The Raving

An Evening With Oregon Trail

My first time on the trail was a comedy of tragic events. At the first river crossing one of my party members drowned when my wagon tipped over in less than four feet of water. Tragic, but one less mouth to feed meant my food would last longer for the living travelers. People got sick. Limbs were broken. We got lost. There was fog. There were measles. Then a thief stole some of my oxen. And not just some of them, but most of them. As in, eight out of my ten. Who steals eight oxen?

An Evening With… Is a series of posts featuring games that are relatively small in scale or can be experienced in a short period of time.

Even people who don’t know a thing about video games know about Oregon Trail. Part video game, part learning experience, it’s hard to separate the game itself from its status as a cultural icon. Many people from my generation have memories of playing through the game in school, back when software developers tried to combine education experiences with video games. Perhaps their parents even bought the game for the family computer under the impression their kids would learn a few things from it. My wife has stories about how she and her sister used to play the game together “back in the day”. I was never a part of that crowd, at least not that I can remember. When a cleanup of the home office yielded the game’s discovery on a dusty bookshelf, my wife insisted I play through it.

Starting ShopOregon Trail tries to be a historical simulator. You are the leader of a party that is traveling across the continental United States with the aim of settling in Oregon. You start your journey in Independence, Missouri by picking your profession. Certain vocations lend bonuses that may be helpful over the course of the dangerous journey. A banker, naturally, can afford to buy more supplies at the start of the game. Doctors are more likely to keep their party healthy. Carpenters and blacksmiths have significantly less money to work with, but they can potentially fix their wagon should it break and they will receive a significant score bonus at the end of the game. You can determine how many people you’re taking to Oregon with you. Forewarning: Your party members possess no skills and exist only to fall ill and consume your precious resources out in the wilderness. Once your profession and party members are set, it’s off to the general store to load up on supplies for your wagon. Oxen, nonperishable food, and bullets are the only things you are guaranteed to use; most other things you’re buying as insurance against disaster. The shopkeeper offers advice on what you should buy, but only the trail will show you what you actually need.

My first time on the trail was a comedy of tragic events. At the first river crossing one of my party members drowned when my wagon tipped over in less than four feet of water. Tragic, but one less mouth to feed meant my food would last longer for the living travelers. People got sick. Limbs were broken. We got lost. There was fog. There were measles. Then a thief stole some of my oxen. And not just some of them, but most of them. As in, eight out of my ten. Who steals eight oxen? How could my party even allow such a thing? Did they not notice our only means of transportation mooing as they were led away by someone they’ve never seen before? I’m still mad at that band of traveling idiots. Just after reaching the halfway point of the journey the most tragic thing of all happened: A program crash. Fifty minutes of progress down the drain because I forgot to save my game. I’m not sure what caused the crash; it was the result of either my constant task-switching for the sake of getting screenshots or the fact that I’d been running the game in Windows 95 compatibility mode. I later discovered that I didn’t really need to be running the game in compatibility mode, so lesson learned.

15
No shopkeeper could have prepared me for this.

For my second attempt on the trail I ensured the game was running flawlessly, including my ability to save both the game and its text log. What follows is a selection of the more interesting highlights from the transcript of my trail journal.

My First Second Journey

March 1, 1848
We started down the trail with:
10 oxen
15 sets of clothing
400 bullets
3 wagon wheels
3 wagon axles
3 wagon tongues
800 pounds of food

Oregon, ho! So we endeavor to leave the wastelands of the Great Plains to endure two thousand miles and many months of hardships for a bette- wait. Why are we going to Oregon again? No, really. I got so caught up in the journey itself that I have no idea why we’re making the journey in the first place.

March 6, 1848
We have arrived at the Kansas River Crossing.

The river makes me afraid. 666 feet across and 10.6 feet deep. Evil lurks here.

March 12, 1848
We have arrived at the Big Blue River Crossing.

At this river I am presented with only two options: ford or float. Neither one appeals to me, and there’s no ferry. At 9.4 feet deep, this river is nothing more than a wet death trap. I’ll wait a day to see if the river drops any. It does. Not knowing how far it’s going to drop, I’ll wait until it starts rising again before heading across.

16 days later, the river is down to 3.4 feet. I think it might be safe to try floating the wagon over.

March 28, 1848
We had no trouble floating the wagon across.
Heavy fog. Lost 1 day.
Mandy has a fever.

My party ate a LOT of food in 16 days. Time to hunt.

March 30, 1848
We shot 1 pound of meat.

13 bullets and all I have to show for it is a pound of… squirrel? Is that what that is?

April 8, 1848
We have reached Fort Kearney.

An old dude said this should be the easiest part of the trail, so I’m opting to pick up the pace in hopes of making up for lost time.

We will now travel at a more strenuous pace.

April 19, 1848
Heavy fog. Lost 1 day.

My overall health indicator has dropped to “fair”, what with a broken leg and the measles and all. A hunting trip and a day’s rest are in store.

April 21, 1848
We shot 5 pounds of meat.

I managed to bag three rabbits as they gleefully bounded towards a beautiful stream. Serves ’em right.
We decided to rest for a day.

April 25, 1848
An ox is sick. Poor Fluffernutter.

Sick Ox

Why is it that the image announcing that an ox is sick makes it look like our only option is to put the thing out of its misery? Seriously, I’m getting some serious Napoleon Dynamite vibes here.

Napoleon Cow

April 26, 1848
We shot 71 pounds of meat. I’m pretty sure this didn’t come from the sick ox. I hope.

May 1, 1848
Mandy is well again.
Woo, we’re all in “fair” health again! Pretty soon we can celebrate by decreasing food intake to scarce rations and increasing to a grueling pace!

May 6, 1848
We have reached Independence Rock.
Aww, they’re circling their wagons under the giant circular rock. How quaint.

Independence Rock

May 7, 1848
An ox died. Good, I guess we didn’t eat him, then.
We decided to rest for 2 days to mourn Fluffernutter the ox.

Dead Ox

May 14, 1848
A thief stole 9 sets of clothing.
A thief stole 9 of my 15 sets of clothing? In a wagon full of food and bullets and spare parts, this dolt goes for sets of clothing? This type of seemingly petty nighttime thievery is what to led to things like the Great Train Robbery. I do declare society is preparing to unravel!

Thief

May 17, 1848
We shot 22 pounds of meat.
Why are my bullets so slooow!?!

May 19, 1848
We lost the trail for 5 days.
Ha! Poor guy looks pretty desperate standing in the middle of a field a few paces ahead of his wagon! Oh wait, that’s me. Hmm, I just made myself sad.

Lost Trail

May 24, 1848
We have arrived at the South Pass.
My food stores are a bit on the low side, but I can’t hunt at landmarks because there are “too many people around”? What that really means is this is the only hunting ground where you’re guaranteed to bring something home.

That sounded way more creepy than I intended it to.

Spoiled Food
That looks like way more than 20 pounds of meat.

From here my two options are to go to Fort Bridger for trading or use the shortcut to the Green-River crossing. Since I’m low on food and don’t have much to trade with I’d prefer to try and keep up with a good traveling pace. Time to apply a little math to my dwindling food reserves. 226 pounds of non-perishable food left. Five people eating generous portions eat a pound of food per meal or a total of 15 pounds per day. That’ll last me two weeks. Looking at the hunting limit of 200 pounds of food per hunt, I need to bag at least that much game every four days. Assuming a minimum of four more months of travel time, that’s a total of 1,800 pounds of food I need between now and Oregon. These people eat too much.

May 28, 1848
We shot 1865 pounds of meat but were able to carry back only 200 pounds of meat.

Bison. Slow and huge. A hunter’s best friend. Odd that so many people warned me against hunting them.

Overview

June 5, 1848
We decided to rest for a day. These poor people’s health keeps declining to “fair”. Generous portions, steady pace, what more do these wimps want?

June 15, 1848
Mandy is well again. Yay! Let’s have a party with extra rations all around! Wait, we’re already on “generous” portions! What took you so long to get well?

June 17, 1848
Mandy has a fever.
Why are you so sickly, woman?

June 29, 1848
We have reached Soda Springs. This appears to be a meeting place and trading grounds for fellow trail goers. Do I dare try and trade any of my wagon parts for nonperishable food?

We traded 2 wagon axles for 80 pounds of food. Thos axles were worth $20 each, meaning I just paid fifty cents per pound of nonperishable food. The price seems a bit steep, but what’s the cost of starving to death? You know, other than death?

July 2, 1848
We have reached Fort Hall.

There’s a fort with a general store here and it’s literally three days away from Soda Springs? I lost money on that food for axles trade. If I can find that twerp again I’ll shoot him in the leg.

We visited the store and bought:
1 wagon axle
80 pounds of food
1 set of clothing
We decided to rest for 2 days.

July 7, 1848
No grass for the oxen.

Why the heck does everyone’s health drop randomly from “good” to “fair”? Besides the fact that there’s no water and no grass. I haven’t noticed any pattern or cause and effect to it. Where are we anyway?

July 19, 1848
No water.
We have arrived at the Snake River Crossing.

No water at the Snake River Crossing…so does that mean Snake River is dry? How high is Snake River? That’ll be a test of this game’s continuity. 12 feet deep and 1000 feet across. That’s a big river. This game makes no sense.

July 20, 1848
We had no trouble floating the wagon across. Help from an Indian cost us two sets of clothing. That’s the equivalent of forty bucks. I miss the five dollar ferry.

July 24, 1848
We shot 111 pounds of meat.
Look ma, I just bagged a bear!

Hunting

July 25, 1848
No grass for the oxen.

July 26, 1848
No water.

