. HII gives our Heretic arm an entire body called Corvus (The genus for Ravens, geddit?) and puts him on the hunt to cure a plague that’s turned everyone conveniently into targets. Built on the Quake II engine and looking pristine yet vacant as only the Quake II engine can, HII isn’t remotely connected to Heretic OG; Ovum spell returns though. Still a classic. Rather than being a Doom Clone, HII is a Tomb Raider clone, an action-adventure-puzzler. In fact, Heretic II doesn’t even belong in a FPS review – it’s 3rd person for a start but I couldn’t miss an excuse to play in Heretic again. Raven, give up the CoD grunt work. I’ll even play Singularity if it helps.

And then, Valve released a game that during early demos, was as seen as an ego-piece. What was this Microsoft Millionaire Gage Newell doing, playing in our shooter sandbox? Stick to MS Minesweeper, leave the gaming to id. But somehow, Valve’s Half-Life (Nov 1998) got it exactly right; instead of a killing machine we were an unwilling lead – a scientist, a geek, one of us, finding a way out of this mess unlike every other shooter where you were looking for a way in. I’m no scientist but career choices don’t matter when there’s headcrabs on the loose. The story was as simple as it was effective; our science project goes wrong, opening portals from which all manner of nasties spill out. Armed with a crowbar, Gordon Freeman (Gordon; even the name is normal. No Duke or Blade here) begins a brilliant trek through the lab to get help, aided by less-able scientists and security guards all called Barney. Meanwhile, the army are making their way in, making sure we don’t escape and tell id this is how you make a next-gen shooter. Freaky creatures, a mysterious G-Man watching our progress, great AI from the soldiers, Half-Life is perfect start to near finish (The ending in Xen still grates) and despite Gordo being silent, you develop a strong desire to get him out of this mess. We’re invested. Best thing is, Half-Life was built on a jury-rigged Quake engine. This could have been id, they could have killed Doom. After Goldeneye, Jedi Knight and Unreal, Half-Life ironed out all the kinks and with SiN proving old-school is out, Half-Life’s wasn’t the exception; this was the standard. Doom doesn’t come to mind once.

Doom; 1993-1998 RIP

What a decade that was. It wasn’t the 60s – it was better. The 60s, the decade of change? Everything and anyone that was a vanguard of change got shot. The Sixties as an idea for the future failed. The nineties saw huge disruption in music, movies, art and gaming, plus changes in politics, equality and society that no decade has been able to top – Plus the nineties gave birth to the internet. Top that yer hippies.

As I mourn for Doom I realise now it couldn’t have gone any other way; I began this journey on the hunt for where it all went wrong, where FPS drifted from Doom’s pure experience but what went wrong was us; we killed Doom, the moment we deathmatched – once we were into Quake’s reign, and Deathmatch went Online, Multiplayer became the driver and the single player mode was just offline mode. It took Half-Life to convince us to save the day not the flag. Turns out I killed Doom?

There’s some who argue that Doom’s influence and impact is overstated, that it’s innovations would have happened naturally. I’m guessing they never played Doom in 1993. Its brilliance wasn’t the technical leaps, it was id’s capturing excitement and turning it into pixels; that joy is missing from games now and that came from a mutual understanding; the developers and gamers never met but we were mates – all those games I played; there’s love in every pixel programmed and we loved every pixel we played. That’s why Doom was incendiary, why it’s one of the best games of all time. Nowadays, I don’t imagine a developer I’d have a beer with, I see corporate nonsense; marketing, research. Games like Doom and it’s Clones are gone forever; gaming is worth over 90 billion dollars a year (compared to Hollywood’s 40 billion) and the mega-corps that run those empires don’t take chances. Those publishers wouldn’t have given Doom a second look.

But maybe, with GOG.com’s commitment to indie titles and Steam’s Greenlight, the Shareware era isn’t over. One day another Doom may slip by and make us go ‘the fuck just happened’. Until then, we still have Duke, Doomguy, Caleb and all the other arms sticking out the bottom of the screen. Come get some.

FBT survived Doom and Hailed the Build engine, baby. With Quake first on the list, is FBT’s quest to find the Doom Killer at an end? (Clue; there’s a part four)

Part Three: and I don’t love Jesus

It’s 1996, and- shut up, TFI Friday’s on. I can’t hear it over all your zigazig-ha’ing. And doesn’t Tony Blair seem nice? When we weren’t distracted by Loaded Magazine or giggling at Viz, we were cheering Cocker ruining Michael Jackson’s Earth Song at the BRITs and watching Oasis make history at Knebworth. Twice. We fell in love with the Spice Girls (well, their Say You’ll Be There video) and cried when Gabby left Big Breakfast. And cried again as mums kept buying Robson & Jerome singles. Just get back on Solider Solider. Or was it London’s Burning? We had Trainspotting, The Girlie Show, Dennis Pennis, Katie Puckrik in Pyjama party, Bizarre magazine, Kate Moss was Heroin Chic and amidst all this creativity and change the only Clone was Dolly the sheep?! Who, weirdly, has a twitter account (@dollyat20) and we still hadn’t had a Doom Killer, now three years old. The only FPS game to gain any momentum wasn’t found in your local Our Price, it was at the bottom of cereal packets. id had gone on a licensing frenzy, milking the Doom engine before it became obsolete and Chex Quest turned the best game of the decade into a commercial for a breakfast cereal and copies are still traded today.

Finally, in June 1996 we had something that kept us up so late we missed breakfast. I disliked Quake intensely on release – all the technological achievements were lost on me; I didn’t care about polygons and 3D, I wanted – expected, demanded – the shock and awe of Doom. Only id could do that, reclaim the FPS mantle after so many clones but to me, their return felt clinical and clean – It might have been a giant leap for game engines but it was small step for shooters; Quake was half the game Doom was.

When I restart Quake with a massive clip on my shoulder, I realise it is a thing of beauty. After all those minimal pixels, the similar environments, Quake is incredible, nothing short of genius at work. You can’t exist in this world and go back to Doom and think it’s better. But then, after a few hours play … I was right the first time. Quake is so polished, so perfect, so boring. You never feel like you won a level, that you pulled off a fast-one, a lucky streak, dragged a bloodied Doomguy to the exit hoping the next level has health at the start.

