BioShock E-Book

Nicolas Courcier

• Herausgeber: Third Editions
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Seitenzahl: 364

Beschreibung

A unique and extraordinary saga of video games.

In just three installments, the BioShock saga made a special place for itself in the hearts of players. These games boast completely unique and extraordinary stories and worlds. The first two installments take place in the underwater city of Rapture. Immersed in the Art Deco style and a 1950s atmosphere, the player advances through an open, intelligent gameplay that encourages creativity and careful use of the resources provided by the surroundings. BioShock Infinite, the third installment, draws us in to explore the floating city of Columbia in a uchronic, steampunk-laden 1912.Third Éditions aims to pay tribute to this hit series—which, despite its short history, has already gained critical acclaim. Dive into this unique volume that explores the games’ origins and provides an original analysis of each installment.

Discover a complete analysis of the three installments of the BioSchok Saga! The video game will not have secrets for you anymore !

EXTRACT

After years marked by total abstruseness, the early 2000s saw the transition of PC games to the world of consoles. In market terms, game consoles had reached a general-public status, ensuring high popularity—but the PC market put up strong resistance, in particular by selling downloadable games through stores such as Steam.

Numerous PC-based developers, such as Warren Spector (Deus Ex, Epie Mickey), Peter Molyneux (Populous, Fable), and of course Ken Levine, began developing for consoles. In the same vein, numerous genres that were typically destined for PC gaming began migrating to consoles. This change certainly had numerous causes, one being Microsoft’s arrival on the console market with Xbox (with architecture close to a PC). In addition, typical inconveniences in PC development were eliminated (games no longer had to be designed for a wide variety of configurations, as a console by nature has a stable internal architecture). Finally, there was the question of pirating—even though it exists on consoles, it is much more common on PCs. 

ABOUT THE AUTHORS

Nicolas Courcier and Mehdi El Kanafi - Fascinated by print media since childhood, Nicolas Courcier and Mehdi El Kanafi wasted no time in launching their first magazine, Console Syndrome, in 2004. After five issues with distribution limited to the Toulouse region of France, they decided to found a publishing house under the same name. One year later, their small business was acquired by another leading publisher of works about video games. In their four years in the world of publishing, Nicolas and Mehdi published more than twenty works on major video game series, and wrote several of those works themselves: Metal Gear Solid. Hideo Kojima’s Magnum Opus, Resident Evil Of Zombies and Men, and The Legend of Final Fantasy VII and IX. Since 2015, they have continued their editorial focus on analyzing major video game series at a new publishing house that they founded together: Third.

Raphaël Lucas - Raphaël has over fifteen years of experience in the world of video game writing. A reader of Tilt and a fan of a renowned French video game journalist AHL, he first pursued a university éducation. After obtaining a master‘s degree in history from the University of Paris 1, he then became a freelancer for PC Team before working for Gameplay RPG and PlayMag. In October 2004, he joined the group Future France and worked for Joypad, PlayStation Magazine, Consoles + and Joystick, not to mention a few other contributions to film magazines. Today, he writes for Jeux Vidéo Magazine as well as the magazine The Game. He is also the co-author of The Legend of Final Fantasy IX.

Leseprobe

For JMC. MC. both MEs B and MN.

BioShock. From Rapture to Columbiaby Nicolas Courcier, Mehdi El Kanafi and Raphaël Lucas published by Third Éditions 32 rue d’Alsace-Lorraine, 31000 Toulouse, France [email protected] www.thirdeditions.com

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Published by: Nicolas Courcier and Mehdi El Kanafi Text by: Nicolas Courcier, Mehdi El Kanafi and Raphaël Lucas “The Music of BioShock” chapter by: Damien Mecheri Edited by: Thomas Savary and Zoé Sofer Layout: Julie Gantois Classic cover: Johann “Papayou” Blais “Collector” cover: Bruno Wagner Translated from French by: Meghan McCallum (ITC Traductions)

This educational publication created by Third Éditions is a tribute to the popular video game series BioShock. The authors aim to tell a piece of the BioShock games’ story in this unique collection by deciphering the inspirations, context and content of these elements through reflections and original analyses. BioShock is a registered trademark of Take-Two Interactive Software, Inc. All rights reserved. Cover art is inspired by the artwork in the BioShock video game series.