July 27, 1848
No water.

July 28, 1848
No water.
Why does Idaho not have any water? Maybe potatoes are the cause of all the world’s problems.

We have reached Fort Boise.

August 2, 1848
Kathy has the measles.
“The measles can lead to death, especially among the elderly”. Sigh. If it’s not Mandy it’s someone else. I guess it’s time to take a rest for a few days.

We decided to rest for 3 days.

August 3, 1848
A thief stole 85 pounds of food.

People: this is why we don’t rest.

August 13, 1848
Everyone is in poor health, rather suddenly. What the what. Time to try resting again. If another thief comes I’m going to flip my lid.
We decided to rest for 3 days.

August 21, 1848
We have arrived at the Grande Ronde in the Blue Mountains.
Grande Ronde is quite breathtakingly beautiful in real life. It’s too bad the render in this game makes it look like a pile of irradiated blueberry marshmallow Peeps twinkling in the distance.

Purple Peep Mountains

I’m presented with a choice: Either I can go to Fort Walla Walla to buy supplies or I can take the shortcut to The Dalles. Buying supplies costs money, and I’ll need money to start life in Oregon. Shortcut it is.

August 23, 1848
We lost 41 pounds of food due to spoilage.
Tony is suffering from exhaustion.
We’re all exhausted, Tony.

September 3, 1848
Tony is well again.
Tony looks like a little girl.

TonyGirl

We have reached The Dalles. After talking to the locals, it appears I’ll have the choice of floating down the river on a barge or traveling over the mountain. Pixar movies and my first crashed attempt at Oregon Trail have taught me that rivers are nothing more than wet deathtraps, so we’ll be going over the mountains via the Barlow Toll Road.

September 4, 1848
The trail is impassable. Lost 7 days.
This is just another way of saying “we got lost”. That’s how it looks from the picture, anyway.

Impassable Lost

September 14, 1848
The trail is impassable. Lost 2 days.

This toll road sucks. Whatever I paid to take this route, it was too much.

September 20, 1848
We’re approaching the Willamette Valley, which is rather gloriously rendered by Oregon Trail as two lumpy rocks surrounded by some miniature pine trees. I’d hope it’s more impressive in real life.

WV puny thumbnail

September 25, 1848
VICTORY! I conquered the Oregon Trail after 6 months and 25 days of carrying a wagon full of supplies and several other party members of dead weight!

Willamette Valley

What’s this? I get a score screen? Something tells me the original travelers of the trail didn’t have such a luxury after their journey. 
ScoreScreen

Remember kids, you don’t need to be a doctor or a banker to succeed in life. At least, you don’t need to be one to win in Oregon Trail. No fatalities other than the ox and I get a 2x bonus at the end of it. Think you can beat my score? I’d like to see you try.

How to Play Oregon Trail

Sure it’s an iconic piece of software, but is it a fun game? It can be, depending on your expectations. It’s not what you’d call an easy game, though the game’s developers have tried to make it more accessible over the years. As much as I wanted to see some statistics about the health of my party and how much things like bad water and lack of grass affected them, such statistics wouldn’t make sense in the game world. The game requires you to think through your circumstances and how they would potentially affect your party. I guess it makes sense that people’s health will decline when they’ve had access to nothing but bad water for five days, but I’m still at a loss to explain how and why people break bones so frequently. Considering the base game was programmed in the seventies the depth of the game’s options are still a bit impressive. There are a lot of contributing factors here, and branching paths offer some interesting complexity that makes me want to try playing the game again. I do plan to play some more; partly to see if I can make it to Oregon in less than six months, and partly to see just how catastrophically wrong this trip can go.

I played Oregon Trail version 1.2 for Windows. My wife owns a physical copy of the game, so I copied the contents of the disc to my hard drive and ran the game straight from Windows Explorer. There are multiple copies of the game .exe. The location of the file varies depending on where you copy it, but within the game’s directory it was located in Oregon Trail/OTWIN32/OREGON32.EXE. As I learned the hard way, no compatibility mode is necessary. It is possible to find multiple versions of the game on sites that host abandonware (what is abandonware?), but there are some potential legal and moral implications to this. If gaming with a clear conscience is important to you, consider reading Abandoning Abandonware (Or: How Do You Like Your Piracy?).  To get around any potential issues, you could play the game for free in your browser from the Internet Archive: The Oregon Trail Deluxe 1992 Edition at The Internet Archive.

Doom 3

I’ve had an epiphany. Doom 3 just isn’t a fun game. It’s a sad realization to make since various aspects of the game had so much potential. In the end, none of them really mattered because they just didn’t contribute to an enjoyable experience.

Note: I played through the original release of Doom 3 with one slight tweak: I used a mod that combines Wulfen’s hi-res texture pack and Sikkmod 1.2. It makes the game look a whole lot prettier and offers a lot of optional gameplay tweaks. The only gameplay change I went with was increased run speed because the default run speed is just the worst. 

It’s been said that familiarity breeds contempt. While I can’t vouch for the original context of the saying I can tell you from personal experience that this statement can apply to video games. For me, it applies to Doom 3. After spending at least sixteen hours on a playthrough, many hours of deep and thoughtful analysis, and vainly writing and rewriting thousands of words in an attempt to convey my thoughts on the experience; I’ve had an epiphany. Doom 3 just isn’t a fun game. It’s a sad realization to make since various aspects of the game had so much potential. In the end, none of them really mattered because they just didn’t contribute to an enjoyable experience. Progressing through the game became a chore; a joyless trudge through an unrealized vision. “Playing” felt a lot more like “tolerating”. The breaking point came in a level called Recycling Sector 2, which is less than halfway through the game. There all of Doom 3’s flaws coalesced into a mess of frustration which had me checking my progress to see how much longer I had to suffer through it; but more on that later. Ultimately, Doom 3 falls flat because it tries to be multiple things but doesn’t really nail any of them. It makes a valiant effort to combine story-driven narrative, a tense atmosphere, and frenzied shooting action; but just can’t quite deliver any of those things.

A company-branded PDA that exists solely for exposition? Yup, that’s Doom!

Doom 3 is the first game in the series to make the story a primary focus. As such, the game begins with a combat-free playable introduction to set the events of the game and introduce the player to the world. You arrive on Mars via shuttle and are free to explore portions of the game’s opening environment: Mars City. While your character is nameless and silent, he is still able to interact with other characters and objects in the game world. Walking up to another inhabitant of Mars City will prompt them to deliver a line of dialog, usually one that has to do about how spooked everyone is by the “secret experiments” going on. Select computers and other equipment will allow you use their interfaces to open doors, turn on lights, or perform other ultimately trivial actions. The primary vehicle for delivering the story is through the use of the PDA. In-game PDAs are what we might call tablets or iPads today; they function exactly the same way. Used to store emails, audio logs, and other personal information, you can pick up and access the information contained in any device you happen to come across. It’s an effective way to build the atmosphere of the game, even if there are some clunky aspects to its implementation.

Audio logs can’t be paused, nor do they have a seek function. Since there’s no text transcript you’ll almost always have to remain at a standstill or stare at the PDA until the log finishes playing to be sure gameplay sounds don’t overlap the audio recording and cause you to miss something by accident. Quite frequently audio logs will contain access codes for storage lockers which contain ammo or other items, which is handy, but it highlights another limitation of the PDA. Since all of the information is all stored according to the names of the characters who owned the device, there’s no way to filter or search for specific content within these logs. For example: If you encounter a given storage locker, the only way for you to know if you have the access code for it is if you remember that specific locker being mentioned in one of the PDAs you previously picked up. The game seems to realize this kind of information would be cumbersome to keep track of, and the end result is that most PDAs will be discovered ridiculously short distances away from whatever thing the PDA would provide access to. Even with their shortcomings I actually love how using the PDAs builds the world within the game. It makes you stop and imagine what the “normal” game world might have been like before things went terribly wrong.

What's the point of the access code? Why not just give me the ammo?
They may as well have just left the locker open…

Contributing to the sense of world-building, the visuals do more than their part to immerse you in Doom 3’s version of Mars. While the original release of the game looks pretty good overall, there are some downright muddy or chunky-looking spots. The more you focus on those spots the worse they look, with many detailed surfaces looking downright terrible when you get close enough to them. If you play the game now, you need the texture mod I linked to at the top of the post. Thankfully, Doom 3’s lighting effects are truly timeless and serve as the major source of the game’s atmosphere. Now when I say “lighting effects” what I really mean is “shadow effects”. Make no mistake: Doom 3 is dark. There’s a reason UAC space marines are given flashlights as a standard issue: their bases apparently have a low lighting budget.

Notice the updated textures are less "chunky", and that there's more depth to the surfaces.
Notice the updated textures are less “chunky”, and that there’s more depth to the surfaces.

Quite frequently the only option available to help you find your way is to holster your weapon, pull out the trusty flashlight, and navigate through the darkness. Yes, you read that correctly: You can’t use your gun and the flashlight at the same time. This intentional design decision has been almost universally panned by reviewers and gamers ever since the game’s release. The year is 2145, surely the capability exists to outfit soldiers with some kind of hands-free lighting device? Sure it’s possible, but it just wouldn’t fit the game. The developers must have felt, and I agree, that giving the player both a flashlight and a gun at the same time was too empowering. Darkness is used as a method to control the player; something to maximize the feeling of helplessness and thus emphasizing the tension.