There’s four different worlds to fight through, but that’s not as refreshing as it might seem. It creates a disconnect – Doom had no real plot but you descended deeper into hell as you went, whereas four different worlds feels like starting over and over, relearning the world. It’s four mini-games not one epic gun-fest. The creatures move in realistic ways, the weapons are more varied and the world is full of stuff but you’re never really there. Quake feels at arms-length; Doom reached through the monitor and grabbed you by the scruff.

A key element to Doom was that feeling you were outnumbered, that you weren’t going to survive this; Quake may not have been able to replicate that original experience but it could easily have bettered the against-the-odds, breathless victory you got after beating a Cyberdemon. Quake is Blink-182 to Doom’s The Pistols; I don’t see how it’s considered one of the most influential games of all time. The Quake engine yes, but not the experience. Yet again I find new appreciation for what Doom did.

Quake didn’t kill Doom, it killed the single player. Quake’s multiplayer was an undeniable quantum leap – towards Single Player missions being little more than a five-hour tutorial for the online experience. There’s nothing wrong with Multiplayer – clearly that’s what id thought, given Quake III was MP only and it was done right in Quake – but Single Player was compromised. This is where the rot set in.

Meanwhile, genres other than FPS were stepping up their games. The Elder Scrolls proved they weren’t just a dungeon crawler with Daggerfall while Tomb Raider kicked off in October of ’96. If Doom was the King then the Queen was Lara Croft, easily the most iconic image of 90s gaming – but it didn’t change things in the way it should; we didn’t see a sudden shift to female leads, women treated any more equally or non-sexually in games. For all of Tomb Raider’s advancements it was Lara’s pixelated adolescent dream-figure that everyone remembered. 1996 also saw the beginning of the Resident Evil series and some company called Valve. It was a hell of a digital year, and what was FPS up to? Chasing a pig called Bessie. What, you too nervous about Y2K to build games?

I remember mucking about in Redneck Rampage (April 1997) and not really getting it; two brothers looking for their pig, stolen by aliens who have cloned their neighbours? Now I’m rescuing a pig? How far are those Doom Clones going to push their luck? Back then I found it too silly, sacked it off as undermining a genre that was just starting to get interesting. But after the deathly dullness of Quake, when I load up RR and hear a ‘yeehaw’ I think ‘Let’s do this’.

The opening level, where you cross a road while avoiding a car zipping around running over chickens, gives you an idea of what you’re up against and while I watch the car I get shotgunned by a Bubba in overalls screeching something in Redneck. I start again, trying to work out where the Redneck came from, and get run over. Man, being a redneck is hard.

Soon though, I get my eye in – which isn’t easy as RR is set at night and the blocky graphics of Build are grating after Quake’s smoothness, but there’s something to RR I hadn’t previously got wind of (not the fart-o-meter) – actual fun; we had Duke’s bluster, but otherwise FPS is a very serious affair; what we needed was pure nutso insanity and that’s what RR is; out of nowhere I discover a game I didn’t expect – a really good one. What in tarnation? I’m yeehawing like a good ol’boy.

There’s loads going on, to look at, to press and break, and instead of regular level layout we’re stumbling through farms, shacks, grain stores and trailers – it isn’t nonlinear but there’s a nice open world feel to it, something Duke also touched on and a further step from Doom’s corridors – later levels start to feel familiar once you’re in the towns but it maintains a quirky feel; a little unhinged level-design is refreshing and the enemies – classic rednecks alongside the aliens, including a dominatrix are great fun. Take heed RotT, this is how you do daft.

There’s the in-jokes too, and not all are aimed at the redneck caricature; while we’re somewhere between Deliverance and The Beverley Hillbillies, there’s a poster for a Troma movie, references to the artists on the soundtrack and typical alien tropes like crop circles and cows being mutilated – and tons of deep-south wisecracking from the heroes and the rednecks you gun down. The weapons are typical but there’s some homemade, jury-rigged backwoods style changes to the usual line-up, while a new trick is the burp and fart meters. Not exactly classy but they’re a fun way to add a penalty to using health powerups – drinking gets you drunk and impossible to control, eating makes you fart, giving you away. Redneck is really starting to stand out as something else; you can call it a hillbilly Duke but I’m having fun ya varmint – but not too much; it’s a subtly strong game, a lot more unforgiving than earlier FPS. Its psychobilly soundtrack (‘You Can’t Kill Me’ by Mojo Nixon is a standout as is Beat Farmers’ ‘Gettin’ Drunk’, proper psychobilly stuff not yer Cotton’Eye Joe, although now I have that stuck in my head) adds a new level too – instead of Doom’s dirge you merrily sing-along, to the point you don’t end a level ‘till the song’s finished. And you end levels by finding your dozy bro and clobbering him with a crowbar … it’s great to have a hero who instead of being heroic, complains ‘Ma head hurts, ma feet stank and I don’t love Jesus’.

You get the sense developers Xatrix had fun and it’s infectious – Saints Row and Borderlands owe RR a nod; it paved the way for the ridiculous to slip into shooters. It had sequels but RR was perhaps too silly to be remembered; I was equally guilty of dismissing it, but I missed out; open a can of whoopass and get ready to don’t love Jesus. It’s a great Doom-era shooter. Just remember those rednecks pack a punch; it’s not all banjo playing.

Redneck Rampage reminded me of another thing missing from modern games – extras. Games used to include entire Windows themes, screensavers, audio clips, pictures, all sorts. You just don’t get that kind of thing anymore, but I still have the ‘Cuss pack’ from RR; and now I have “I’m on you like flies on shee-it” as my ringtone.

Now, who want-a som Wang?

I recall Lo-Wang and Duke as buddies, equal in their abilities, including getting girls to show them their boobies. I’ve been looking forward to Shadow Warrior (May 1997) as I think I preferred Lo-Wang to Duke; he was a bit more mischievous, less Jock more Mock. SW was a straight-faced comedy, like a game based on some 1980s Ninja flick from Cannon Films. An Asian character – the kind created by a bunch of people who are not Asian – Lo-Wang revels in the innuendo of his name and doesn’t take anything seriously. Even when his old boss, Zilla, sends hordes of underworld forces to stop him, LW still treats it all like shit and giggles.

