[Throughout this project, I will be handing over to the viewpoints of others for guest posts. For this post I am happy to welcome back Josh Bird, who previously wrote about Bomb Jack all the way back in 1986]
In 1996, gamers — myself included — eagerly awaited the release of the latest first-person shooter (FPS) release from chart-topping wunderkind development team id Software. With the release of Wolfenstein 3D and Doom, id Software had basically invented the modern FPS genre with the introduction of fast-paced 3D graphics and detailed textured mapping. Their latest offering — Quake — promised another giant leap forward.
Bizarrely, Quake had its origins in the much-beloved Commander Keen trilogy, a series of side-scrolling platform shooting games featuring a plucky young kid and his adventures combating various zany alien enemies. In-game promotion in the series spoke of id Software’s next project — Quake: The Fight For Justice.
Over the course of the game’s erratic development the focus changed drastically, being at various times an adventure game, melee fighter, and 3D role playing game. Similarly, the game’s thematic choice shifted from medieval to Aztec before settling on the gothic theme that eventually was to become the hallmark of Quake.
The final outcome was a sophisticated product. The new ‘Quake engine’ allowed for real-time 3D graphic rendering, and a more advanced process for online matchmaking, providing a facility for online multi-player on an unprecedented scale.
These technical improvements were complemented by a number of new gameplay innovations, such as the introduction of bunny-hopping and rocket-jumping—unrealistic movement options that would soon become staples of the FPS genre.
The game’s gothic aesthetics and plot were also of note. Leaning even further into the demonic themes of Doom, Quake featured heavy satanic imagery. Levels were adorned with pentacles and flaming pits. The creepy imagery was further aided by the addition of a soundtrack—perhaps better described as a ‘soundscape’—composed by Nine Inch Nails’ front-man Trent Reznor. Of note, Reznor also provides the voice of the game’s protagonist.
Taken all together, Quake presented gamers with a game that was an improvement over the Doom series in almost every aspect. However, in many ways this wasn’t enough.
In 2020, the idea of new annual iterations of an existing FPS with minimal change is widespread. Each year a new version of Call of Duty is released, and while many complain that each version is simply a reskinning of the previous year’s effort the series continues to sell with.
However, for many gamers encountering Quake for the first time the evolution from the most recent id Software efforts was underwhelming. Wolfenstein 3D and Doom were both gamechangers. And while Quake did represent the next step in the FPS genre, it didn’t really feel like it at the time.
Quake’s single-player mode followed the familiar formula of exploring and solving puzzles to progress to the next level, all the while encountering hordes of demonic enemies determined to make this as difficult as possible. A convoluted plot involving teleportation devices, multiple dimension and magic runes added little to player enjoyment.
Ultimately though, it is multiplayer mode where Quake earns its stripes. The game’s mechanics lend themselves well to the various deathmatch options available. The quick respawn rate makes for fast paced fun, and ultimately saw Quake become one of the very first multiplayer games to be played at a professional competitive level.
Despite this however, despite its technical superiority, I and many other retro gamers don’t hold a place in our heart for Quake. Doom and Wolfenstein 3D represented revolutions, Quake was merely an evolution.