And tension, really, is the focus of this game. Doom 3 does everything it can to create a horrifying experience for its players, even though its legendary predecessors consisted of nothing but over the top action. All of the members of the demon horde you remember from the first two games are present here, though now they are presented with the objective of instilling fear in the player. Most new enemies are introduced via a dramatic scripted cinematic, which attempts to highlight the specific, unique threats each enemy introduces rather than lumping them all into the category of “mindless cannon fodder.” You’ll rarely engage more than three or four enemies simultaneously, and one could interpret this as an intentional decision designed to reinforce each demon’s perceived threat. It may sound like sacrilege to diehard Doom fans who are used to running full-tilt and firing thousands of bullets at legions of enemies in a single level, but the new approach of Doom 3 actually works. For a while. The first few hours of the game are unforgettable. You’ll genuinely feel tense as you explore Mars base, searching for whichever route will let you progress forward. For a while demons seemingly pop up out of nowhere, sending your heart racing. And then after a few hours of gameplay the realization hits: the demons do literally pop up out of nowhere!

MonsterClosetThe term “monster closet” was coined to describe a room or space in a game’s environment that serves no other purpose than to hide an enemy and put the player at a disadvantage when it is revealed. Monster closets are Doom 3’s mantra. Demons behind doors, demons behind walls, demons under the floor, demons in the ceiling, demons in the shadows, and sometimes for good measure demons will just appear from a spontaneously generated and conspicuous haze of orange plasma. It’s an element that works well in the opening stages of the game to generate heart-stopping scares before the player learns to expect them. There are some genuinely frightening moments there, but the more frequently they occur the more you notice just how scripted these once-scary moments are. These aren’t organic encounters; the result of a player being put in a “genuinely” scary environment with monsters that have their own agenda. No, this is a virtual haunted house where every scare and every surprise is carefully designed in an attempt to elicit a response of fear from the player.  Eventually you’ll learn to recognize the warning signs of these scripted scares, at which point you’ll loathe the moment and fear will be replaced by annoyance.

Monster closets and surprise encounters worked in the early 90s with the original Doom because the game was abstract enough that none of these tricks felt out of place. Sure there were alcoves and hidden enemies galore, but they were fitting considering you were essentially running through a virtual haunted house – with guns. Doom took a certain pride in its cheap scares and traps because they never proclaimed to be anything other than that. In Doom 3, where the player is supposed to be traversing a cohesive and coherent world, every scripted encounter feels like a cheap shot. This scripting ultimately chips away at the established atmosphere and takes you out of the game’s world. Mars Base turns into one boring corridor after another where your only thing tested is your ability to guess which door the monster is hiding behind and how fast you can get your finger on the trigger. Due to the understandably claustrophobic level design, your only option in a firefight is to backpedal slightly and hope you’re spraying enough ammo forward that the enemies die before you do. There are no tactical options available here. There’s no room to run and gun, especially since the game will repeatedly lock you in the same enclosed area as the newly spawned enemies. With no room to maneuver, even two measly imps can kill you in about 20 seconds flat. If it doesn’t sound fun, that’s because it isn’t.

"Here we see a Revenant far outside of its natural corridor-dwelling habitat"
“Here we see a Revenant far outside of its natural corridor-dwelling habitat”

Games are supposed to be fun, and I couldn’t deny that Doom 3 was starting to become quite wearisome about a third of the way through. Wearisome, but not intolerable. I kept telling myself that any moment now, some new mechanic or monster or element would be introduced to add some enjoyment back into the game. When I got to what I thought was going to be the monorail sky bridge, the corridor collapsed in front of me and dumped me on the martian surface. What’s this? Is the game really going to let me freely walk around a wide-open space? And blast enemies that are more than ten feet away? Is this the change I was hoping for? Hoping against hope, I began to believe the game was going to open up a bit and offer some more spacious encounters. My oxygen supply is finite and rapidly running out, but at least there’s a certain freedom of movement here. All too soon I had vanquished the few enemies present in the outdoor arena and was left furiously hunting for air canisters so I don’t suffocate. After a few more moments I make my way to an airlock and return to the claustrophobic corridors I’d begun to loathe. But surely this first experience in a larger area was a sign of things to come!

Doom3 2016-04-10 18-59-23-14
Oh look, poisonous gas. Too bad I don’t have a self-contained air supply. Wait a minute, I do! Why is this a problem?

No. No it wasn’t. Turns out my trip to the great martian outdoors was just an inconvenient detour before traversing back to more deadly enclosed spaces. I had just entered Recycling Sector 2, where it all falls apart. A scripted sequence in the opening moments of the level reveals that Malcom Betruger, the game’s main villain, has been endowed with some sort of evil powers and is now directing the legion of hell to find and destroy you. He has apparently realized that you, the unnamed marine, are the only potential threat to his nefarious plans and wants you dead immediately. He somehow causes the environmental controls of the Recycling Sector to fill the air with toxic gasses in an attempt to suffocate you. Yes, you read that right. Less than ten minutes of game time after your combat suit with its supply of fresh air allows you to battle hellspawn on the surface of Mars, the game’s main villain tries to poison you with gas. Why didn’t our major villain know this, and why can’t I now use my independent air supply to survive indoors? Just as my mind is trying to find the explanation for this logical error, the old man starts yelling into my headphones. Apparently one of Betruger’s super demonic powers gives him the ability to project his voice anywhere on Mars because he now talks to you, hurling insults or other scary phrases at you in random moments. Here’s a sampling of the supposedly menacing dialog:

“Your soul will be MINE!”

“Making progress marine? Your journey is futile. You will die, and your soul will be MINE!”

“My patience with you is wearing thin.”

“Look around you marine, everyone is dead! And soon you will join them.”

“Your friends are with me now. Soon, you will join them.” 

The meaning lurking underneath the surface of these quotes brings two surprisingly relevant questions to my mind. The first one is: Who are these friends of mine that Betruger has supposedly already claimed? The character you play has no name and no backstory. He’s a new transfer to Mars Base and knows nobody on the entire planet. Why on earth would they include a line like this in the game? Am I supposed to have felt some kind of connection with one of the other characters introduced by the game? Or is this a subliminal attempt to get the player thinking about his own friends in real life, and project the fear of loss onto them? Unless the developers were extremely certain their psychological experiment would work, I really can’t understand how these lines made it into the game. From what I can figure, the best case scenario is that this was the result of some horribly sloppy writing that nobody fully thought through.

The other question is: what exactly is hell in the world of Doom 3? Obviously it would have to exist as some sort of literal, physical place, but what is it? What are the demons doing in hell? Who is in charge? Why does the leader of hell need to give Betruger any authority or control of invading Mars? Why do the residents of hell need a human-made teleporter to get to Mars? If the demons can flood Mars via some sort of portal, why do they need to take spaceships to get to earth? (Using spaceships to get to earth was supposed to be a major plot point prior to the Recycling Center). Why can’t they just use the teleporters to get there? Considering the human world of Mars is rather meticulously mapped and planned out, it’s rather jarring that hell exists just for the sake of existing. Some of these questions may be answered in the PDAs scattered about the later levels, but considering how much impact the answers to these questions would have on creating a cohesive story I’m surprised they wouldn’t be more overt.

Doom3 2016-04-17 18-08-21-70
At least hell has interesting art direction.
Apparently in the ancient martian language, "cube" meant horribly spiky murdery thing".
Apparently in the ancient martian language, “cube” meant “horribly spiky murdery thing”.

Coming into the game too late to make much of a difference, is a genuinely interesting story thread about archeological ruins found on Mars. As it turns out, there was an advanced alien civilization that used to reside on Mars. This civilization used a combination of their sciences and religions to use portals for traveling to the different planets in our solar system. At some point in their history this alien species also accidentally opened a portal to hell. Various PDAs and computer terminals will provide details unearthed about this society and how they struggled against the demons. Eventually, this race sacrificed itself to create a weapon capable of killing the demons and closing the portal to hell. Say hello to the Soul Cube. The alien weapon may actually be the most interesting gameplay mechanic in all of Doom 3. In order to use it, you must first “charge” it by killing five other demons. Once it’s charged you can use it to instantly kill any other enemy and transfer its health directly to you. It brings a sorely needed element of strategy to the close-quarters firefights. No longer are you just pressing the fire key, you’re actively picking out the weakest targets first so you can use a charged Soul Cube to take out the more powerful foes. It’s a shame neither the alien backstory nor the Soul Cube is introduced until the last quarter of the game.

There’s a lot I could still say about the gameplay of Doom 3, but I feel like it would just be a waste of words. The story had potential, but it unfolds too slowly for you to really care about it. The atmosphere is, up to a point, incredible. There are plenty of fun and entertaining elements present, but you’ll experience almost all of them before the game is a quarter finished. If Doom 3 got anything right, you would expect it to be the shooty bits, but that’s not the case. There’s a reason I didn’t talk about the game’s weapons; nearly all of them are pathetic, and none of them are fun to use. The gameplay might be passable in small doses, but the thematic and story miscues really put the nail in the coffin for me. If it’s horror and action your looking for, there are other games to spend your time and money on. Doom 3 does have an expansion called Resurrection of Evil which contains new content and supposedly remedies a lot of the issues I have with the original game, but it will be quite some time before I’m ready to step into the world of Doom 3 again. Until then, I’m going to spend some time on games that are actually enjoyable.

 

Dark Souls Journal #01 – What Have I Done?

Dark Souls – A Journal is a running series chronicling my experience in a blind playthrough of Dark Souls

Why did I sign up for this? No, really: What did I get into? Or the more accurate question would be: Who got me into this? […] “Try it”, they said. “You’ll love it”, they said. Of course I’d heard of Dark Souls before, I just never had a reason to care.

Dark Souls – A Journal is a running series chronicling my experience in a blind playthrough* of Dark Souls

*Blind playthough means I’m not consulting any external guides or tutorials for hints or tips about how to play the game. All I have is the game and its manual.