Much like Duke, Lo-Wang inhabits a world that’s fast leaving Doomguy’s behind – Build’s interactivity is at the fore in SW; LW can find repair kits to chug around in tanks, forklifts and boats, there’s puzzles and secrets that require some figuring out and he can muck about with little RC cars – we’re in the world more than ever before. It’s interesting that Quake far exceeds Build in terms of capability and environment, but SW just feels alive, immersive. The art design, which is Japanese influenced is detailed and like DN3D there’s loads going on. But Shadow Warrior starts to wear thin and one of the most important parts, one I previously loved, is to blame – Lo-Wang. Once he gets tiring, the game does. When he’s not making groan-worthy jokes about his name/manhood, he’s commenting on everything – ‘ohhh sticky bomb likes you’, ‘You are tiny grasshopper’, ‘You move like-a pregnant yak’ – he just goes on and on; an Eraser-inspired railgun is ruined by LW saying ‘you got Erased’ Every. Single. Time. And when he’s not commentating, he’s making Bruce Lee noises or giggling to himself. Super-health comes in the form of Chinese fortune cookies, which are puns like ‘man who farts in church sits in his own pew’. Okay I sniggered too and after nothing but ‘Ger, gah, uuugh’ sounds from my heroes, I should be happy to have a Chatty-Cathy for company but Lo-Wang is sidekick elevated to annoying hero.

Shadow Warrior is a case of diminishing returns – this is from 3DR again and like Duke, level design isn’t their forte. There’s a lot in it but it doesn’t go anywhere; it’s too reliant on the novelties but whereas Duke saved DN3D, once Lo-Wang grates some misgivings start to creep in. 3DR just cloned Duke thinking that would be enough, amping up his juvenile antics but Lo-Wang perpetuates the Asian stereotype with his ‘Engrish’ accent, Fu-Manchu moustache and kung-fu bants, and his Duke-lite persona falls into misogyny; Lo-Wang just accosts random girls – ‘Lo Wang drop soap,’ he says to a girl he corners in a shower, ‘you bend over and get it’ or telling a girl mechanic ‘chicky, you tighten my nuts’ – Plus, the girls all seem to love his attention, including one he interrupts on the toilet. In one secret area he comes across Sailor Moon on a bed – and asks ‘peaches’ if she’d consider Mooning him. Dick. Duke had an old spice swagger that justified his ladykiller ways and, politically correct or not, he paid strippers for a flash in a strip club; he didn’t sleaze.

I haven’t been this disappointed since my Tamagotchi died. I’m saddened Lo-Wang turned out to be Lo-rent, but it really is the weakest of the ‘Big Four’ Build games; and it’s 3DR’s fault again. They should have just licensed the Build engine and left the design to those who knew what they were doing. It bleeds the Build engine dry, making SW the most interactive, touchy-feely (Sailor’s Moon aside) game so far. But the only one really enjoying himself is Lo-Wang.

Stand back ladies and gents, we’re about to play the game that, if asked, I would have accused of killing Doom. Blood (May 1997) was the last notable game on the Build engine. Because nothing could top it, obviously. Blood’s Caleb was the Snake Plisskin of the gaming world; pissed-off, dangerous and with a singular purpose. He was awesome – the bleaker, darker anti-hero of the era who sounded a bit unhinged, muttering Evil Dead references and singing Frank Sinatra as he killed indiscriminately. I’ve been looking forward to this. Don’t let me down Caleb.

Blood has something all the others didn’t – a reason. This is where FPS actually got a story, a motive to maim your way to the end; The CGI opening sets the scene in a horribly morbid and cool way; Caleb, a brutal wild-west killer-for-hire was initiated into a dark cabal by his wife. Inexplicably, their dark god punishes them for some slight, and Caleb is buried alive after witnessing his beloved maimed by a demon. Escaping, Caleb goes on a rampage in the most imaginative levels we’ve blasted through so far.

One minute you’re in Camp Crystal Lake, the next fighting through a moving train, the mazes of the overlooked hotel, a fairground-circus, a remake of Dawn of the Dead; each level is a world we recognise from our VHS collection not Doom – Every other FPS you’d struggle to recognise one level from another if they were in a line-up; But Blood’s levels are all unique and fantastic to maim through. You never get bored in Blood – the story, level design, references, there’s so much going on yet it isn’t a distraction from some killer action; Blood is relentless, and the boss-fights for the first time are not OTT arena fights – they take some strategic foot-work and weapon-picking. The weapons too are nicely macabre – voodoo dolls, tommy-guns, his melee weapon is a pitchfork. When he lobbed dynamite with bloody results, Caleb cackles maniacally. Now that’s a hero sound, not Lo-Wang’s ehehehehe kid-being-tickled gurgle. Elsewhere Caleb’s rasping voice quotes everything from The Crow to a Harrison Ford The Fugitive/Air Force One mash-up … and he’s got sarcastic putdowns; upon finding a dead Duke Nukem, he double zings with ‘looks like I got time to play with you’ followed by ‘shake it baby’. If Shadow Warrior was an ill-conceived nod to Big Trouble in Little China, then this is John Carpenter’s The Thing with a nice sideline in They Live.

What is interesting though, is Blood’s story; something we’d not needed or wanted before. But Caleb had his reasons, and each episode ended with his avenging his wife and friends, headed towards a finale -with a god no less- only to leave empty-but-bloody-handed.

Of all the Build developers, Monolith is the one to really make the engine sing; sitting perfectly between SW’s novelty distractions and Duke’s outrageous set-pieces, Blood is brilliant and should be played just see how a shooter should work. Mindless killing and a mindful plot, it’s a perfectly balanced FPS and one of the best shooters of all time.

Blood didn’t kill Doom, the story-driver concept only really exists in the cutscenes and it still owes a debt to Doom but it provided that little edge as the endless blasting of FPS starts to get a little tiring. Blood is the first to seriously wound Doom.