English edition copyright 2017 by Third Éditions.

All rights reserved.

ISBN: 979-10-94723-63-0

Foreword by Greg Zeschuk, BioWare Studio Co-Founder

I grew up playing role-playing games and had the great fortune to begin my personal gaming quest in the late 1970s, when gaming really began. Over the years I continued to play almost every RPG that came out in an effort to remain informed on every new feature and approach used by the most modern games of the time. I also had the great fortune to be one of the founders of BioWare, and had the chance to work on a number of successful role-playing games. It’s fair to say I have a bit of a passion for a well-made game.

So when I was asked to write a few words of introduction for one of my favorite games of all time, BioShock, I jumped at the chance. I felt I could share how the game really impacted me, and how it advanced the art of gaming.

In BioShock, like most games, the first few moments are an experience of exploration: learning the controls, learning how to explore the environment, and eventually achieving a certain level of comfort in your knowledge of how the world worked. BioShock was one of those rare games where that comfort never appeared. As a player I was always on edge, uncertain what to expect next, but I was also mesmerized by the world woven by the Irrational team.

BioShock was the one of first examples of what I would call environmental storytelling. Rather than hitting the player over the head with the narrative arc (like we tended to do at BioWare), BioShock embedded the story in its world, like breadcrumbs to follow. And, if you watched really carefully you would find subtle clues of what happened in Rapture. The more you searched, the more you learned about yourself, about Rapture, and of course about Andrew Ryan.

As gamers we‘re conditioned to anticipate boss fights with a level of grim enthusiasm. It seemed like Andrew Ryan was the big boss that we were going to battle, and the grand narrative carefully set up the encounter, but what you discovered as a player was completely different. The phrase “a man chooses, a slave obeys” has stuck with me ever since. And that is all I’ll say about what I think is one of the most powerful moments I’ve experienced in a game. I’d expect that if you’re reading this book, you’ve played BioShock, and in the rare case you haven’t you need to play it immediately to understand the nature of man.

GregZeschuk

Greg Zeschuk was born in 1969. In 1995, he co-founded BioWare with Ray Muzyka. The two worked on Baldur’s Gate, Neverwinter Nights, Star Wars: Knights of the Old Republic, Jade Empire, Dragon Age and Mass Effect. After the publisher Electronic Arts purchased BioWare in 2012, the two founders left their positions and turned to various other professional ventures. Zeschuk’s passion for beer, shared among ail the writers of this work, led him to start a blog and show about the topic.

Preface

THE BioShock saga indisputably bears the mark of its creators. The team from the U.S. developer Irrational Games was led by Ken Levine, who made a name for himself with his first game, System Shock 2. The similarity between the two titles is no coincidence. Above all, it shows a connection between the sources of inspiration that drove their creations. The trademark word, Shock, seen again in the BioShock Collection, draws ties between games with extremely detailed gameplay. Behind the controller, the player has a wide variety of tools at his disposal, and is free to use them at his convenience. His playing technique depends directly on his own hopes and desires. Does he want to be strong and forceful? Or maybe a little more subtle? Does he expect to use reflection and anticipation as he moves forward? All of this is of course possible, because the range of actions is so open—despite the apparent simplicity of the first-person shooter (FPS) genre. The Shock identity is built and develops in an extremely detailed universe. It is coherent and credible, and offers a perfect environment for this open gameplay. While it is high quality, the established universe never actually defines the game. It accompanies it, envelops it, but remains a backdrop that could be swapped out for another. Finally, each part of the Shock saga sets itself apart with its mature, intelligent approach, which leads receptive players to carefully reflect on mankind and its dreams.

While this technical and artistic touch is effectively expressed through the various titles, it’s also shown though the game‘s ability to progress and adapt over time. Although a fingerprint of the Irrational Games philosophy is found in all their games, System Shock 2, BioShock and BioShock Infinite are distinguishable from one another. System Shock explores science fiction, trapping the player on a spacecraft, while BioShock enchants us with biopunk and Art Deco. Without a doubt, in a perfect world—without the pressure of an editor wanting to make a profit from a well-known name, or the weight of expectations from the fans of Irrational Game’s previous game—the third installment, BioShock Infinite, taking place in the floating city of Columbia, would be called InfiniteShock.