Why did I sign up for this? No, really: What did I get into? Or the more accurate question would be: Who got me into this? I blame Zachery and Brandon from the Facebook group I’m a part of, Theology Gaming University. “Try it”, they said. “You’ll love it”, they said. Of course I’d heard of Dark Souls before, I just never had a reason to care. Anyone who has been around gaming even a little but over the past few years has heard of Dark Souls. It’s a game made by a Japanese developer and released to consoles in 2011, and later made its way to the PC in 2012. So what exactly is it? Over the years I’d seen a lot of coverage of the game but never really paid it any mind because it just didn’t seem like it was my thing. Big guys in armor swinging swords. Torches and castles. No lasers or spaceships. No humor. Supposedly punishing difficulty. Story and background history told in an overt manner. The impression I got is that it was difficult hack ‘n’ slash game made to punish anyone brave enough to give it a try.

Turns out I may not have been too far off the mark on that assessment.

20160509203333_1I got the game for $5 during a recent sale at the Humble Store, donating my 5% Humble Tip to the Wounded Warrior Project. After doing a bit of research I found an excellent  guide to configuring the game at the Dark Souls subReddit. While you don’t have to do everything recommended there, DSfix is an absolute must to get the game running properly. I also went for an HD texture pack and font upgrades.

The first time I started the game I got some weird graphical glitches where the HUD was fullscreen, but the gameplay was only showing in the top left corner of the screen. Turns out that was a result of me not fully reading the instructions for DSfix. I didn’t disable Anti-Aliasing from the in-game menu like I was supposed to. Who knew it would make that much difference?

Starting a new game brings you to a character creation screen where you can choose your class, talents, gifts, and a few other attributes. Not having any idea what differences any of these would really make I went with the Wanderer. If I’m given the option I usually try to pick something that might approximately apply to me, and I certainly don’t have the traits of a soldier or a magician. Picking a “Large” physique character who walks around a lot and carries a cool-looking curved sword seemed to make the most sense to me.

20160510064341_1There is an impressive opening cinematic that lays out some interesting-looking history from the world of Dark Souls, but as far as I could tell there wasn’t any context for how my character fit into the grand scheme of things. When I took control of the game my character was locked in a cell, and someone tossed me a key to allow my escape. The only tool afforded me to help in my escape was the hilt of a sword. Not the sword’s blade, or a knife, or anything sharp, but a handle. Why do I get the impression this is a sign of things to come? For some reason I’m a prisoner in the Northern Undead Asylum and I look decidedly less than human. Am I dead? How did I get to the asylum? Why am I escaping? I didn’t grab any screenshots of this opening level because I was too busy mashing buttons on my controller and trying to stay alive. Things didn’t seem to difficult at first; I think I only died once in the tutorial level. After beating the tutorial’s boss a giant raven grabbed me and flew me to what I assume is the main game’s world.

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Hints and other messages are littered throughout the game in the form of glowing scratch marks.

The raven dropped me in Firelink Shrine, an interesting-looking little place. There are ruins strewn about. There’s a guy loitering near the fire who tells me about two bells; one in a high place and the other someplace down below. The implication is that I’m supposed to go to one of or both of those places and ring some bells. So there’s death, darkness, undead, demons, and now bells are involved. Great. I hate bells.

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You’ll see this screen an awful lot.


There may be multiple paths of progression from here, but nothing really stands out. The most obvious one to me involves some stairs that make a winding descent, eventually leading to an elevator that goes down even further. Eventually I wind up at a place called New Londo Ruins. Visually, it’s a pretty place as far as ruins go. Crumbled structres loom in front of a dark blue haze, backlight by a far-off light source. There are some apparently distracted and quite weak zombie dudes, and so far the ruins don’t seem too bad or too hard to go through. After slicing and dicing my way through a dozen or so brain-dead undead I notice that each enemy I kill makes a counter in the bottom-right of the screen go up. Each enemy has a value or something. Come to find out that somehow I’m collecting “souls” from my slain enemies and this is some kind of in-game currency. Morbid, but I guess that’s why the game is called Dark Souls, and not Happy Fun Souls.

Eventually I make my way to the edge of a giant subterranean pond with wood walkways sprawling out before me. Just before the first walkway is one of those helpful glowing hints that says something like: “Bravery: 1 Required”. I check my stats to see if I have any bravery. …no, it doesn’t look like it. Well, let’s go forward anyway; I’m sure it’s just a suggestion! A few steps down the path I encounter two ghosts. How hard can this be? Whoa! They can reach out like the creepy ghost that stole the baby in Ghostbusters 2! I wonder if I can try to mo-YOU DIED.

Well crud. Brutally throttled in the back by an undead vapor. I don’t think I even landed one hit on those guys. I respawn at the bonfire at the top of Firelink Shrine and do the same thing again. Once I hit the ground floor it quite literally hits me: enemies don’t stay dead. Every time I respawn, either from death or resuming a saved game, every enemy respawns back in the game world no matter how many times you’ve already mowed through them. That’s just rough.

Searching through my inventory I find a curse or something that says it allows me to engage in fights against ghosts, and I just so happened to be carrying two of them. Armed with this new knowledge I rush back to the depths only to find out they don’t help, I still died. Twice. Though those last two times I didn’t die quite so quickly. That’s progress, right? I think the game is trying to tell me that progressing through the New Londo Ruins is not what I’m supposed to be doing. Surely there must be some other avenue to take? We’ll find out.

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Those glowing orange marks contain helpful game wisdom and encouragement. It gives me the warm fuzzies inside.

Star Wars: X-Wing

If I’m completely honest, I’ll say that I have mixed feelings about X-Wing. On one hand, it was a landmark moment for Star Wars gaming. For the first time, gamers were given an experience that both included moments lifted directly from the Star Wars movies and added interesting background stories to what we already knew about. […] On the other hand, it’s nearly impossible to play X-Wing without without noticing just how much its sequels improved upon the game’s basic design. The basic framework and various parts are there, but without the details and more complex mechanics to tie everything together the experience feels a little too hollow.

If I’m completely honest, I’ll say that I have mixed feelings about X-Wing. On one hand, it was a landmark moment for Star Wars gaming. For the first time, gamers were given an experience that both included moments lifted directly from the Star Wars movies and added interesting background stories to what we already knew about. This is the first time gamers had the ability to freely pilot the iconic starfighters we all know and love without the “on-rails” limitations of arcade cabinets. It’s hard not to have fun when you’re blasting TIEs left and right and waging war against the bad guys! On the other hand, it’s nearly impossible to play X-Wing without without noticing just how much its sequels improved upon the game’s basic design. The basic framework and various parts are there, but without the details and more complex mechanics to tie everything together the experience feels a little too hollow. Those missing elements accumulate in your mind over long play sessions to create an experience that is ultimately one of frustration with moments of bliss scattered about.

In terms of gameplay, X-Wing is something of a “lite” simulator. It’s not as daunting as the fully fledged flight simulators of the late 90s, but it’s decidedly more complex than the Star Wars arcade shooters from the 1980s. Simulation aspects are present in the function of your starship as well as the mission design. Your fighter has a limited amount of energy which must be used to run three vital components: engines, shields, and lasers. A certain amount of skill and tactical awareness is required in order to make sure your ship can do everything it needs to do in the heat of battle. For example, increasing your laser recharge rate and leaving your shields at the default maintenance level will reduce your speed by about 12%. This means you have to make some tactical decisions when approaching a dogfight. It’s somewhat safe to sacrifice some speed to charge your lasers while piloting the nimble A-Wing or the X-wing, but this slowness can be a death sentence in the Y-Wing. These limitations placed upon your starfighter always make sense in the world of X-Wing and never feel like a frustrating game handicap.

Ludicrous Speed! Er, wait...
The “E L S” indicators near the center-right of your cockpit show your energy settings.

The missions also introduce some variety that goes beyond just blowing up every Imperial in sight. You might be tasked with assisting in the capture of an Imperial transport, but before you can do that you need to fly close and inspect multiple starships to figure out which one holds the quarry you’re after. Other missions have goals that are tailored to the ship you’re piloting. A number of capture missions see you pilot the Y-Wing so you can use the ion cannons to disable the appropriate craft. One of my favorites requires you to pilot the nimble A-Wing through an Imperial convoy to identify all the enemy ships present. Sure, you could try to be a hotshot and blow up some of the TIEs that launch and pursue you, but that means slowing down enough so as to be vulnerable to turbolaser fire from capital ships. It’s a risk that’s demonstrably not worth taking. Missions where you’re allowed to play a specific part in a battle, and not perform every action on your own, are the ones that are most fun (and memorable).

Unfortunately for you, the game consistently requires you to fly missions and complete objectives almost singlehandedly. You do have wingmates and other friendly allies, but most of them lack any discernible sign of intelligence and are about as useful in combat as a pet rock. Perhaps the scripting language of 1993 wasn’t detailed enough to write complex AI routines, or maybe this was an intentional design decision to reinforce the feeling of the Rebel Alliance fighting as the underdog against the Galactic Empire. Whatever the reason, the effect is still the same: your allies rarely do more than the design of the mission requires them to do. If your mission as a Y-Wing pilot is to disable a shuttle, you may have X-Wings to cover you while that happens. But the moment the shuttle is disabled and the mission scripting moves on to the next event those X-Wings will be gone, leaving you to deal with squadrons of TIE Interceptors and Assault Gunboats all by your lonesome. Occurrences like this would be fine if they could rationally be explained within the context of the game, but as things are your continual abandonment makes no sense. Why wouldn’t faster, sturdier fighters; X-Wings; stick around to escort the entire capture operation instead of leaving a sluggish bomber; Y-Wings; to singlehandedly protect a target of interest?