There were Build games after Blood; TNT Team released Nam in July 1998, a reskin/mod of Duke with RotT-style scanned photos and flat environments. It did have some nice touches, like picking up orders from NCPs and having followers. Oddly, I didn’t see a heads-up display. But it had a semi-sequel in ’99, WWII GI. There was also Extreme Paintbrawl in 1998; let’s not talk about that. One thing to talk about though, is the argument that Build weakened the sincerity of FPS; that as soon as we were able to ask strippers to shake it baby, it became a battle of novelties and distractions; the visceral experience got watered down. I don’t think Build is to blame for that, indeed Blood’s bare-bones plotting makes it the best of the bunch – but 3DR were to blame; they just weren’t natural level designers like Romero – instead of using Build to enrich the Doom experience, they made theme parks; Romero raised level design to an art form, able to imagine not just the world, but you in it and then make it exciting to fight your way out. 3DR settled for boobs.

And that was it for Build, which really disappoints me; besides the technical marvels, Build games made you feel like anyone Kurt Russell played in the 80s; they were filled with refs to Evil Dead, John Carpenter, Sly & Arnie’s best 80s characters, even Elvira; so much was threaded through Build’s games that you felt as if the developers were mates; they were into what we were into – this was back when being a gamer was looked down on by Jocks and their new extreme sports like surfing on snow – Build let us know we weren’t alone. Build let us be heroes.

It’s a shame 3DR decided to spend all of their cash and good-will on the twelve-year development of Duke Nukem Forever; to piss away Duke Nukem was one (upsetting) thing, but to ignore what they’d achieved with Ken Silverman was unforgivable; just imagine what could have come next. Instead, Silverman stepped away from the gaming industry and became “CTO of Ardfry Imaging, responsible for the PNG Compression tool PNGOUT” which doesn’t sound like something Duke or Caleb would say. But I’m sure it’s had an effect on my digital life. He only made one engine, yet Silverman’s contribution was massive and it entertained and impacted beyond the games it powered; All hail the real king, baby.

So, Build was a shot across the bow, but no Doom-killing cigar. Onward. Maybe Elexis Sinclair has something to do with it. I’d better frisk her.

In Part Four of this increasingly indulgent look at the classic FPS era, FBT trades in his Portable CD player for a MP3, invents conspiracy theories to explain Doom’s death and spends most if the review trying to get in an Anna Nicole Smith reference.

#FPS #Shooter #blastfromthepast #playthrough #FBT #extendedplay #Doomera

In the second part of Previous Weapon’s FPS retrospective, FBT makes like David Suchet and questions the clones about the identity of the Doom Killer.

Part Two: All hail the King, baby

Doom was out, and everything had changed. Even over at Apple. Bungie’s Marathon kept them going instead of Doom. It was a shooter with a storyline – a what? We don’t have time for that, Netscape Navigator was out and that meant 0.5% of us had access to the WWW – when we weren’t watching a Ford Bronco drive down the freeway that is. But the biggest news of ‘94 was still 93’s Doom. No one had touched it; well, there had been some inappropriate touching – a Doom Community sprung up thanks to the web, trading their own levels and mods; id’s decision to let gamers mess with Doom’s level design was another innovation and it turned kids into level designers and FPS into a multi-faceted hobby; playing, building and deathmatching. Doom also popularised web-chat, file-sharing and encouraged the uptake of the net; the world was changing, for us anyway. While our parents watched Blind Date and Beadle’s About, we had Terry Christian egging someone on to eat a sandwich of toenail clippings, were frothing to go on Nemesis at Alton Towers, whispered “UVAVU” while watching Geri and Kylie snog and the 11.30 Diet Coke break advert. The nineties were in full swing.

Released in December 1994, Heretic was the first Doom Clone but it wasn’t a cash-in; created by Raven, built on the Doom engine and exec-produced by Romero, it was less a clone and more a companion. You charged around locations taken over by a Saruman type, using magical weapons (a bow standing in for the shotgun, a claw that fired spells is your chaingun) while taking out Fantasy versions of Doom’s hell creatures. Okay, Heretic must have seemed a bit twee back then, a bit D&D; who wants to be in Dad’s Lord of the Rings when we had our Doom?

While Heretic is Doom reskinned, the art design is great and it’s learnt a lot about pacing and level design – It doesn’t have Doom’s aggression, you’re an elf waving a magical staff around medieval villages so not as cool as being a squad member from the Sulaco like Doomguy, but it’s good to have an alternative to Doom’s military setting which was replicated by most of the other clones.

Once I’ve got my eye past the minimal pixels and basic movement, I realise Heretic is really good; it has a great ambient feel – we hear groans and grumbles, chains rattling and whispers, the art design is really nice and it’s not stuffed with creatures; there’s areas and secrets to explore rather than just blast through, and it features an inventory (including a spell that turns creatures into chickens) – it gives Heretic an adventurer feel as we stalk through cathedrals and Mordor-like locations. When we do meet the bad guys though, they’re top notch; glamorous, chanting Wizards, giant skulls and the screeching little imps. It’s a lot further from Doom than I remembered, and while it’s possible they just got to work before Doom clone fever really gripped, maybe Raven are really good devs – they did go onto Star Trek Elite Force and Jedi Knight Outcast. Heretic doesn’t immediately call Doom to memory surprisingly enough, it stands up well despite its age and it’s got its own personality; I’m enjoying it for what it is rather than running on memories; it’s a great shooter and worth a replay. Heretic is memorable for another reason – It’s retail disk included DWANGO, the first programme to let you dial-up n’ deathmatch with folks further away than an LAN cable could reach. Online gaming was here.

I really liked Heretic. It’s one from this era that didn’t get a remaster and that’s a massive shame. Reboots you can keep but a refined Heretic would be awesome. One from this era that did get a reboot was Rise of the Triad (Feb 1995) and I have no idea why.

It starts off well enough; we’re the HUNT team on the, erm, hunt for bad guys who are on an island. Let’s go get those bad gu – wait, why are there trampolines in their secret lair? And why is everywhere filled with spinning coins like a Mario game, and platforms to reach them dotted around the castle? My god, RotT is awful. I thought we’d left this arcade kiddie nonsense behind. RotT came from 3DRealms and id co-founder Tom Hall; they knew intimately what Doom was and this isn’t it. Maybe that’s the point, but there’s different and then there’s daft.