In this Shock game, the BioShock saga first paved a path for its own diptych. It should be noted that narrative FPS games taking place in an underwater city are few and far between. Although they are part of a wider world of thought, they managed to introduce and complete a brilliant narrative arc setting their own standards. BioShock has its own identity, which is visual first and foremost. Green is a central color, and the humidity is so palpable that players trying the game feel claustrophobic. This saga is passionate in and of itself, and deserves our attention.

Sit back and let yourself be carried away into this adventure. Taking place in 1960, the game puts you in the role of Jack, a survivor from a plane crash in the middle of the Atlantic Ocean. By chance, he discovers the underwater city of Rapture. Built by Andrew Ryan with the goal of creating a utopian society where the best minds of the 20th century would be fully free to practice their art and science, Rapture became the theater of a short-lived dream.

Next, settle into this canon, which will lift you through the clouds to Columbia, the floating city, held by the iron fist of the Prophet Comstock. We are now in 1912, playing the role of private investigator Booker DeWitt. You must find young Elizabeth, who possesses incredible powers that can create links to other dimensions.

Nicolas Courcier and Mehdi El Kanafi

Fascinated by print media since childhood, Nicolas Courcier and Mehdi El Kanafi wasted no time in launching their first magazine, Console Syndrome, in 2004. After five issues with distribution limited to the Toulouse region of France, they decided to found a publishing house under the same name. One year later, their small business was acquired by another leading publisher of works about video games. In their four years in the world of publishing, Nicolas and Mehdi published more than twenty works on major video game series, and wrote several of those works themselves: Metal Gear Solid. Hideo Kojima’s Magnum Opus, Resident Evil Of Zombies and Men, and The Legend of Final Fantasy VII and IX. Since 2015, they have continued their editorial focus on analyzing major video game series at a new publishing house that they founded together: Third.

Raphaël Lucas

Raphaël has over fifteen years of experience in the world of video game writing. A reader of Tilt and a fan of a renowned French video game journalist AHL, he first pursued a university éducation. After obtaining a master‘s degree in history from the University of Paris 1, he then became a freelancer for PC Team before working for Gameplay RPG and PlayMag. In October 2004, he joined the group Future France and worked for Joypad, PlayStation Magazine, Consoles + and Joystick, not to mention a few other contributions to film magazines. Today, he writes for Jeux Vidéo Magazine as well as the magazine The Game. He is also the co-author of The Legend of Final Fantasy IX.

Introduction: A Genre Under Construction

No Gods or Kings. Only Man. – Rapture’s motto

THE first installment of BioShock and its continuing saga weren’t born out of nothing. Ken Levine’s works are successors of earlier games and systems of thought. As such, the games can only be fully understood by looking back in history. This calls for a step back in time...

FROM PCS TO CONSOLES

After years marked by total abstruseness, the early 2000s saw the transition of PC games to the world of consoles. In market terms, game consoles had reached a general-public status, ensuring high popularity—but the PC market put up strong resistance, in particular by selling downloadable games through stores such as Steam.

Numerous PC-based developers, such as Warren Spector (Deus Ex, Epie Mickey), Peter Molyneux (Populous, Fable), and of course Ken Levine, began developing for consoles. In the same vein, numerous genres that were typically destined for PC gaming began migrating to consoles. This change certainly had numerous causes, one being Microsoft’s arrival on the console market with Xbox (with architecture close to a PC). In addition, typical inconveniences in PC development were eliminated (games no longer had to be designed for a wide variety of configurations, as a console by nature has a stable internal architecture). Finally, there was the question of pirating—even though it exists on consoles, it is much more common on PCs. As a result, major developers such as Valve Corporation (Portal 2), BioWare (Mass Effect) and Bethesda Softworks (Fallout 4 and Skyrim entered the market, and the general mentality changed.