Abandonment
Red Leader leaves you hanging again. How typical. Be prepared to see this message. A lot. 

The other major frustration is that since you have to complete most of the objectives yourself, many missions will feel more like puzzles than combat simulations. Frequently, you’ll be assigned with flying a long way downrange of your starting position to take out a squadron of bombers, then be required to hightail it back past your start position to protect some other helpless craft. Everything seems to be going well except… Oh wait, there was another squadron of bombers you missed in your first engagement and they destroyed a mission critical craft. Time to start the mission over and play through 12 minutes to do it again in a different sequence. The missions in the original campaigns aren’t totally horrible; it’s a fair mix of puzzle missions and straightforward assignments. However, the difficulty is significantly ramped up in the B-Wing expansion. So much so that hints for each mission are available during the briefing before the mission starts, should you choose to see them.

The most frustrating puzzle for me was the final mission of the original game: the Death Star trench run. What was supposed to be the crowning moment of the game turned into repeated frustration. Starting above the surface of the Death Star, your first goal is to make it to the trench. Once you get there R2-D2 does his job and increases the power output to your engines, almost tripling your speed.  This helps you evade enemy fire and lessens your time in the trench, but it’s not enough. No matter what I tried; shooting turbolaser batteries, charging everything on full, hiding behind pillars to preserve my shields; I got blown up every time. I’m ashamed to admit that I had to look up what turned out to be, to me, a completely counterintuitive solution: Once you’re in the trench you need to set shields and laser recharge to zero and put all energy to the engines. That’s right, run the Death Star trench with no lasers and no shields. If you furrow your brow and look at it from an angle it might make sense from a story perspective: How else could Vader pick off Rebel fighters with two laser blasts in A New Hope? Because they had no shields! But from a gameplay perspective, it’s totally counterintuitive. After playing three dozen missions where managing your fighter to have sufficient shields and laser power at all times is essential to your survival, having the final and most dangerous mission force you to abandon them completely is mind boggling.

And that’s the thing about X-Wing: For every moment of sheer joy, there’s an equal moment of raw frustration.

Successful trench run
Darn it Jim! I’m a spaceship pilot, not a puzzle-solver! Also: Look, no shields! At all!

Note: There are officially three versions of the game, all of which can be found and played today: 

  1. 1993 – Original release – 320 x 240 native resolution, iMuse soundtrack, limited voiceovers
  2. 1994 – Rerelease – 320 x 240 native resolution, runs in upgraded TIE Fighter engine, iMuse soundtrack, many voice parts
  3. 1998 – Collector’s CD-ROM – 640 x 480 native resolution, certain menus and cutscenes redone in higher resolution, polygons (ships and other objects) have textures instead of plain shading, music taken from the soundtrack of the movies plus quality audio

The 1994 version of the game might be worth a quick install just for an understanding of how the iMuse score works; it’s a system that dynamically matches the background music to match the action happening within the game. Not much going on? Slow, relaxing themes abound. Sudden appearance by an Imperial Start Destroyer? The score seamlessly shifts to the Imperial March. It’s quite effective at evoking the feel of Star Wars. However, the super-low resolution visuals and detailess models make for a somewhat painful playing experience. It’s just too “chunky” and jagged to flow right. When flying the Death Star trench run to grab some screenshots I crashed into the surface more than once because I couldn’t tell how close I was to the single shade of solid gray beneath me. Unless you have a nostalgic urge to experience the ’93 or ’94 versions, stay away from them. This retrospective was written about the 1998 version of the game, and is the one I recommend playing.

Regardless of what version you play the game’s menus, cutscenes, and transitions are beautifully rendered in a style that’s barely aged over 23 years. Yes they are a bit “chunky” and you can tell they were done a long time ago, but that doesn’t diminish their appeal. Personally, I don’t think I’d ever get tired of these even after the game ages another two decades. .

Transition cutscene
Pixelated, yes; but still beautiful!

The Final Raving – Qualified Endorsement OR Don’t Bother

If you like Wing Commander, TIE Fighter or Descent: Freespace, then this might be worth your time. However, be prepared for some experiences that can’t help but feel primitive. X-Wing might be best left in your – or someone else’s – memories.

This one is a tough call. If you love Star Wars or space combat games in general, you have to play X-Wing if for no other reason than to experience a slice of gaming history. However, if you’ve only ever played the later games in the series or other more modern space games it’s going to be very hard to enjoy X-Wing for what it is. If you’ve never played any Star Wars space sims and wanted to get started with one, I’d have to suggest you skip ahead to TIE Fighter.

Good:

  • Nails the desperation of fighting for the underdog
  • Distinct gameplay differences between the available ships
  • Moments of theatricality hint at the greatness later games will achieve

Bad:

  • You’re not fighting for the Rebel Alliance, you are the only Rebel alive
  • Mission design gets repetitive about 2/3 through the game
  • The game doesn’t give you enough feedback during missions to let you know exactly what you need to be doing

Ugly:

  • Visuals of ’93 and ’94 versions are just too difficult to adjust to today

Compatibility Considerations: 

  • I own these through GOG.com, and they work flawlessly in Windows 10. You can play the ’93 and ’94 versions using a mouse, but a joystick is required for the ’98 edition. Personally, I wouldn’t recommend playing any edition of the game without a joystick.

Tips for New Players:

  1. Your shields will recharge at an impossibly slow rate, so it’s not usually worth it to increase the power to them. Instead, give your lasers maximum power and shunt energy from them to your shields. It’s always faster to do it this way.
  2. You will be required to blow up a Star Destroyer on more than one occasion. The shield generator towers really do supply deflector shields. Take them out with three torpedoes each and your job becomes much easier
    BwingShields
  3. Once a ship’s shields are down, disable it! This buys you some time to deal with the other interference that will undoubtedly be surrounding you.
  4. Disable what you can, and then leave it there. A lot of missions are scripted to send new waves of ships into battle after one wave is destroyed. In the case of Assault Gunboats in particular, disabling one wave may prevent a new wave from joining the battle.

Details

Release Date:

  • Original Game: 1993
  • Expansion #1 – Imperial Pursuit: 1994
  • Expansion #2 – B-Wing: 1994

Developer: Totally Games

Publisher: Lucasarts

Where to buy: Steam & GOG.com – $9.99

Screenshot Gallery

Doom

But how is it that the various aspects of Doom managed to be cutting-edge in 1993 and yet not distractingly obsolete in 2016? In short, the game’s many components are finely designed with an elegant simplicity that manages to capture an essence of timelessness. What matters here is not so much the obvious age of the technology or gameplay mechanics that may seem basic when compared to modern titles; what matters is that Doom fully utilized the best tools of its time to create a cohesive whole that was complete in and of itself. Great visual design serves the whole rather than detracts from it, and that statement holds true no matter how old the design is.

Navigating down the curved hallway of brown stone deep within Deimos Lab, I notice an irregularity in the angle of the wall. Upon closer inspection there’s a small hole in the floor: a passage down. At the bottom of the passage there’s a hidden room containing only a plasma rifle and a teleporter. I pause for a moment to steel myself for whatever comes next. Doom never gives you anything for free. I step on the blood-red teleport pad to be whisked away to destination unknown. As the green energy burst fades I check my map and confirm that this is a room I haven’t discovered before. Directly in front of me stand two large demons within arm’s reach: A Pinky and a Cacodemon. They don’t know I’m there yet so I weigh my options against my meager supply of ammo. The room is too small for rockets, my shotgun will be too slow, and I have barely any bullets. Guess there was a reason I just got a plasma rifle. Taking them both of them out used about a fifth of my cell ammo and I can still hear more demons somewhere nearby. After checking the small room for and failing to find any hidden features, I slowly walk down a curved hallway and reach an intersection with another corridor. The chorus of grunting is louder now. There are more than a few enemies nearby. My health is 44 percent and I have fewer bullets than I’d like, but how bad could it be? I dash out, gun blazing, mowing down a pair of imps with ease. They weren’t alone. Three more imps send fireballs my way and a burst of pink plasma heralds the arrival of a trio of Cacodemons floating down from the ceiling. Running away to gain some maneuvering room brings me face to face with not one but two Barons of Hell! As their green energy projectiles sail towards me I run back towards my entry point, making the unfortunate realization that this narrow corridor I’m trapped in is nothing but a circle. With nowhere to hide I start firing off everything except my rockets, not stopping to be meticulous. After what feels like an extended engagement both my guns and the demon horde is silent. Narrowly avoiding death, I claim victory – for now. My health is down to 23 percent, my supply of ammo is lower than it’s ever been; only 4 rockets and 39 shotgun shells; and once again my only means of progress is to step on a teleporter to destination unknown. When it seems like I don’t have any options left, I realize I have the same option that I always had: kill more demons.

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I still remember my first exposure to Doom. Sometime in the summer of 1994 Jon, a friend of my oldest brother, brought a “legitimate” copy of the game over to our house. He installed it on our family computer and introduced us to the plight of that single green-clad marine waging a hopeless war against the spawn of hell. Many moments from that fleeting demo are permanently etched into my gaming memory. The nervous sideways glances of the Doom guy. Exploding barrels of green goo. A pulse rifle with a sound I can only describe as an “electric rebound”. Floors a shade of blue not seen in real life. The anguished moans from zombies after you graze them with a shotgun. The frighteningly weird hiss of the floating red Cacodemon. My brothers and I loved it. My parents hated it. After the evening’s dinner was finished and Jon went home my parents broke their polite silence, “Get rid of it”. The battles of the Doom guy would have to be waged in someone else’s home, at least for a little while. Over the years Doom and I had an on again, off again relationship. Sometimes it was upstaged by shinier and more fancy games. Sometimes I was just too busy to bother with it. Sometimes I thought it was too simple for me now; compared to new games old Doom was just kid stuff. And yet, Doom has always been there. Somehow, id’s pioneering shooter from the early 1990s has proven its staying power time and time again. After paying attention to the little details on my last playthrough I can confirm one thing for you: Doom is just as good now as its ever been.