I might have liked it at the time, back then you’d take anything you could get once you’d rinsed Doom but jeez this is annoying. There’s some progress here, you could dual -wield pistols and machine guns and had an assortment of explosive weapons rather than tons of oddities, there’s auto-aim too but it’s all buried under the silliness and digitised elements that don’t work; we’re being attacked by cardboard cut-outs – the sprites of Doom were 2D but they animated and moved in semi-convincing ways while those screengrabs look like a stiff breeze would blow them over. The weapons too look like photos which seem less believable. And there’s crushers, revolving walls, traps and spikes everywhere for no reason; one thing about Doom, it played by its rules – an invading force that you were repelling, but this gang’s gaff is a gauntlet the bad guys run as well. Half the time the traps kill the bad-guys for me. RotT is part Looney Tunes, Wolf-clone, arcade, platformer and forgets the FPS part. It’s so cheap looking you’d think it’s a quickie knock-off called Doomed. It’s not a Doom clone, it’s a first person Manic Miner. An Uwe Bol adaption of Doom.

Happy New Year, 1995. The year we all got to enjoy Toy Story, and Tommy Lee and Pammy’s honeymoon. The biggest clone of 1995 was a game we’d already played – not just in Doom mods but with our own toys; Star Wars Dark Forces (Feb 1995). Released by Lucasarts, a company that could punt out instant classics like Last Crusade and Monkey Island for breakfast, for them bettering Doom must be as easy as pulling an X-Wing out of a swamp. But always with Doom it cannot be done; while SWDF provided major advancements within the world and game play, this is just Doom with a John Williams score. There’s text explaining non-cannon events to tie it in but SWDF is the best example of a Doom clone yet. It’s not a bad game and playing Star Wars is always going to carry you some of the way, but it’s lacking Doom’s dangerous quality and fatally, keeps reminding you of it. It’s just a reproduction, not an innovation. Plus, the Stormtroopers can actually hit you, how unrealistic is that? It’s Doom on the Death Star and that’s not as cool to play as it sounds – Doom is still one in a million, kid. Sad to say but the Star Doom mods were better. Leave it back in a more civilized age, when Han shot first.

Dark Forces’ biggest contribution to the gaming world was its sequels – Freed of the beat Doom mentality, the first sequel Jedi Knight was a rocking Star Wars shooter with an add-on (remember those) called Mysteries of the Sith. The second sequel, Jedi Outcast got it right; it’s a fantastic SW game and FPS in its own right, and the final sequel, Jedi Academy is a solid game that got lightsabers so spot on they turned into John Woo-level ballet. Dark Forces started as a Clone but it forged its own path to become a classic series with a better legacy than Doom.

Build, the engine that would go onto power Duke Nukem launched its first game in 1995, Witchaven, a Heretic-style goth shooter. It didn’t have much in the way of smart-arse heroes or the level of interaction that later Build Engine games did, but it had a charm to it. Like Wolf, it was a warm up for what Build could do – and what it did next was present someone so legendary, so grand and awesome it’s tough to believe a simple game could contain such an iconic hero – William Shatner. Who were you thinking of? 1995’s Tekwar brought his sci-fi novels to shooter-life and included a digitised Shat; that gives you some idea of how powerful Build was.

In September 1995, the gaming world was shaken again. Not by a game, but by a new way to play, station. Sony’s “Live in your world. Play in ours” campaign was aimed squarely at the Doom generation; aka the MTV Generation (PlayStation sponsored the 1995 MTV Music Awards to prove exactly who PS was aimed at – gaming is not for the kiddiewinks anymore) and the PS made gaming as cool as the Music and Movies of the era. We had our console, our games, we were Sorted for E’s n Wizz and wondering who is Keyser Söze? Perfect.

Meanwhile, briefly distracting us from Xena Warrior Princess was Hexen: Beyond Heretic (October) and this time we weren’t a silent hero. We were three of them. A Fighter who is melee mostly, a Mage who uses long-range magic and a Cleric who uses lower-powered versions of both. Hexen is pretty much Heretic, although not a re-heat; aside from character classes, you also transport back and forth between areas to progress (why I’m not sure, I don’t have the manual) and while the sounds and certain art is the same there’s additions like breakables, leaves falling off trees and more detailed levels. Hexen is fun to play; while it feels Doom-like, unlike Heretic, the character class is a refreshing change; RotT had characters but they made no real change to the experience, whereas in Hexen each character provides a different experience; first time FPS had replay value. I chose the fighter class and melee’ing about is a welcome change from guns again. If Heretic was Legolas prancing about then Hexen lets us play as John Rhys-Davis, and what’s wrong with that? The magnificent wizards are back too, although according to a Heretic Wiki they were ‘Disciples’. Whatever they were, they rule. But they’re not the king, baby.

Doom was loud. Apart from the gunfire and exploding barrels there was screaming, shouting, growling, howling, all underpinned by the constant industrial score yet one thing was largely quiet – Doomguy. 3DReams, already a part of the id family as their shareware distributors, called in Ken Silverman to step things up after Doom. He gave them the Build Engine and that gave us giggles alongside the guts, rock-stars instead of serious and silent. While Carmack would disagree, Build was a huge improvement on the Doom engine; for gamers anyway – it let us misbehave; if Doom was the Father of FPS then Build was the uncle who gave you sweets and let you stay up late, and in January 1996, Duke Nukem 3D gave shooters a voice – Duke was the spokesperson for FPS, it’s ambassador, the entire experience distilled into one badass with a big mouth and bigger guns. Duke was mightily pleased with himself, had every girl at his feet and paused for one-liners before doing battle. Everyone remembers when Duke told a mini-boss he was going to rip off his head and shit down his neck, and when the battle was won, promptly pulled down his trousers, took out the paper and sat on the corpse, whistling. I remember Duke more than DN3D, so to attend a reunion now is a worry; if I find out the school hero who dated the cheerleaders is now a regional manager for an insurance company and bald instead of bold I’m gonna be crushed.