Game genres that were very popular on PCs invaded consoles, though they had to adapt. BioShock is a perfect example of this phenomenon, as it was developed both for PCs and consoles from the beginning. The first challenge when such an FPS game transitions from PC to console lies in adapting its maneuvers to the console controller. Headshot junkies will tell you that nothing beats the precision of a mouse. For this reason, console FPS games had to change to allow for different gameplay that is less based on the player’s dexterity. We saw the arrivals of viewfinder assistance, a high impact tolerance and lower precision standards. In the same vein, game interfaces and even inventory management became simplified. With BioShock, Irrational Games chose to give up the complexity of the System Shock 2 interface, instead getting closer to an experience for the general public that was less complicated and obscure for non-experts. From a more technical standpoint, FPS games, which were once the standard for PC technology, often drain resources and use the latest graphics cards. They, too, had to adapt to a console transition. A game like Crysis 2, for example, still looks better on a PC but had to create visual and technical consistency between all versions. Despite the disappointment of the most avid PC players, we must admit that sales numbers reassured publishers in their hopes of migrating to consoles.

The results came quickly. After just a few years, FPS games are now just as big of a genre on consoles as they are on PCs. They have even gained a large following on consoles; Call of Duty is just one example that easily proves this. BioShock earned its stripes both on consoles and PCs. Even though Irrational Games continued supporting the PC market, BioShock Infinite was released for consoles at the same time. A whole game philosophy has developed on consoles, and although some games (MMORPGs, RTS games and highly complex simulations such as Flight Simulator) remain isolated in the world of PCs, there’s no doubt that the publishers are working on all fronts to appropriately adapt them to the console market. Final Fantasy XI (2002) by Square Enix remains an attempt to migrate MMORPGs to consoles; on the other hand, R. U.S.E. (Ubisoft, 2010) succeeded in offering a console-based RTS game.

A NARRATIVE FPS

At its core, the first-person shooter (FPS) genre is a subjective-view game style in which the player must fight waves of enemies with a firearm. Games such as Wolfenstein 3D, DOOM, Quake, Unreal Tournament and Duke Nukem made FPS the leading genre in the industry. The strength of this style lies in its immersive abilities. The point of view used simulates the given character’s field of vision and throws the player right in the heart of the action. Game genres were created by a handful of pioneers, but their definition and categorization has been distorted by the sheer number of games. FPS games follow this general rule. The immersive style created by the first-person view in action games primarily served to set the scene for battles. However, certain games quickly distinguished themselves by bringing more unique themes to the genre and using this subjective representation to better tell a story. Deus Ex, Metroid Prime, King Kong and Half-Life are examples from this group of games that use projection into the action to enhance narration. Although BioShock is still a shooter game, like its abovementioned predecessors, it also falls into the narrative FPS category.

How can a story be told from a subjective viewpoint? The first games that attempted to answer this question had to resolve certain issues. First, when the entire interactive part takes place in a subjective view, it becomes challenging to use cutscenes to move the story along. Video games have always had an eye on movies, which serve as a model that they continuously strive to follow. In a movie, the director has total control of what he wants to show the audience; in a video game, this guarantee doesn’t exist. Developers must therefore skillfully manipulate the player’s movements and attention, while also granting him freedom for interaction. Narrative FPS games therefore juggle with the platform’s own contstraints rather than trying to mimic a movie.

In an FPS game, the fast-paced action is a key characteristic that often defines the genre. Most of the time, the player must overcome never-ending waves of enemies. The challenge, therefore, lies in introducing plot information in the middle of an onslaught of attacks. Imposing non-interactive cutscenes would interrupt the action and certainly break the flow of the adventure. Instead of taking control away from the player, Ken Levine chose to give BioShock a theatrical introduction. Through tricks such as lighting and sound, the game leads the player to look in the right place at the right time, without taking the control away from him. Levine drew inspiration from the theater to use powerful visual and audio effects to attract the player’s attention, without ever making him give up control. Otherwise, Levine insists that he hates cutscenes and games that overuse them. As a player, he finds them so invasive that he frequently skips over them. He believes that cutscenes leave the player passive, and prevent him from compiling the information communicated through the medium—or, at least, make it less effective than if the player himself discovered the information by searching a level. Confirming these viewpoints, Levine says that he learned much more through City 17 (the city where the adventure in Half-Life 2 takes place) than in the entire universe of the Final Fantasy games, a saga that overuses cutscenes. For the Irrational Games team, the player’s control of his avatar is a fundamental aspect that must be preserved. In BioShock, the player can always turn away from the action... at the risk of permanently changing the effects of the introduction and their own understanding of the story. But what would happen if the player decided to kill a character that was important to the story? To resolve this issue, Levine limited interaction with non-player characters that are critical to the plot by placing them out of the protagonist’s reach (behind a window, out of sight speaking over a radio, etc.). This is an effective strategy for preserving a certain level of consistency while also giving the player complete control of his avatar at all times, with no risk of compromising plot advancement and understanding of the storyline. In BioShock, the only time that Levine takes back the player’s control of his avatar is during a critical, very symbolic sequence: the scene where the protagonist meets Andrew Ryan. Until then, it is Frank Fontaine, under the pseudonym Atlas, that controls Jack—and, by extension, the player—through the request “Would you kindly.” Ken Levine deliberately chose to take control of the character away from the player for the moment when Ryan is introduced. This sequence is not playable, as the decision to kill Ryan does not lie with the player but rather with Fontaine, who continues pulling the strings for this moment in the adventure. Levine states that when Ryan decides to let himself be killed, he is in fact addressing the ultimate insult to the player (as he cannot react) by confirming that he would have controlled his destiny to the end. After this scene, the player finally regains control of the character and can make his own decisions. Fontaine’s mental control has finally stopped. Ken Levine wanted to make the player understand retrospectively that he had been manipulated the whole time, before giving him the opportunity to truly control his fate.