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Given that video games are pieces of media that all too frequently tend not to age well, it takes a special combination of factors for one to provide an enjoyable experience both at the time of release as well as two decades later. But how is it that the various aspects of Doom managed to be cutting-edge in 1993 and yet not distractingly obsolete in 2016? In short, the game’s many components are finely designed with an elegant simplicity that manages to capture an essence of timelessness. What matters here is not so much the obvious age of the technology or gameplay mechanics that may seem basic when compared to modern titles; what matters is that Doom fully utilized the best tools of its time to create a cohesive whole that was complete in and of itself. Great visual design serves the whole rather than detracts from it, and that statement holds true no matter how old the design is.

Doom’s visual design definitely evokes a feeling of art, abstract art in particular. Most of the game’s designs and specifically the level layouts are open to subjective interpretation. It’s something you examine for a moment and while it doesn’t necessarily bear an immediate resemblance to anything in particular, the intention of the artist is unmistakable. Sure, there are levels and areas that definitely try to look like something, but either through the lack of graphical fidelity or intentional design decisions you’re never looking at something and think to yourself, “Man, they screwed that up.” It’s a large part of why Doom is still tolerable today. You can play through level after level without being constantly reminded of how poorly older gaming technology was able to replicate the vision of the artist. Your imagination can make these locations into whatever you think they need to be. For a prime example look to the opening level of the game: E1M1: Hangar. Though this is arguably the most famous level in the history of first-person shooters, I’ve yet to see any explanation for why the level has the name it does. There’s nothing here that even remotely resembles a hangar. Nowhere is there a space large enough to contain a ship, an airplane, or any other spacefaring vessel. The only open space is filled with green toxic goo. And just why is there so much radioactive green goo around in the first place? Why in the heck are there golden candelabras near the exit? These and other questions will pop in the back of your mind frequently as you explore such locations as “Central Processing”, “Military Base”, “Spawning Vats”, “House of Pain”, Slough of Despair”, and “Tower of Babel”. Clearly, the level design was intended to evoke a feeling rather than to serve as an accurate emulation of any particular locale.

The major difference between the levels of Doom and works of abstract art is that works of abstract art don’t try to kill you when you admire them. The opening levels of the game start with fairly straightforward and uncomplicated layouts; all that is required is for the player to navigate from the starting point to the finish and press a button or step on a pad to end the level. Additional hazards are gradually added into the mix. Some parts of a level may be sealed off and require you to find a keycard to gain access. Other levels are laid out like a maze, either by their physical layout or through the use of teleportation pads. Very frequently the level design embraces the game aspect of Doom and will throw you in the midst of all manner of traps, chokepoints, or other puzzles. The only resources at your disposal to help you navigate the often deadly labyrinths are your wits and a handy automap. There are secret areas containing weapons and powerups hidden in nearly every level. Some are marked by intentionally misaligned textures or offer other visual hints as to their existence, and others are implied only by a switch with no obvious purpose. If you wish, you can spend as long as you like exploring each area searching for hidden goodies. The only thing standing between you and passage to the next level is you.

Doomsday 2016-02-26 17-20-15-74
Here sits a lightly defended red keycard surrounded by a plethora of exploding barrels. Be wary. Be very wary.

Artistic interpretation notwithstanding, it’s hard to deny that some of the later levels of the game are just plain weird, if not disturbingThe cold metal of military bases gradually gives way to nightmarish interpretations of hell, replete with walls of flesh, corpses impaled on spikes, scrolling walls of tortured faces, demonic and satanic symbols, and other oddities. It’s been said that some of the game’s artists often used videos and images of surgical procedures to find inspiration for their designs, and it’s quite obvious a lot of those ideas were implemented. This all plays well with the idea of Doom as a form of abstract art though it’s safe to say that many people will find the game’s content objectionable. I can appreciate a good imagination as much as the next guy, but I still look at certain visual elements and can’t help but wonder, “What were they thinking?”

But I guess it takes a certain kind of imagination to dream up, or have nightmares about, what an army of hellspawn might be like. Doom paved the way in its design of enemies, creating the archetypes that are still followed today. Soldiers and Sargents are your nominal cannon fodder that can be surprisingly dangerous when you’re low on health. The brown, leather-skinned imp is the slightly tougher humanoid that hurls fireballs instead of instant hit bullets. Pinkies are your obligatory melee-damage-only enemies that can take a beating. Cacodemons are an aerial threat with a ranged attack in addition to being bullet sponges. Lost Souls are the original annoying enemy that combines small size, flying, and a shrieking rush attack that’s never fun to deal with. Barons of Hell are giant, lumbering brutes that hurl green plasma that explodes on impact for splash damage. There are bosses, too, but those are more fun to discover on your own. Prepare to do a lot of running.

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Photos don’t do justice to the enemy design in Doom. There’s just enough of a convincing menace in the animation of your foes that you will feel threatened by them, sooner or later. If visuals alone don’t do it for you, the aural experience will. While the sound effect library is small by today’s standards, the engineering is perfect for conveying the tortured nature of the beings you’re dealing with. This is due in large part to the use of animal sounds where one might expect to hear sounds recorded by humans. From the anguished moans of the shotgun-toting Sergeant to the hiss of the Cacodemon to the bizarre trumpeting call of the Baron of Hell, the sounds of Doom effectively convey that you do indeed battle against an army that is not of this world.

Sometimes, the enemy of your enemy is your friend. Your foes in Doom can and will become embroiled in fights between the ranks, and it’s always a good idea to do what you can to encourage those fights. Before long you’ll learn to use your speed to try and catch different types of enemies in their own crossfire. Once one enemy retaliates against another all you need to do is stand clear and watch the survival of the fittest. Doing this is usually just a bonus, but there are a few maps where causing this infighting is absolutely essential to your own survival.

FightFightFight!
Notice that I haven’t fired a single shot here.

Also essential to your survival is learning to master Doom’s arsenal, though it really is pretty intuitive. At your disposal are your fists, a pistol, shotgun, chaingun, rocket launcher, plasma rifle, BFG 9000, and a chainsaw. Each weapon has its own set of strengths and weaknesses, that lend themselves to particular situations. The pistol, while seemingly useless, is a good choice for long-distance engagements when you want to conserve ammo. Your pump-action shotgun, now a mainstay in first-person shooters, is a good all-around weapon that just can’t fire fast enough when the hordes are thick. While each bullet of the chaingun doesn’t do a lot of damage, the continuous-fire nature of it serves to “interrupt” the attacks of your foes, and can buy you some much needed time to maneuver. Rocket launchers are not good to use in confined spaces. Ever. Doom’s rockets also move with a conspicuous slowness which can mean it’s not the best for long-range engagements. The plasma rifle is a versatile weapon that’s good in any situation, provided you can find the ammunition for it. It works best when fired continuously, as letting up on the trigger leads to a substantial reset time before you can fire again. When something or a small group of somethings needs to die right now, bring out the BFG 9000. It’s slow rate of fire and slow projectile movement gradually unleash a green firestorm of devastation, but it really works best in relatively small environments. And then there’s the chainsaw. For a long time I thought it was only a weapon of desperation, but there is actually a strategic use for it. When dealing with melee enemies, Pinkies or Lost Souls, work your back into a corner and let them come at you. The chainsaw will do the work for you.

BarrelBlast
Doom’s shotgun is the best ever. Period.

There’s certainly more that could be written about Doom: the movement mechanics and how the Doom Guy is able to run at a constant 30 miles per hour, how throughout the campaign you never really notice the technical limitation that prevents vertically crossing layers (there can’t be one story of a building directly over another), the story set-up present only in the game’s paper manual, the implied narrative and geographical narrative movement in the level design and loading screens, and more. To try and do all that would require a whole series of posts, and while I’m open to exploring those topics more in depth to do so here would distract from my main point. And my main point is: Doom is still around for a reason. One of the first games of its kind, it’s still one of the best of its kind. It’s just as fun in 2016 as it was in 1993; and that’s saying something.

The Final Raving – Full Endorsement

Anyone who plays video games should give this a try, even if this is a genre you’ve never been interested before. 

Granted, it’s not for everyone, but anyone who considers themselves a gamer owes it to themselves to play at least the shareware episode of Doom.

Good:

  • While not the first first-person shooter ever made, it’s the most influential
  • Tight gunplay and fast action in spades
  • Two decades of user-created mods ensure near limitless options for a new spin on an old classic

Bad:

  • Disturbing themes may be too much for some people to handle

Ugly:

  • The visuals of the vanilla, unmodded game are a bit hard to take

Compatibility Considerations: 

  • The original game works flawlessly on modern computers, but it’s just a bit too ugly for my tastes. Thankfully the Doom community has been able to make a lot of improvement to the game engine, allowing for higher resolutions and better visual effects. The two most popular upgrades are GZDoom and Doomsday Engine. GZDoom will give you an experience that’s a bit closer to the original game, but I slightly prefer Doomsday Engine since it allows for unrestricted mouselook. Both are worth a look.