I start playing and he’s really not that bad. Phew. Sure, tipping strippers for a peek is juvenile and the pigs dressed as cops isn’t subtle, but DN3D is nowhere near as insulting as I expected it to be. Just shows how horrific Duke Nukem Forever was that it’s tainted Duke Nukem 3D as well. The earthbound locations he shoots through like Porn Theatres and strip-clubs are what they are and while girls in underwear dancing, the strippers, the women used as incubators and Duke being rewarded for his hard work with a three-way during the end credits are all tough to defend, Duke is a parody of those Bond-like heroes who seduced women through sheer masculinity. It is sexist but crucially it’s not misogynistic or mean-spirited like DNF – there’s no Boob-growths in the walls to slap, glory holes to stick little Duke through or incestuous twins dressed as schoolgirls who share Duke and joke about rape and abortions before dying as Duke comforts them with ‘looks like … you’re fucked’ – I’m not saying DN3D is acceptable because it’s not as appalling as DNF, but DN3D treaded that celebration vs parody line perfectly. Duke is still the voice of a genre and generation; Silent Heroes always felt a bit awkward, especially when they’re in cut-scenes. I wouldn’t want the quiet one saving the world, I want someone who’s going to be all out of gum. I feel like a Hollywood hero, shrugging off bullets and being the only guy for the job. Duke’s gabbing does dilute some of the tension and it’s hard to take it seriously, but it’s not supposed to be taken seriously; everything up to now has been bleak, against-the-odds stuff, but this is Cobra or Commando time. Duke enjoys the challenge. And so do I.

DN3D has some good opponents to battle against and Build gives them a fighting chance rather than id’s walk-this-way AI; in Doomworld monsters walked or floated toward you but Duke’s adversaries do both; they fly, leap, hover and hide, and they react to your attacks – we have to be a little more tactical but thankfully, Build has us covered – the pipe-bomb and mines lets us get sneaky. While Heretic had timed mines you dropped as you were chased by one of the splendid wizards and hoped it went off under his cloak, in DN3D we can set traps and lob controlled pipe-bombs; and Duke would reward your game-play with a one-liner worthy of Arnie. As is standard, DN3D has episode-ending mini-bosses but this being Duke’s world, mini means massive and besting them gets you a cutscene showing just how cool and heroic Duke is, as if there was any doubt. In order to combat such extreme monsters, Duke has the kind of arsenal only a super-hero could wield; aside from the standard there’s various explosive weapons and the freeze gun which lets you shatter opponents, and the shrinker – stomping on a now-tiny bad guy is a new one.

It’s not all Mr Bombastic though – it can be a slog to get through an episode and the first, set in downtown LA is largely the same design rejigged. The Lunar levels get dull very quickly and the third mission is a disappointing return to earth and the same look again; it gets very samey once you’re over the distractions. One reason I struggled to recall the gameplay of DN3D is how much it relies on the boss; this is Duke’s show. You can imagine Duke’s Superior yelling he’s caused more destruction than the bad guys, only to have Duke wink and walk off, taking the boss’s wife with him. There’s great fights, creatures and interactions but without the big man, DN3D would be a dull game – although Duke did get some cracking add-ons; Life’s A Beach had Duke holidaying with squirt guns and it’s worth a play just for the Pig Cops in Hawaiian shirts and the Octo-thingies in raybans.

There was another Build game in 1996, PowerSlave. Originally intended as a showcase for Build before Duke started to shape up, it was largely over-shadowed by its big brother, but remained popular enough for an unofficial remake.

DN3D is a huge improvement on what we’ve played so far, but the real show-stopper, the only thing to upstage Duke is the Build engine. Build provided a world to interact with, something we’d not had before. Doom was one thing only – serious about shooting. Besides the strippers, Duke could get distracted playing pool, staring at himself in mirrors, pinball games with him on the artwork (‘I haven’t got time to play with myself’), posters to look at, buttons to press, CCTV screens; we’re crawling through vents, sewers and diving under water, using powerups like holograms and the jetpack; I suspected DN3D would be where we leave Doom behind but while it’s the stuff that would make Don Simpson call Heidi Fleiss and celebrate, what DN3D did was diverge the FPS genre; from here the seeds of the more outlandish FPS game were sown. Down the pub, Doomguy is just Duke’s wingman but on the battlefield Doom still reigns. Case closed; Duke is innocent of killing Doom. Where is it? Man, finding Doom’s killer is hard. If she hadn’t been cancelled in 1996, I’d call Jessica Fletcher in on this. Maybe my Encarta CD has the answer.

In Part Three, FBT takes on the game convicted of killing Doom. But is Quake guilty as charged? And is all this just an excuse for FBT to play Blood again and google Dani Behr?

#Shooter #FPS #blastfromthepast #playthrough #FBT #extendedplay #Doomera

In this, the first of a four-part retrospective, FBT goes back to the best era in gaming (so he says) – The 1990s explosion and implosion of First Person Shooters

Part One: Gott im Himmel

They say in the Sixties everyone remembered where they were when JFK was shot. In the Eighties, everyone remembered where they were when John Lennon was shot. But in the Nineties, we remember doing the shooting – on December 10th, 1993, id unleashed Doom.

Built by gamers for gamers, Doom may have been underground but like an earthquake its impact was seismic, sending shockwaves through the gaming world and eventually reaching the real world; referenced in The Simpsons, Friends and ER, Doom was part of the nineties zeitgeist, gaming’s Nevermind or Pulp Fiction and in modern terms, it was bigger than Facebook, affecting workplace productivity and causing issues on company networks.

Doom even slowed Microsoft’s world domination; When their ads for Windows 95 asked ‘where do you want to go today?’ Gamers replied ‘DOS’ – the platform W95 was replacing and the only sure-fire way to game on PC. Gamers weren’t going to risk losing Doom (it was rumoured Doom was installed on more PCs than W95) and Microsoft, realising Doom’s dedicated fanbase was the future, developed Direct-X which allowed games to play ‘as’ a Window. It was a watershed moment; Doom was ported to Windows (by some bloke called Gabe Newell), and Bill Gates appeared ‘in’ Doom during a W95 Expo to prove Windows was the future – a video game created by a bunch of lads made Bill Gates, at the height of his power, say ‘if you can’t beat’em…’ It gave Gabe Newell some ideas too.

And Doom pissed off parents, like every good trend should. Doom wasn’t the first game to show death but this time you really were in there, up close – with a chainsaw. Stories of players passing out, getting motion sickness and post-traumatic stress triggered Parent Groups who classified Doom as top-tier evil alongside Ren & Stimpy. ‘Killology researcher’ David Grossman coined the phrase ‘murder simulator’ and it was said this new era of games could turn kids into killers; Doom was held accountable for the Columbine Massacre.

