Tag Archives: Quake

Retro Shooter Preview Round Up

Man, I know it’s been a frustratingly long hiatus. I’ve been working overtime at my job most weeks over the last several months. This has limited my free time, so I’ve ended up focusing more on my Twitch channel over the blog. Over there I play a wide variety of stuff as well as a fair amount of Splatoon 2. But lately I have been going through a number of FPS games in Early Access. Some interesting preview builds of games that hearken back to the early days of Apogee and id software. Being that they aren’t done, I can’t wholeheartedly recommend getting them right now. One of the risks in buying anything in Early Access is that there’s no guarantee the games will be done. And this isn’t the most original idea for an article as several bloggers and YouTube creators have made similar ones. Be that as it may, these are some of the ones I’ve found pretty interesting upon buying. Games you may want to keep your eyes on.

Of course, the resurrection of what many consider the original shooter formula isn’t new. They’ve been slowly coming out for a while. New Blood Interactive has been hitting it out of the park with games like DUSK and AMID EVIL, but we’ve seen plenty of other games too like the Rise Of The Triad 2013 remake, Ion Fury, and others. Anyway, these are of the preview versions I rolled the dice on, and some of my thoughts on them after playing them.

Prodeus

This is one of the most promising of the bunch here. If you really enjoyed the DOOM 2016 remake or it’s DOOM II: Hell On Earth inspired sequel DOOM ETERNAL, but wished it hearkened back to the old games a little more, this could be for you. What makes this one stand out? Well it has the DOOM 2016 look in terms of its world. It also has a similarly streamlined layout in terms of maps. Things are a bit more linear than they were in 1993, but it still retains some of the colored keys and secret hunting. But it also blurs the line more than the official Bethesda/id/Microsoft property does because you can have the enemies represented as either fully rendered models or you can choose to see 2D sprites! And while there isn’t quite enough there for a full campaign yet, the game does have a level editor and many fans have already done a bunch of fantastic community maps. The game also does an interesting Super Mario World style overworld map, showing you what you’ve beaten, and if you’ve found specific exits for secret levels.

ULTRAKILL

New Blood Interactive is one of those publishers that does appear to finish their Early Access projects, and all of them have been must play experiences so far. DUSK and AMID EVIL are two acts that are going to be tough to follow. But ULTRAKILL seems poised to do pretty well for itself. Where DUSK combined Quake’s aesthetics and gameplay and Deliverance’s unsettling backwoods horror, ULTRAKILL pushes the low polygon retro look further. Where AMID EVIL brought back the Heretic/Hexen feel that has languished, ULTRAKILL brings in elements seen in all kinds of games, old and new. It has a melee system that is tied to its health system. You punch away projectiles. Punch enemies so they’ll bleed on you and fill your health meter. But it also has a creative kill system in the vein of PlatinumGames’ Mad World, or People Can Fly’s work on Bulletstorm. You continually have to dash out of the way of projectiles one moment, and find creative ways to take out waves of enemies the next. If all of that isn’t enough for you, stages are chock full of secrets and the game already has several secret stages that each play absolutely nothing like the rest of the game. It’s also got an interesting yet popcorn storyline. Mankind is dead. Blood is fuel. Hell is full. The soundtrack is also this nice rush of industrial metal and techno subgenres.

Viscerafest

Like ULTRAKILL this game also has an importance on dashing and punching. But for different reasons. Instead of being creative for point awards, and continually refueling your health meter, this game has you doing it for survival and resource conservation. You see each stage only has so many ammunition pickups. So if you go full Lundgren on every alien you see, you won’t have the buckshot you need to kill a larger enemy type, or destroy a damaged wall to get that secret item you spy on the other side through a window. Another cool thing about this game is the save system. Instead of going full old-school and giving you a quick save function or rather than go full new school and implement a checkpoint system, they give you beacons. These beacons are limited, and found throughout levels. You can then plant one on the ground to create your own checkpoints. This is to keep you from cheesing your way to the top by quick saving every time you kill something. And it also keeps you from having to redo something you had trouble with clearing. You have to be careful though, because you can plant one too early and still have to redo a tough monster closet, or too late and miss something important. The game also has a unique art style as like Prodeus before, you have sprite based enemies and pickups. There’s no option to switch to models, but it works for the anime and Blake Stone: Aliens Of Gold pixel art blend they have going on. (Well I was reminded of Blake Stone anyway.) Cut scenes are done in these fantastically done animatics (Think Street Fighter V’s cinemas) while in-game graphics have everyone looking fresh out of an Apogee PC shooter circa 1993.