Tips for New Players:

  1. Play it on a difficulty that’s hard for you. It makes the game more interesting and will help you write your own stories within the world of Doom. I played it through on Ultra-Violence and enjoyed a good challenge. Be forewarned that the difficulty jumps by a noticeable amount when you get to the fourth episode: Thy Flesh Consumed.
  2. Circle-strafe. Move sideways and keep your enemy in the crosshairs to literally run circles around them. It’s an essential skill to learn if you want to survive.
  3. Everything is a trap. See a keycard? Trap! Is there a button nearby? Trap! Has it been more than thirty seconds since you last encountered an enemy? Trap! Always be ready to move and shoot.

The Details:

Release Date:

  • Original Game: December 10th, 1993
  • Final Doom (Thy Flesh Consumed): June 17th, 1996

Developer: id Software

Publisher: GT Interactive

Where to buy:

Steam – $14.99 – Bundle includes Doom, Doom II, and a bunch of expansion levels

GOG.com – $9.99 – Bundle includes Final Doom and Doom II

 

Call of Duty 4: Modern Warfare

I don’t think it’s hyperbole to say that Modern Warfare was a watershed title for first-person shooters. Both the single player campaign and multiplayer experience built on past titles in the series to create a new definitive first-person shooter experience. For better or for worse, games are still trying to copy what COD4 accomplished; and relatively few have been successful.

Call of Duty 4: Modern Warfare

Release Date: November 5th, 2007

Developer: Infinity Ward

Publisher: Activision

Where to buy: Steam – $19.99

What’s the Premise?

In a fictional near-future, there’s a full-blown civil war within Russia and violent unrest in an unnamed Middle-Eastern country. You, the player, will alternate between controlling Sergeant John “Soap” McTavish of the British SAS and sergeant Paul Jackson of the USMC, with a few others sprinkled in. Through course of the game you take part in varied battles in different theaters of war, eventually discovering that the two separate conflicts are related. The story events of the game unfold over a period of 6 days.

By the time 2007 rolled around, Infinity Ward had gained a lot of experience making games based on wars. Some of their core staff used to work at 2015, Inc., which made Medal of Honor: Allied Assault. After that, the team at Infinity Ward started the Call of Duty franchise with two games set in World War II. Call of Duty 3 was made by another studio, Treyarch, giving Infinity Ward time to craft the game that took players into the contemporary field of war.

Why Should I Play This?

I don’t think it’s hyperbole to say that Modern Warfare was a watershed title for first-person shooters. Both the single player campaign and multiplayer experience built on past titles in the series to create a new definitive first-person shooter experience. For better or for worse, games are still trying to copy what COD4 accomplished; and relatively few have been successful.

001

Your first clue that Modern Warfare is a special game comes in how the tutorial is handled; it does an excellent job of setting the stage for the whole game. The tutorial mission begins with a few minutes at a gun range, familiarizing the player with various combat controls, reloading, and simple movement. The training then shifts to a warehouse where the bridge of a cargo ship has been roughly built out of plywood, complete with pop-up shooting targets and instructions spray painted on the walls. Your objective here is to run through this seemingly innocuous course as fast as possible. Upon finishing the course, your time and accuracy ratings are displayed, as well as the recommended difficulty for the campaign.

Wouldn’t you know it: the plywood training mission was literally preparation for your first mission of the game: an assault on a cargo ship. It’s here that the stage for the entire game is set: loud, showy, action-packed, and constantly moving at a breakneck pace. Infinity Ward pulled out all the stops for this one; roiling seas, weather effects; rain, thunder, and lightning; and a ship that actually feels like it’s being tossed around by the seas outside. Much like the training mission, you begin by rappelling from your helicopter down in front of the ship’s bridge to engage hostiles inside. After [SPOILERS REDACTED] the mission ends with heart-pounding chase and a leap of faith, after which your view fades to black and the opening credits start rolling.

Ladies and gentlemen, welcome to the rollercoaster that is Call of Duty.

06
This is one of the smaller explosions in the game. It was preceded and followed by larger explosions.

To be honest, I’ve been struggling as to whether or not I should use the term “roller coaster” when referring to the game because it implies a passive thrill ride in which the rider has no part in the proceedings. To think of it another way: If levels FPS games prior to COD4 were a playground, the player’s objective would be to experience each set of equipment on the playground (slides, swings, monkey bars, etc.) in order to progress to a new playground. In COD4, the player is given a timed, flashy, explosion-filled, guided tour of the playground with no control over which piece of equipment to check out next. While it may sound limiting and forced; like your parents trying to convince you that you were in fact, not terrified of the giant slide; the game is so masterfully executed that it is rarely anything other than exhilarating.

07
“Death From Above” is simultaneously exhilarating and terrifying. There’s a real sense of accomplishment in helping your allies survive. It’s terrifying to realize how technology can detach war from humanity.

In all honesty, I’m not going to write a lot about the gameplay because at its core it’s not very different from any other shooter ever made. Guns, run, jump, reload, shoot, grenade, etc.; in terms of basic gameplay mechanics it’s all very familiar. What wasn’t familiar at the time of release is the experience crafted around the player: you are now an agent in the middle of a larger, visceral conflict. Some of the highlights include fighting to protect a stranded tank from attackers using C4, chasing a fugitive through enemy territory, an eerie and tense calm between firefights, providing support for a ground team via aerial firepower of an AC-130 gunship, and the sniper mission. Not a sniper mission, the sniper mission. While technically they are two separate levels, “All Ghilled Up” and “One Shot, One Kill” have to be considered as a package and are widely regarded as one of the finest experiences in the history of first-person shooters.

04
“Don’t. Move.”

While a game that’s nothing but hours of adrenaline-fueled rollercoaster thrills might become exhausting to play, the pacing is spot on in that when the action gets a bit too frantic the scope shifts for just a little while before the game throws you back in the fire again.

01
The red everywhere means you need better cover. Immediately.

With one or two exceptions, the campaign plays just as well now as it did back in 2007.

What doesn’t work?

Those one or two exceptions will be things that you notice quite a lot once you start looking for them. One is the absolute absence of player choice. Being such a heavily scripted game, if the mission script determines that you are supposed to walk through a doorway, then you will walk through that doorway or else nothing else in that mission will progress.

In another mission the game tells you to fight your way to the bottom of a hill in order to reach the extraction point – and to do so in a limited amount of time. The game clearly wanted me to hustle down the middle of the hillside village, running through thickets of enemy bullets. Doing this caused me to die and restart the checkpoint at least a dozen times. Trying for an alternate route I worked around the edge of the level and found what should have been a spot to let me sneak past almost everyone, but I couldn’t progress because an invisible wall was blocking my way. Sergeant “Soap” MacTavish of the British SAS, stymied by an 18-inch tall bale of hay and the invisible wall on top of it.

Speaking of invisible walls: one thing the game relies heavily upon are “trigger points”. These are set points within the levels that you the player “trip”, usually by moving past a certain point, and will then cause some pre-determined event to happen. In COD4 these triggers will usually stop enemies from spawning and / or allow you and your friendly NPCs to proceed to the next point in the level. If you don’t pass that magic line, your friendly allies don’t move and the enemy troops just keep on coming, long after they should have stopped.

03
There’s an assembly line for baddies inside that 2-story building there. You could sit here and play shooting gallery for 20 minutes or more if you don’t storm forward and hit the invisible trigger to shut down the baddie factory.

What else doesn’t work?

Multiplayer. Yes, I am talking about the multiplayer entirely within the “what doesn’t work” section because, quite honestly, COD4 multiplayer can’t recapture the magic now that it had upon release. Parts of it are still fine. The map design is still flawless, the guns are still balanced and fun, and the system of unlocking better equipment is just as addicting as it was in 2007. In preparation for writing this retrospective I thought I’d fire up the multiplayer for a few rounds, just to remember what it was like. Before I knew what happened, I’d been promoted to rank 32 and spent 5 hours on team deathmatch. Oops.

But the overall gameplay is lacking, mainly because it’s hard to find a server on PC THAT STILL PLAYS THE GAME AS IT WAS MEANT TO BE PLAYED [leaving the caps lock on there was a mistake, but I like how it helps emphasize my point so I’ll leave it as is – Joe]. Originally, the main game modes were meant to be played by two teams of 6, or in the case of ground war (the largest official game mode), two teams of 10. Matches of that size left enough space on the maps for small engagements to take place and for players to form some kind of strategy for use when they next encountered an enemy. Killstreaks, rewards given when a player got a 3, 5, or 7 kills without dying happened regularly but weren’t a constantly occurring thing. There was room to breathe during a match. It was still fast, but there was a tactical element to it – depending on what map it was.

Now, the vast majority of servers have a minimum of 18-24 players; simply too many. Every match with this many people turns into a unfun drudgery of spawn die spawn die spawn shoot die spawn score two kills die by airstrike spawn again die by same airstrike quit match in rageIt’s kind of like when you discovered records could be run faster than intended. Sure it was fun to make a record sound like the chipmunks album, but it got very annoying very quickly. And it certainly wasn’t anything that you went back and listened to on a regular basis.

Is it fair to judge a game if it’s not being played in the way the developers intended? Not necessarily, but if there’s only one way to experience a game almost nine years after its original release, I have to critique the current experience. If you can play with a group of friends, or find the rare server with a max capacity of 8-14 people, it’s still a lot of fun. Sadly, that’s a very rare thing to find and as things stand now I can’t recommend spending a lot of time on multiplayer gameplay.