But none of that mattered to the gamers who discovered Doom that day; we had no idea we were loading up the You’re Gonna Need A Bigger Boat moment of gaming; we were in the Aliens Hive scene screaming ‘its game over man, game over!’ – And for any other game, it was. Doom was the new standard, and it launched a whole new race to be the biggest, baddest First Person Shooter – gamers couldn’t be happier. Parents, less so.

Games back then, loaded up through that DOS prompt and the shareware warning were way more exciting that anything around now. You really had no idea what you were getting into, even with a Doom Clone. It took commitment to finish a game in the nineties; we didn’t have any of your fancy auto-saves or mission skips, no walkthroughs; you had to really love a game to finish it and that stays with you. We sweated for the exit, got your head down and tapped spacebar until something opened. And the joy of finding the secret that had an exit! That meant secret level, that meant bragging rights, that meant pranks on friends. It was a great time. So, what happened? The FPS genre is awful now. Generic reheats, remakes, reboots; story-led, watered-down, XP-driven, gimmick-ridden bastard-childs of RPG. Thinking back to Doom, when is something gonna come out of nowhere and make us think ‘the fuck just happened?’ I’m going to replay FPS from Wolfenstein onwards until I track down Doom’s killer. Where it all went wrong.

Mein Leben! In May 1992 Wolfenstein 3D landed. We’d barely gotten over the Freddie Mercury Tribute concert and now we were blasting Nazis. Not sure what the connection is, but I admit I might have been listening to Extreme at the time. More than words can say how much I played Wolf back in the day; the only German I know is from Wolf (and Die Hard…) Replaying Wolf doesn’t just bring back embarrassing adolescent musical choices (I was also into Mr.Big for a while; don’t judge me, I liked Guitar Shredders at the time, Steve Vai rocks. Totally not a power-ballad phase), but it has fondly reminded me of Shareware; ripping a disk off the cover of a magazine I didn’t read and excitedly loading up every demo, game and crappy screensaver. Then borrowing the full game from mates. I think one of those mates still has me To Be With You CD single.

Wolf was Gamer’s You Know When You’ve Been Tango’ed moment. When we weren’t suffering tinnitus from ear-clapping each other in the playground, we were amazed at the fast-moving, unforgiving gameplay. It was exhilarating; Wolf wasn’t the first FPS but it was the first to get it right, to make you feel like you were there. I played Wolf endlessly, least when Gladiators wasn’t on. But unlike Jet, it’s not aged well. Really, Wolf is a maze layout fighting through pixelated Nazis over and over. I don’t know what I was expecting but once you’re through the first level you’ve played them all really, but you can appreciate the work, feel the energy that went into building this. It’s kinda quaint now and has that arcade feel but still, it’s fast and unforgiving – I expected years of digital shooting would make this a cake-walk but I spend as long reloading the game as I do the guns. If they had reload.

Wolfenstein is best left in the past; while it had me smiling, once those memories of singing Ebeneezer Goode stop flooding, the lack of ceilings and floors and the repetitiveness make Wolf a bit of a slog, but you must pay homage to the OG of FPS, the calm before the storm. What Wolf has done for me is get me excited for what’s coming next.

What came next was Blake Stone. I feel sorry for Blake, sent to a mad scientist’s space-station to stop his evil experiments; like the rest of us, he didn’t know what was coming. Released in December 1993, just before Doom landed, BS was completely steamrolled and I was mid-way through it when my friend appeared, waved a floppy and yelled ‘get ready to shit your pants’ – I remember it because I did shit my pants; that disc had Doom shareware on it. I also I never went back to BS. It felt like a kiddie game after Doom.

As I play it now, I realise I owe Blake an apology; it’s a really good game. It does look rough but there are some surprising touches absent from the others of the era; Blake gains health at vending machines and you’ll find scientists who give info – one of several ways this reminds me of Half-Life. Like all games of the era you’re looking for a key to progress but more logically, the keys unlock floors accessed via an elevator and you can return to a floor to further explore when better armed, rather than exit never to return – the floor layout, while basic is much more interesting than Wolf and the art design has a nice 50s Sci-Fi style to it, the antithesis of Doom’s slimy atheistic. It’s a lot more busy that Wolf’s basic look and while it may not have been intentional, BS feels like it was just having some fun; the monsters wouldn’t look out of place in a Goosebumps book and it has an Indy-inspired adventure feel to it. But that was exactly what we didn’t want at the time – Doom created the perfect run n’ gun; who wants to talk to Scientists, use vending machines, go back instead of relentlessly pushing forward? But there’s a lot to it, it’s harder than it looks and it’s crying out for an app re-release. It fun and worth a go if you’re bored of shitting your pants.

So this was it, September 12, 1993 – A moment I’ll never forget. Terri Hatcher in Lois & Clark. Three months later, Doom landed and nothing was the same again.

As the years passed I left Doom behind. I played it endlessly at first, but eventually recalled it becoming hollow once you’d gotten over shitting your pants and, especially after the Wolf and Blake experiences, I expect to find Doom equally dated – I’ve not played for at least ten years yet as soon as I get going, I remember secrets, barrels just around corners, which exit doors have an Imp behind them. Doom is so entrenched in my DNA, my first-born’s first word will be an Imp growl; and that familiarity isn’t the only thing I’m responding to – this is really good. Not in its scares or firefights, but the rhythm. I hadn’t appreciated how well balanced a game Doom is, how it subtly ratchets up the tension instead of exhausting you into giving up. Twenty plus years and modern shooters could still learn from this. Doom was like when you were a kid and found a wasps’ nest. You still poked it with a stick even though you knew better. Doom gave you a shotgun instead of a stick and there was no Mum with the Savlon and a scolding afterwards but you still went for it. That’s a good game.

Doom does, honestly, still have it. It isn’t even in my top ten but it should be; I realise now, Doom formed my opinion on every gun-orientated game since. It’s one thing to remember how good a game was, it’s another to be realising just how good it is. Doom 3 sucked because it went for the jump-scare. That’s not good level design or pacing, that’s lazy. No, worse than that, it’s a misunderstanding of Doom, where you hear the imp behind the door and you have to open it. That’s far scarier than something leaping out at you. You’re so into it that the minimal pixels and blocky movement melt into a pure visceral experience and while modern shooters may look the shit, they’re not In The Shit like Doom is – this is just a bunch of pixels, how is it triggering some caveman-survival instinct?