This one also throws in some sarcastic one-liners with its protagonist. Like Shelly in Ion Fury, Caroline here will do the same. Unlike Shelly, Caroline is far more psychotic. She relishes blowing away bad guys, eating the hearts they leave behind when they’re punched into giblets, and causing mayhem. There’s a lot more dark humor here, and the game never tries to be something it isn’t. It also has a rather fantastic Industrial Metal and Electronica soundtrack. This one by Michael Markie. The game only has one episode done, but the final game looks like it will have three based on what the current build’s hub level looks like. There are also a ton of skulls to collect throughout the stages, and it looks like there will be a place in the hub level for you to use them at some point. I really enjoyed playing through this game’s build. So I’m hoping the full game lives up to the first episode. The one bug I ran into (one that disables all of your weapons except the pistol) is apparently already being worked on. So the developers have been going out of their way to talk to players which is a positive sign.

Maximum Action

Maximum Action is an odd case. It started out nicely enough to intrigue New Blood, even getting partnered at one point. Then they were mysteriously dropped and the updates seemed to trickle. The game was picked up by Balloon Moose Games and carried on. A few days ago a major update finally dropped, adding a new stage and cleaning up a few things as well as changing composers. The game hasn’t excited me the way the others have, but there is a really cool hook here, and that is each level is a different movie scene. You basically play through the stage as pretend Dolph Lundgren, and at the end you can watch the replay. Which is pretty cool. And so the scenery of each stage is inspired by different action genres. Some have you doing James Bond style stealth missions. Others have you blowing away 80s drug dealers like the protagonist of a 1987 direct to VHS vehicle. And each stage also works as a sort of puzzle game as you have to figure out which bad guy to take out in which order. Or where certain bad guys enter a scene. Or when a vehicle will tear through. So it’s like a cross between Hotline Miami and Duke Nukem 3D. There are some goofy bugs though, particularly in the game’s playback feature where you can watch your performance. Here’s hoping this one can come out with some major fixes, because there is a really fun idea underneath it all. The Goldeneye 007 era blocky enemies are also entertaining.

HROT

HROT is another game that takes inspiration from the original Quake. It’s got the similar brown, drab palette. What really sets this one apart though isn’t just the Eastern European horror show it puts on display. It’s set in Czechoslovakia during the 1980s and the story centers around some mysterious activity. It’s entirely coded by one guy in Pascal. That in of itself is quite impressive. It’s also got some fantastic level design, on par with the classic id game. And like DUSK it does a lot with very little. It’s a bit on the short side as of now, but it’s one hell of a short ride.

WRATH: Aeon Of Ruin

3DRealms is publishing this one by KillPixel and what stands out on this one is that it is actually being made in id Software’s original Quake engine. But it does diverge from the Quake mold a bit. After all Quake II skewed the series purely into action, while Quake set things up in more of a dark, foreboding adventure mold for a possible continuation of its story. While Wrath doesn’t completely do that as it still has plenty of monster closets to deal with it does change things up a bit. Similar to Viscerafest you’ll need to collect items to create checkpoints. You’ll find a wide variety of different weapons to dispatch monsters with. The game also takes the hub world approach with different areas opening up levels to go through. Think in the vein of something like the original RAGE. There’s a fair amount of variety in terms of the different environments too. And despite the focus on exploration over action, there is still plenty of action. You’ll come away from many firefights on your last legs, praying you’ll find some health and ammo before finding another group of bad guys. Like Viscerafest and ULTRAKILL, Wrath also adds a dash attack. This function is quite useful navigating some of the vertical sections here as well as allowing you to conserve supplies by stabbing low level enemies instead of shooting them. It’s a pretty feature rich game too with a lot of customization options for all types of PC configurations. However, I have never gotten it to play nice with screen overlays, so I haven’t been able to livestream it myself. Still, it’s another interesting one you may want to look into.

And with that I’m off. I do have another few shooters in my Steam wish list so as I get to them I may do another one of these preview lists. And when some of these are completed I may be doing full reviews of some of them so stay tuned!