Inspired by Valve’s work on Half-Life, Irrational Games started addressing the issue of narration with System Shock 2. Through audio recordings spread throughout the levels, Levine presents the player with the opportunity to follow the progress of the storyline. The designer repeats and deepens this attempt at alternative narration in BioShock. It is a good way to show the game’s universe instead of explaining it—a nuance that is fully realized in the video game. Historically, games start with an overview of the protagonist, his quest and challenges. Then, through small sketches appearing in key locations, the adventure unfolds. BioShock steps away from this blueprint and shows more depth: Levine prefers to narrate several snapshots of life. As the player collects these moments and reorders the events, the narrative puzzle is revealed. The game’s universe is extremely detailed, without ever infringing upon the interaction. Additionally, the player—who wouldn’t be interested in dramatic plot elements— can concentrate solely on the action, uninterrupted. Although this type of approach seems to have become widespread, Levine remains strict. He reaffirms that the industry overall is still too lenient and lazy when it comes to narration, too often choosing the easy (less interesting) solution and producing long, tedious cutscenes. But to understand the choice of a narration written into the gameplay, in the environment and the architecture, we have to look way, way back to the origins of video games: the mid-1970s, when genius American students coded the first RPG prototypes on their universities’ primary machines.

ERUPTION

When video games exploded in the early 1970s, they first used simple 2D formats: sprites moving throughout minimalist fixed scenery, with no real perspective due to technical constraints. Pong, Pac-Man and many others, while held to these limitations, brought immediate, regressive enjoyment. At the time, there was a near-simultaneous emergence at American universities of several phenomena. First was the arrival of tabletop role-playing games with Dungeons & Dragons (D&D) by Gary Gygax and Dave Arneson (in late January 1974), for which an original version was tested in strategy game clubs on campuses and during wargamer conventions. Next there was the appearance of the first mainframe computer video games, played on a centralized network linking dozens of terminals to a large central computer, often within a single room. On these PDP-10s and PLATO systems came the sudden release of textual adventure games (such as Colossal Cave Adventure from William Crowther in 1976), the first prototype RPGs similar to D&D (such as Dungeon from Don Daglow and dnd from Gary Whisenhunt and Ray Wood, both in 1975), and first-person games such as Spasim (a 1974 proto-Elite), Maze War (1975, a hide-and-seek maze game) and Moria (1975, an RPG allowing ten players to play together). Around this time Ken Levine, who was still a teenager, discovered Super Star Trek on PDP-10. This was a non-official strategy game that shaped the future designer’s preferences for intellectual games. Now he only swears by XCOM and Company of Heroes 2. The arcade has not been outdone, and futuristic shooting games such as Starhawk (1977) and Tail Gunner from Cinematronics (1979, a spinoff of Super Star Trek) emerged before consoles and PCs became leaders with games such as Star Raiders on Atari 400 and 800 in 1979. At the time, it was normal to draw inspiration from competitors and earlier games (especially at universities). But this form of representation slowly started to make a place for itself in 1980 with Battlezone (with a maneuverable tank and destructible surroundings) and then in 1983 with Star Wars (with 3D wireframe graphics, as the journalists of the time called them) calculated in real time.