05
Prepare to see this screen. A. Lot.

Tips for New Players:

  1. Unless you’re a glutton for punishment, don’t play on a difficulty level higher than “normal”. This will give you the most enjoyment out of the thrill ride that is COD4.
  2. If you seem to be stuck at some point in a level, don’t underestimate the value of running forward blindly; you might cross one of those invisible lines that moves the mission forwards.
  3. Don’t forget that your bullets can shoot through walls.

The Final Raving – Full Endorsement

Anyone who plays video games should give this a try, even if this is a genre you’ve never been interested before. 

Let’s be honest: in 2016 the Call of Duty franchise is a bloated, overhyped monstrosity that probably just needs to be quietly put to rest, but this title from 2007 still deserves all the accolades the series has ever gotten. Don’t misjudge the original because the copies aren’t that good.

Good:

  • A finely crafted gaming experience that feels like an action movie
  • Tight gunplay is as responsive as any shooter has ever been
  • THE sniping mission, seriously

Bad:

  • Invisible trigger points are frustrating at times
  • Harder difficulty levels are punishing, rewarding twitch reactions instead of skill
  • While the sound design isn’t bad, it’s noticeably not as good as certain other games
  • $19.99 feels a bit steep for a 9-year-old 8-9 hour single-player campaign, but that’s more a con of Activision than the game itself

Ugly:

  • The way your view is “kicked” when hit by enemy fire will cause a significant amount of frustration

Compatibility Considerations: 

  • The only issue you might run into is trying to play online. COD4 uses an anti-cheat system called Punkbuster. Unfortunately, Infinity Ward stopped supporting Punkbuster in 2014 so you’ll have to update those files manually. This YouTube video contains full instructions on how to perform that update: How to Update Punkbuster COD4 – 2016 / 2015

A Story About My Uncle

Heavily influenced by the first-person and (mostly) combat-free games like Mirror’s Edge and Portal, ASAMU creates an experience where the journey is more fun than the destination. Why walk, drive, fly, or teleport anywhere when you can instead strap on a power suit and use an electric tether to fling yourself between points? It is admittedly an answer to a question that nobody asked, but considering how much fun it is: who really cares where the question came from?

A Story About My Uncle

Release Date:

  • Original Concept: Summer 2012
  • Final Game: May 28th, 2014

Developer: Gone North Games / Coffee Stain Studios

Where to buy: Steam and GOG.com – $12.99

What’s the Premise?

To say it in a very redundant manner, A Story About My Uncle (referred to after this as “ASAMU”) begins with the voiceover of a father beginning to tell his young daughter a bedtime story about his uncle. For the duration of the game the player navigates through the father’s story from a first-person perspective, playing through the narrated events in real-time. The setup for the story is simple: your uncle is missing. While searching through his workshop for clues as to his whereabouts, you stumble upon newspaper clippings about the discovery of new microbial life forms, stacks of books and papers about quantum physics, a specially designed “power-suit”, and the plans for a mysterious “disposal system”. Wouldn’t you know it: before the intro is over your character puts on the power suit and steps into said mysterious disposal system and is transported to a mysterious faraway land…

Originally created and released in 2012 by a team of nine students from Sweden’s Södertörn University, ASAMU was redesigned, remastered, and expanded for its re-release in May 2014. It’s a short game made by an independent studio. Calling it a one-trick pony wouldn’t be a stretch, but don’t take that as a criticism. The one trick it has; first-person platforming; is done very well and the developers wisely paced the game so the core mechanics didn’t become stale. And it helps that there’s a bit of heart contained in the game’s story.

01

Why Should I Play This?

Three words: Joy of movement.

Heavily influenced by the first-person and (mostly) combat-free games like Mirror’s Edge and Portal, ASAMU creates an experience where the journey is more fun than the destination. Why walk, drive, fly, or teleport anywhere when you can instead strap on a power suit and use an electric tether to fling yourself between points? It is admittedly an answer to a question that nobody asked, but considering how much fun it is: who really cares where the question came from?

Suit
“She may not look like much but she’s got it where it counts”

The aforementioned power suit is the game’s way of giving you special platforming abilities, of which there are three:

  1. Long jump / high jump – this is charged by holding down the right mouse button and will result in either a long forward jump or a high vertical jump, depending on how you’re moving when the jump is initiated.
  2. Power grapple – this allows your suit to “grab on” to certain distant surfaces with an energy leash which will then pull you toward the object you’re connected to. When your suit is upgraded, you have the ability to grapple three times while in midair. The ability to use the grapple is “recharged” only after landing safely on the ground.
  3. Rocket boots – Boots with rockets on them. Holding down the spacebar while in the air will ignite the rocket boots, giving you and extra boost in whichever direction you happen to be facing at the moment. Like the grapple, this ability is recharged after landing safely on the ground.

It’s a combination of movement that’s difficult to fully convey via text. Hopefully this .gif will do a better job of demonstrating how the long jump and grapple abilities can be combined:

ASAMU

Though viewing the game in motion may help convey what the experience is like, the sensation of flinging yourself over seemingly bottomless chasms is best experienced firsthand. The mechanics and perceived physics of motion are done extremely well. Controls feel intuitive, and though there aren’t necessarily dire consequences for missing a jump and falling into the void, the combination of visual and aural effects turns a missed jump into a gut-wrenching moment. Close calls that end well generate a palpable sense of relief, and you may find yourself backing away from the keyboard for a moment to steel your nerves before attempting the next set of maneuvers.

Levels are linear, and with one exception there’s only one path to take in order to make progress. The developers wisely took a page from the book of Mirror’s Edge, and use subtle color cues to guide the player through the irregular game world.

First Look
The neon-blue, glowing symbols will guide you…

Quite conspicuous at first, the visual cues will become more subtle later in the game, ultimately forcing you to find a path while you fling yourself under a cliff face and only one missed grapple from falling into oblivion.

05
See that tiny doorway on the back wall? That’s where you’re headed!

The game seldom hold your hand and puts a pressure on you to navigate the levels on your own, trusting that the level design is clear enough so as not to lose or confuse the player. It works – most of the time. There are a few segments in the game where you’ll fling yourself in a randomly chosen direction, furiously trying to grapple onto something-anything in hopes of finding what seems to be the secret way forward. I think there were maybe three or four parts where I had to resort to YouTube to find what I missed. In some cases my struggle was self-inflicted; I missed what should have been an obvious visual cue.

The two most frustrating moments I experienced came about because the game doesn’t have a great way to demonstrate the effective limitations on the grapple and the rocket boots. In one segment I could clearly see that I was supposed to grapple past three floating rocks, and then use the rocket boots to make my way to a distant platform. The issue is that since every jump you make is either pass or fail over a bottomless abyss, there’s no real way to anticipate how far the rocket boots will take you or how close to an object you need to be in order to lock the grapple onto it. If I were to replay the sequences again, I think it would still take a measurable amount of luck for me to clear them.

04

The art direction is vibrant and definitely pleasing to look at. It’s done well, if a bit derivative; it reminded me of Na Pali from the first Unreal with a few helpings of Avatar tossed in here and there.

Lab
There are lots of little details worth exploring in your uncle’s lab. Not explained: How he got Post-It notes to stick to wooden paneling.

Tips for New Players:

  1. Try to plot out your route before making the initial jump
  2. Don’t give in to your desire to click frantically when trying to grapple something; odds are you’ll waste grapple and have to redo the section

The Final Raving – Qualified Endorsement

While it’s not for everyone, if you have an interest in similar games (Mirror’s Edge, Portal, even the platforming elements of Assassin’s Creed) this one might be a good fit for you.

A Story About My Uncle is proof positive that small games developed by indie studios have a place in a AAA world. It makes me look forward to future releases from Gone North Games / Coffee Stain Studios

Good:

  • Fun platforming gameplay that generally works very well
  • Almost unparalleled for exhilaration of movement
  • Vivid art design

Bad:

  • Occasionally frustrating moments
  • If running time trials isn’t your thing, $12.99 might be a bit steep for a 3-hour platforming campaign

Ugly:

  • While there isn’t much of it, the NPC character animation is quite dated

Compatibility Considerations: 

None. Built in the Unreal Engine, this should work fine on all modern gaming PCs.

Rollercoaster Tycoon

At the time this article is written, RollerCoaster Tycoon has had two released sequels, with RollerCoaster Tycoon 4 slated to come out at the end of 2015. Two other theme park games are also in development, Parkitect and Planet Coaster, and are slated for release in 2016. So the question becomes: “Why is RollerCoaster Tycoon still worth playing?”

Answer: “It’s just fun!”

RollerCoaster Tycoon

Release Date:

  • Original Game: March 31, 1999
  • Expansion #1 – Corkscrew Follies: November 15, 1999
  • Expansion #2 – Loopy Landscapes: September 30, 2000

Developer: Chris Sawyer

Publisher: Frontier

Where to buy: Steam and GOG.com – $5.99

What’s the Premise?

Your job is simple: manage theme parks as best you can. The game gives you a long list of scenarios to play through, 81, each with their own goals. Most of the scenarios that shipped with the original game focus on growing a small park into a larger one while maintaining standards that contribute to your park’s rating. Scenarios added by the two expansion packs tend to be a bit more diverse; such as requiring you to build coasters that meet minimum ratings like length, speed, excitement value; or else the scenario locations themselves are more challenging.

Why Should I Play This?

At the time this article is written, RollerCoaster Tycoon has had two released sequels, with RollerCoaster Tycoon 4 slated to come out at the end of 2015. Two other theme park games are also in development, Parkitect and Planet Coaster, and are slated for release in 2016. So the question becomes: “Why is RollerCoaster Tycoon still worth playing?”

Answer: “It’s just fun!” Continue reading “Rollercoaster Tycoon”