SiN Retrospective Part 1: SiN Review

Originally released in 1998, Ritual Entertainment developed SiN from humble, literal in-house beginnings. It follows the story of HardCORPS police officer John Blade. As well as hacker JC Armack (A play on id software founder John Carmack’s name), and the nefarious plots by SinTek. A mega pharmaceutical company run by a voluptuous, and sultry mad scientist named Elexis Sinclaire.

PROS: Huge environments. Solid mechanics. Multiple paths.

CONS: Blocky graphics haven’t aged well. Later levels aren’t as interesting.

CHEESE: It has a lot of the fun, direct to video movies of the 1990’s have.

The game runs on id software’s Quake II engine. To go back to it today admittedly will have you wondering how games from the era could have impressed us so much. But if you can allow yourself to get past the blocky, low poly look of the characters, and 16 bit textures you will find a lot to like. Levels are huge, and intricate. There are branching paths ensuring you can complete the stages different ways, and enter following levels in different areas. Character designs are fairly original with only a few fairly generic ones crawling out toward the end. There are a lot of fun weapons, some cool boss fights, and even a vehicle section or two. Bottom line there is a lot to like.

Seeing how I’m doing this review as a retrospective, I’m doing something a little bit different. I’ll be going over the storyline. Broadly mind you, but there will be a number of spoilers. The game is also a retro game at this point so for a lot of people it shouldn’t be that big a deal. Nevertheless, there will be spoilers.

SiN opens up with the main character. Blade on a police chopper flying in to thwart what appears to be your typical bank robbery. As Blade you will have to gun down a bunch of low-level grunts, (Some of whom are dressed like ninjas with machine guns) to infiltrate a bank. It is right out the gate you will see Ritual made great use of the engine to do in-game cut scenes leaving pre-rendered CGI cut scenes for the very beginning, and end of the game. After making short work of these criminals you’ll get out of the chopper, and fight your way through the bank to get to the vault.

When you get to the vault you’ll be introduced to Vincent Mancini. Mancini is behind this elaborate heist, and has drilled under the bank for an escape route. As you pursue him, you’ll find yourself going through abandoned buildings filled with more henchmen. A short time later you will be introduced to Elexis Sinclaire in another in-game cut scene. She meets up with Mancini on the roof of a building, and argues with him. It turns out that all she had hired the mob to do at the bank was steal a safe deposit box, but instead Mancini had gone all out with a full-scale heist. Here we see Mancini is your typical idiot lackey type henchman. Sort of the Beast Man to her Skeletor. Or the Star Scream to her Megatron.

Anyway, Elexis injects him with something before flying off in a chopper because now her corporation can be tied to the robbery. As Blade you’ll follow on through a construction area eventually leading to a Subway. At the end of this subway level you meet up with a huge mutant monster in a battle that will remind you of the final boss of Resident Evil 2. He crashes through the roof of the train, then darts off after being severely damaged. When the train reaches it’s destination, the mutant returns, and you have to gun him down. This boss takes a TON of punishment. But when you finally beat him, the next cut scenes show HardCORPS taking in the body, and discovering the mutant monster was actually Vincent Mancini. The autopsy also shows signs of a lethal new street drug called U4 in his system, and that SinTek labs is known for making components to it.

The next stage will have you infiltrate SinTek’s lab division. This mission is one of the hardest in the game because you have to be very stealthy. There are a bunch of worker characters like scientists, receptionists, and other low-level drones you aren’t allowed to shoot. If you do, someone will hear it, and pull the alarms. If this happens there will be a horde of spider robots with chain guns swarming you. Plus turrets on nearly every ceiling gunning you down. Your only hope of beating this stage is to sneak up on the low-level characters, and punch them in the back so they can’t trip the alarms. You also have to do this away from security cameras, and you have to find hidden paths like one of the air ducts (You jump into off of a ceiling fan in the break room) to do it. At one point you even need to steal a yellow jumpsuit, and key card to advance.

By this point it should also be obvious that the game retains the “Get the key” aspect of games of the time. So expect to find yourself not only shooting down bad guys, but also looking for keys. However, the branching paths of the stages also lessen this, because if you know where to go you can avoid some (Though not all) of the key cards. That said, it never seems to reach the level of the old DOOM games where you needed them constantly. Here it’s much closer to Goldeneye 007 on the N64.

