Everyone knows ID Software and how great their contribution to the game industry. For more than 30-year history of the company there is nothing that would no longer be told in the most exhaustive way, whether it be thematic articles or video retrospects on YouTube. But at the same time, QUAKE, one of the 3-sign games of the studio, although it wears a cult status along with the same doom, but essentially remains half-forgotten and unclaimed today-it is much less likely to tell you much less about it. Doom is an icon that opened the door to the amazing world of virtual cruelty, which to this day swear in love and fidelity of particularly zealous fans; Wolfenstain 3D was the first and set the FPS genre that is now the usual appearance, and by the present day it was also revealed by the widest series of excellent games. And what quake? Quake somehow there was no place on this pedestal of history.
I’m saying that about the 1st Quake, which, with subsequent parts of the series, is much related, except for root gameplay and inherent in the engine of the game of inertia. Quake 1996 to this day is a work of a unique sense, intelligible in itself a dynamic and progressive gameplay for its years, wrapped in htonic horror and death. People who, in the old days, with perfect seriousness discussed the cruelty of Doom and his corruption on the psyche of the youths, must not have imagined themselves, which could also be so. No matter how subsequently the industry tried to recreate something like Quake, few in which project managed to equally harmoniously reproduce an intense and meditative gaming process, put on a picture of an emotionally detached, but truly infernal environment.
"Something similar quake," because, in my humble glance, Quake made for the genre much more her predecessor, demonstrating how to work with a seemingly single-assembled shooter subtly and inventively. Doom is a spin -firing shooting at dozens of targets, with interruptions in the ugly left -design and philosophical thoughts about where, your mother, I go – neither how the game looks, nor the rudeness of general mechanics, nor the tests built around it, do not encourage the DOOM seriously. This thought finds its confirmation in the fact that imitating Doom turned out to be very simple, a vivid example of which is, for example, Heretic from another studio. With Quake, this is not possible to this day, because in addition to artistic identity, the game has its own unique sense of rhythm.
Quake does not seek https://spinsalacasino.co.uk/games/ to fill the player with the Horde of Enemies, rarely exposing more than two or three of them in front of him at the same time, preferring the elaboration and tension of each individual clash to the number. After all, Quake, among other things, is also a manifestation of the idea that not high variability of gameplayed mechanics and opportunities makes the game process a variety of and interesting, and the number of situations that the game can create with what it already has. Quake is collected manually and it is felt – each new corridor or pavilion offers a number of the same opponents, but they are placed in the same ratio to exclude any automatism and rehentry of overcoming such obstacles from the playing.
This is best demonstrated on the example of ogres, healthy men with saws and grenade launchers – one of the most common types of threats in the game. Ogra adhere to one single pattern of behavior, but the battle style against them changes dramatically depending on the conditions of the area. This can be either a slow shooting of the target due to the shelter with the avoidance of the return shells, as well as intensive dashes in the open area, requiring dodging grenades that have the ability to bounce off the walls. Ogra can be located both on hills and obstacles; Both in a small group and in combination with monsters of a different type-all this would seem obvious things, but in Quake, how else do you notice how much a new fight is qualitatively different from the previous one, and how well the design of the levels around such micro-mys is built. Quake this is entirely about accents and directing, and in these aspects the game went incommensurably further than the same doom.
The concept of "directing" seems somewhat foreign in relation to retro-game, built entirely around the firing mechanics-however, it is here. As in Doom, it is necessary to look for the keys to open the doors, but, unlike a more eminent game, in Quake, it is done humanly, does not turn into beats with his head against the wall and is rather a narrative character. At one of the levels, the key was three meters from the door unit, and only I managed to think about the unintelligibleness of such an arrangement of the desired objects, as a demonic horde burst out of my gate, forcing me to start out of surprise. At a different level, Quake teases the player, showing him the key necessary for passing and immediately closing the doors in front of him, forcing him to squeeze out on narrow bulkheads with a constant risk of landing in an ambush.
Levels in Quake, as a rule, are pretentious and branched, but not confusing, which is important – you almost always understand exactly where to go. Although there are enough disorienting spaces here, because the game enjoys its vertical architecture. Once, finding a secret exit from the level was even easier for me than finding a real one – but I found it, and almost intuitively. The logic of the levels is built so that even the fall from the bridge during the battle is not a punishment, but an opportunity, because there, in the water, there may also be supplies, and an elevator who immediately returned you back to the battle. Fans of Souls-Like games experiencing ecstasy from sticking needles under their nails, similar to someone else, but Quake, although he loves traps, is not trying to mock the player, leaving him a sufficient degree of freedom even in the most constrained conditions.
Even in relation to the battles with the quake bosses, he manages to show identity. Roughly speaking, the bosses in the game are two species – plot, which are killed even without the use of weapons, and chambers, white ugly spurs, throwing lightning. The latter, due to its large numbers, would look like an example of existing universality and bad taste, but the game will again not skimp on imagination and every fight with such a monster looks in its own way, exclusively. For the first time, this is a boss file in the most canonical sense, requiring maneuvering between the columns, evading enemy attacks, choosing the moment for the return fire. In the future, the situation is constantly changing, and this creature appears in the most unpredictable places-sometimes even in a tight bulkhead right in front of the player, which was done more likely to disorient and frighten it, but the rocket launcher and lightning guns, or even a “4-multiple bonus bonus,” confidently say the monster to death for death.
Let Quake belongs to the number of ancient shooters, where the shooting is presented most arcasually, the weapon is devoid of return and there is even no option of its reloading, but it is nice to shoot in the game. The weapon sounds implausible, but as if authentic by its nature – discreet, but solid. There are few weapons in Quake, and half of the trunks is only a stronger variety of existing ones, but their functionality is more than enough for a comprehensive and variable response to the tests proposed by the game. The opponents themselves affect the sensation of the quality of shooting – they are usually strong, which compensates for their small number, but not so much that the weapon in the player’s hands ceases to look formidable. Enemies-people-and there are in the game about infernal monsters and such-completely die from one accurate shot from a gun, and the Ogra, in turn, enter into a short state of stunning, in which they are deprived of the opportunity to attack. Impact in shooters is extremely important, and Quake gives it properly.
Quake looks great today, which is not much involved in the not -so -long remaster, kindly provided to the owners of the original version of the game in Steam. There is a rudely placed in Quake, their special charm-no matter how close modern retro shutters are to such visual aesthetics, but they cannot achieve the authenticity of the project created in those days and in those conditions. The game, although it contains scenes of blood and violence, of different demonic creatures, but does not boast of them, preferring in the most part neutral scenery, whether it be castle walls or sterile technological complexes. Perhaps a greater degree of cruelty and dissected meat would have been beneficial for the benefit, but perhaps on the contrary, it would only spoil the general mood. The game is unconditionally have its special melancholy-brown character, and rare rafting scenes and the same crucified bodies only emphasize the contrasts of the other world perverted world.
The main advantage of Quake today is that the game is not at all obsolete morally, and is played as well as during the years of exit – that I myself can confirm, no matter how variable children’s memory. So, in essence, immortal. And even if, by virtue of age, I do not remember too clearly how it was then, more than 20 years ago, but the general feeling from the game remains the same that allows you to move to a simple-minded past for a moment. The unhurried scrupulous, experiencing a little disturbing and even frightening the moments-the 1st Quake remained the best for me what was done in his lifetime Id Software. A computer game, whose influence on the industry is felt much more tangible than in the case of a crowned doom, and which represents something boundlessly larger than fun from the category of "run-shoots". And, of course, Quake today provides unique experience and immersion personally to me.