There’s a real subversive simplicity in Doom; you can describe it in a sentence, but you have to experience it to understand; Modern Shooters are nothing compared to your first Tour of Duty in Doom – take down a horde of invisible pinkie demons, then we’ll talk about your kill-streaks. Some of the impact has been lost, but when it all kicks off I’m still as mesmerised as when Terri Hatcher said “They’re real … and they’re spectacular.”

I wouldn’t have called Doom art back then, I do now.

Of course, Doom didn’t stop at the exit. The biggest shock was Deathmatch. Seeing your pal as a little Doomguy then fragging them with a rocket launcher was something gaming hasn’t ever surpassed; Multiplayer, co-op, online is a standard now but that’s nothing compared to LAN games where the only smacktalking was from your friend sitting opposite – this was just fun scrapping about, not a dickhead half-way round the word being a little big man on his mic. Fuck those guys, I miss the Doom Parties. Even when you were hilariously murdering each other, Doom brought us together. Nothing has ever topped that, and nothing ever can.

Replaying Doom does bring back some awesome memories, especially the best prank of all time on my ‘shit your pants’ mate – the secret level in episode 3. It’s a remake of the first level and I found it when I was playing alone. I saved it for future fun and at our next hang-out, suggested we speedrun episode 3. I went first and reached the exit … Then, when he was busy mocking my attempt, I loaded the secret level instead and let him have at it. His face when he hit the exit and sat back to crow but the Cyberdemon appeared instead – he actually jumped as if it was in the room with him. But then he sucked it down and got on with shooting, his voice trembling as he called me names. That’s Doom – panic and pals. I’ll admit the panic has waned, but it’s replaced with appreciation and the excitement is still there – Doom is brilliant. Who killed you? I shall avenge you. Just as soon as I’ve humped my rig over to my mate’s house and LAN’ed it up for old time’s sake.

By 1994, UK society was on the brink of collapse. Ch4 aired a lesbian kiss on Brookside and Frances Ruffle flashed Union Jack knickers (take that Ginger Spice) during a Top of the Pops performance; the children of Mary Whitehouse screamed the place down – they also felt affronted by Frances’ hip-swinging. The outrage. Hips! Swinging! Did we learn nothing from Elvis’ gyrations, sending an entire generation into an uncontrollable sexual frenzy? Good job that Brookside kiss turned us all homosexual otherwise it doesn’t bear thinking about. Society was at an end apparently though; our most beloved TV character (besides Beth Jordache) was Mr. Blobby?! How did he get a Christmas single and Zig n’ Zag didn’t?

There was little to do in the wake of Doom, except on Wednesdays when you’d get rudely awakened by the Dustmen. There was Pie in the Sky; while their game engine PitS was a bit Poundland, it was offered as an off-the-shelf product making PitS the archetype of Doom Cloning; dozens of PitS-powered shooters popped up and while they’re long-forgotten now, PitS should be remembered for filling many a floppy on the cover of PC Gamer while we waited, and watched Brookside.

And it was Doom II we were all waiting for. Released in September 1994, I was more excited about Doom II than Rachel’s haircut. I rushed it home and at first I was shrieking and screaming at the scale and intensity of it, but then I started to feel like I was playing mods of the original. And that bloody ending with the Icon of Sin – I do recall cheating and finding Romero’s head, although then I had no idea who it was. I had high-hopes for DII when I restarted this time, hoping for a new appreciation like the original, and to begin it is heart-stoppingly brutal; Those damn chain-gunners, that rocket-launching blob, the missile-launching skeletons, the goddamn Arch Vile, all (and more) between me and an exit that took effort to reach alive. Those are big levels. But then, that energy starts to dip. The expanded level-sizes are all good but it’s more of a survival game than an exhilarating rush like the original, and while the layouts are good, the larger size starts to be betray how little art design id had to work with – as good as it is, it gets samey; Doom was never a game to stand around and look at the wallpaper. It’s just not as much fun, like the id guys were distracted by what Carmack was cooking up for Quake. There’s some brilliant levels, and it’s still an awesome yardstick game, but it just doesn’t feel fresh. I’m never happy – had DII been a departure I likely would have moaned too, but DII should have been more than just more. For me, besides further improving the Deathmatching, DII greatest contribution was the killer Aliens Doom mods, complete with facehuggers, plasma rifles and Hudson as Doomguy; they’re better than Aliens Colonial Marines. But then, what isn’t?

Most games from this era punted out quickie sequels; Blake Stone turned in Planetstrike, Wolf repeated itself in Spear of Destiny – using left-over level designs, those retweaked remakes were low-cost, high-sell games and I would dismiss DII as just a Clone, but it was more than that; Doom might have been game-changing, but Doom II was industry-changing; no longer an underground, mythical thing traded in playgrounds like fuzzy VHS copies of Evil Dead, Doom II was a grown up, on the shelves game and a phenom on release – it netted id millions and cemented FPS as a major genre; it was everywhere, like that Meat Loaf song. I’d do anything for Doom but I won’t do that. It was so big even my parents knew it. I recalled my Mum saying she’s “read about some horrendous game that lets you chainsaw people, you’d better not be playing that” / “No mum, I just wanna listen to Mr Big. Did you buy the Radio Times with Lois and Clark on the cover?” – we have our first suspect in the Doom murder. Not Terri Hatcher, Doom II! The motive? DII brought FPS into the mainstream; every publisher that saw shareware as rinky-dink suddenly went ‘that could’ve been us’ and while the music industry was busy signing up every band that wore a checked shirt, publishers descended on devs and demanded more Doom. Doom II didn’t kill Doom with innovation, it killed it with success. Clone after clone followed, each a copy of a copy, until the pure Doom experience got fuzzy.

FPS was out now, there was no stuffing that demonic genie back in the bottle. As Doom II cleaned up, others were about to make things messy. But which game dealt Doom the killing blow? I had a few more suspects to question; Lo-Wang and Duke to name a few.

Check out part two of FBT’s ‘investigation’/excuse where he continues to blast his way through the best 90’s FPS had to offer while watching Earth 2 and Seaquest.

#FPS #Shooter #blastfromthepast #playthrough #FBT #GOAT #extendedplay #Doomera