When you do get the key you’ll get on an elevator, to go underneath the lab, and it is here you first learn about their plan with drugs. You have to sneak around the labs until finally you find this one head scientist who has the key to get further. Up until now the only major environmental action you’ve had other than blowing up background objects is one bank vault password on a computer. But here you will have to log into a system, and turn off a fan. Run through the fan tunnel before it comes back on. Turn on another terminal to unlock doors. Turn on another terminal to get a scientists’ password for another terminal. And there is another terminal that opens up a lab so you can grab a U4 sample. After getting that sample there is another computer that controls a U4 scanner that you will have to jack into so that JC can read the data for your case. After all of that you have to escape the lab through an underground sewage pipe, and make your way to a warehouse.

In the warehouse you find out that Elexis is planning to poison the water supply with this U4 which will do to everyone what she did to Mancini. You also find out after going through this warehouse that she has a SECOND lab under the warehouse designing cyborgs much like the Strogg from Quake II. Much like everything else out of B movies in this story she wants to take over the world. (Though one wonders just how much money her company will have left after all of this elaborate spending. When they’re not wondering how she’s managed to keep all of this stuff a secret.)

After a hard-fought battle through these labs fighting off hordes of enemies you do catch up with Elexis who taunts you before unleashing two NEW types of cyborg killers. These are easier to take down than the mutant Mancini boss, but you do have to keep circle strafing, and sidestepping to stay alive.

I should have probably mentioned this earlier in the review but you don’t just walk over things in this game to get them, you actually have to press a button (Default is E) to pick them up. Some of the items you press a second button (Usually ENTER) to use them. In any event hopefully you’ve figured this out by now. In all likelihood you probably have. After you beat these bosses it still isn’t over because you’ll have to get outside to call a chopper to a pad which of course, is guarded.

The next stage will have you doing A SEWER LEVEL. But I have to be honest, the sewer stage in SiN is actually pretty well done, and is fun thanks again to branching paths. Also helping is the fact that it doesn’t sport the usual “Sewer” enemies although there are mice. (Brief tangent, this game has TONS of mice in it if you’re willing to look straight down when you take seemingly random -1 damage)

When you do manage to get through the end of this you’ll find yourself at the Dam where you will have to find your way down to a secret bunker to stop SinTek from poisoning the water supply.

When you do, you will find it was all for naught.

Why is this? Because Elexis Sinclaire has more dough, and parallel plot points than Dr. Wily, and every one of James Bond’s adversaries combined. While you were busy making the water line safe, she was out hijacking nukes, and taking them to her secret uncharted island base.

From this point JC sends you out to an oil rig owned by SinTek. After quietly coming up on a raft, and sniping some guards you begin your next quasi stealth mission. Elexis lands on the top of the rig with her helicopter, and tells everyone to kill you. So of course now you have to sneak to the top, blowing away everyone you see to get to her. Really everyone. Big guys with wrenches, more ninjas with tank guns, even a few of those cyborgs show up. This is one of the most fun stages in SiN due to the variety of enemies, and the various ways to the top you can go. When you get to the top you will actually be going down, because the elevator leads to another shipping area where SinTek is moving cases of stuff to the island. After dispatching guards, and getting a few more key cards, you flood the undersea base, and follow the shipments out to sea. In the sea you will have even more new enemy types like underwater deep-sea divers with harpoons, and giant blue crocodile/fish hybrids. Beating this stage is less about gunning down baddies, and more about finding air bubbles so you don’t drown. Also avoiding falling rocks, and spikes. It seems like there’s always something falling on you.

Finally you get to the end of the stage, and onto Sinclaire’s island. Here you have to fight your way to the top of a mountain. There are not only SinTek mercenaries to worry about, but you also have to re-battle some of the monsters like the one Mancini turned into. Getting up to the top you’ll drive a jeep through a section of enemies to a lab. Sadly this is the one section where the controls are HORRIBLE.

You can’t steer very lightly, it’s mainly hard left or right turns. So to get to the top you’ll be letting off the gas, turning, then gassing again. Thankfully it’s a very small part of the overall game. But it is a nuisance.

When you do make it to the top, and slay the last few bad guys though, Elexis captures you, and injects you with U4. What follows is the most difficult, and strange area of the game.

