Doom is an integral part of many people's personal gaming histories, but it only briefly waved at me as it passed me by. I was thrown into the world of shooters with a copy of Quake instead. I recently had a chance to play through MachineGames' additional Quake episode, which they released for the game's 20th birthday. MachineGames already breathed new life into another of id Software's venerable gaming properties with Wolfenstein: The New Order, and so proved that they could combine a solid grasp of the original game with a range of fitting new elements. That design philosophy is also apparent in their new episode for Quake, which demonstrates a keen insight into what makes Quake tick and a willingness to play around with it.
So, Wolfenstein has been successfully pulled into modern gaming and Doom followed suit with its celebrated 2016 reboot, but what of Quake? The next entry in the franchise was announced last year, but it's set to be an arena-based multiplayer shooter named Quake Champions. I was left with a feeling of oh-okay because we wouldn't see a return to Quake's singleplayer, and playing MachineGames' episode got me thinking what that kind of reimagining could look like.
In the later stages of Fullbright's Tacoma, you have to enter the code 0451, a set of numerals that has become synonymous with a lineage of games labelled as immersive sims (as explained in this video). Such games generally offer a specific set of tools and systems so that their interaction provides emergent, open-ended gameplay – unpredictable results from the combination of predictable variables. Tacoma decidedly does not fit that sandbox gameplay mould, but its inclusion of 0451 is more an homage to the overall legacy of immersive sims rather than a desire to be lifted into their pantheon. There are in fact a few recurring narrative elements inherent to immersive sims that Tacoma unifies and streamlines with a very clever conceit.
Note: The top of the Scripts page mentions that Hollywood still hasn't churned out a successful movie based on a videogame license, and it doesn't look like the recent Assassin's Creed adaptation has turned that tide. That's why Craig is here with a one-two punch: over at The Editing Room, he has gloriously abridged the Assassin's Creed movie, and here on this blog, he has written a new script that does the game a lot more justice.
With approximately ten thousand Assassin’s Creed games out there, it’s strange for me to remember that I was a bit surprised when Assassin’s Creed II was announced. Assassin’s Creed was a decided disappointment. Everybody (myself included) was dazzled by early footage which showed off the fluid and adaptable “free-running” element of the game, but then when it actually came out, everybody (myself included) was dismayed to find how tedious most of the other elements of the game were.
Welcome to Playthroughline, a personal blog focused on the implementation of stories in games. In addition to general musings about narrative design, you’ll also find a collection of scripts that basically do for videogames what The Editing Room does for movies.