“Area 57” as Elexis calls it has you in the role of the mutant. Clawing is your only weapon, and you can jump slightly higher. You also have to do things just the right way or you have to start over. For instance, if you kill the mechs you can’t get into the pipes to get to the areas you need to go. Doors permanently close behind you so you have to make sure you did everything properly before going through one. Do the stage properly, and you’ll find the antidote to U4, allowing you to go back to being human. After this trial, and error exercise Blade will find himself in a really bizarre area with guys in sacrificial coats, and doing experiments on mutants, and chunks of flesh. When you finally escape this area you interrupt Elexis who is in the midst of a meeting with villainous characters.

She goes on about how she stole her father’s research, and through these twisted experiments she hopes to use her drugs to create the ultimate being. In doing so she can use them to enslave the world, and rule it. Blade crashes the party, and even stops the nuke from being launched.

Only to have her capture him again.

This time though instead of being turned into a mutant monster, Elexis decides to throw you into a giant feeding ground for what has to be the biggest monster boss since the Cyber Demon from DOOM.

This thing is HUGE, and takes a TON of punishment. Even if you found all of the hidden super weapon parts throughout the game (Yeah I forgot to mention that before) it is still going to be a hard fight.

Where as the Cyber Demon from DOOM merely required you to duck out behind a pillar between lobbing tons of gunfire, this thing has no pillars to speak of. There are boxes of ammo for your various guns to be found on structures around the ring, but getting them takes some luck because of how many missiles he fires at you. Not only that but the monster taunts you, after it takes so much damage, and then increases it’s attacks. When you finally do take it down you’ll be treated to one of the most tongue in cheek CGI cut scenes in gaming history.

Elexis is in a chair as Blade confronts her. Instead of shooting her, he allows himself to be tempted by her assets just long enough for her to press a teleport button on the chair conveniently between her legs.

Blade does pull the trigger, but not in time, and she beams herself onto an escape rocket.

Back at the station, JC taunts Blade, and the credits roll.

SiN was a long game for its type, and the story while not the deepest was better than a lot of the thin stories back then. There was also a lot of stuff I didn’t get into, like the myriad of hidden secrets. There are a lot of Easter Eggs in the game if you want to take the time to seek them out. Other technical aspects in the game are pretty good here. The AI, and graphics supported realistic (For the time) limb damage. So characters acted different, depending on the situation. Sometimes they would hide. Other times call for back up. Textures on the models changed to reflect ongoing shoot outs. Shot a guy in the head? A hole appeared, and they usually died instantly. Hit a limb? the texture turned to a blood soaked ripped one, and they ran away. Point blank shotgun blast into a bank robber? His entire torso would giblet.

The last real games to do any of this sort of thing were the sequel to this one, and the Solider of Fortune series (Which sadly only really offered giblets after first one, and it’s low-budget second sequel didn’t even give that.). Sure a lot of games let you hack terminals, but in SiN they went as far as making everything a true command line OS prompt (At least in the vein of the game). Some of them let you type in commands besides simply unlocking a door, or entering passwords. The branching paths were also novel because not too many games around then or even since outside of RPGs really offered that sort of thing. It keeps the game from feeling too linear, and it’s something I wish games would go back to.

I also didn’t really talk about the multiplayer, which by this point is pretty moot. Not too many people play it due to the age, and while it is a fun death match game, other arena shooters, and modern multiplayer games have upset it. Still, you may want to check it out if you have yet to play through SiN. There is also the expansion pack Wages of SiN which is comparable to a modern-day DLC bonus episode. In it, Blade has to take down a crime boss who has somehow managed to get ahold of SinTek’s mutant drug technology. It isn’t very long, but it does have a few references to the main campaign.

This game would eventually find its way to Steam, and GoG. Oddly enough the Steam version had some censored textures throughout the game. The game also disappeared from the Steam store front. Though its sequel is still there. Fortunately, if my review has piqued your interest, it is still on GoG. You can also track down the original physical CD-ROM. Just know that there are a number of issues you may have running it on a modern PC. The GoG version is probably your best bet at this point in time if you’re a retro gamer. Still, for collectors, the original game isn’t terribly expensive or rare.

Final Score: 8 out of 10 (Still worth playing many years later)