CROSS-GENRE

While arcade games came first with real-time 3D, PCs followed, especially with RPGs. During the 1980s, the genre took hold of this first-person perspective and applied it in a whole new way. With Akalabeth, one of the first RPGs marketed for Apple II in 1979, Richard Garriott (called “Lord British”) combined a schematic 2D world view (called topdown perspective) with a subjective view, when it came to clearing out dungeons. During this decade, all RPGs coming out on computers (and some JRPGs) followed more or less the same formula, with a few notable exceptions: Wizardry (Sir-Tech, 1981), The Bard’s Tale (Interplay, 1985), Advanced Dungeons & Dragons: Treasure of Tarmin on Intellivision (APh Technological Consulting, 1983) and Might and Magic (New World Computing, 1986) used only a subjective view. In all of these cases, turn-based combat and case-based movements predominate, for technical reasons. However, there were already the beginnings of a hybridization of these genres, in particular in the works of Mike Singleton. For example, The Lords of Midnight on ZX Spectrum (1984), available today on iOS, offers a total experience between a multi-character textual adventure and strategy game, while always showing a panorama of the location surrounding the player. It almost makes you dizzy. As for RPGs, there was a parallel emergence of another school, that of Elite, the first world that was fully opened in 3D and procedural creation. While it is impossible here to go back to the development of the game from David Braben and Ian Bell, its release on BBC Micro in 1984 shook up the norms by pushing programmers to have more technological ingenuity to create open worlds that were even more detailed. The best example is still the Mercenary trilogy from Novagen Software (between 1985 and 1992), a series of adventure games in which the player’s avatar moves by foot, by ship, then planet to planet, before becoming involved in the actual course of these stars.

HEADED TOWARDS ADVENTURE

Starting in 1986, the taste for first-person real-time adventure peaked more than ever before. There were several reasons for this trend. First, this was the era when the first graphics engines with polygonal 3D, or full surface, emerged. From 1986 to 1992, the developer Incentive Software created several games with its proprietary engine, Freescape: Driller, Total Eclipse and other productions confirmed that real-time 3D could represent features other than space battles, such as pyramids and trap castles creating a unity of space in the games. With multiple formats (Driller was available on both Spectrum and Amiga), the developer also proved that such technology can be portable between very different machines without having to entirely reprogram it. Other productions show that this representation allows for new gameplays. Cholo (Solid Image, 1986) integrates computer hacking, allowing the player to control several drones with various abilities or to use surveillance cameras. Numerous publishers and writers followed this path: The Colony (Mindscape, 1988) and Infestation (Psygnosis, 1990) use humans, alone and lost on space stations. With real-time first-person polygonal 3D and a brilliant use of sound (such as the breathing of the protagonist in Infestation, which echoes in the speakers), it was almost like survival horror before its time, with Alone in the Dark not coming out until 1992. Finally, there was a revolution that left a permanent mark on a wide range of adventure games: Dungeon Master, in 1987. This game from FTL Games takes place in real time, manages the characters’ hunger and thirst and allows immediate grabbing of nearby items. There is, of course, no calculated 3D here, but rather additions and noticeable improvements in the genre, such as creatures that move repeatedly at each level, attracted by sound or light. We won’t talk about a BioShock-type ecosystem (where enemies dont interact with each other) but rather interesting early signs, as until then RPGs had settled for random meetings. FTL’s game was so successful that it was copied by most of the leaders of the time, such as the three installments of Eye of the Beholder (Westwood Studios, 1990-1993), the various Antony Crowther games (Captive in 1990, Knightmare in 1991, Realms of the Haunting in 1997), Black Crypt (Raven Software, 1992) and Lands of Lore (Westwood Studios, 1993).

COMPLETE HYBRIDIZATION

By hybridizing all the existing genres, two games radically transformed the way we see 3D and first-person perspective. First, there’s Mike Singleton’s stunning, radical game Midwinter (1989), in which the player must control several characters and organize the protection of a snowy island from an invader. Driving vehicles, RPG, shooting, strategy, infiltration and action come together naturally in an open, snow-covered world. Such a game had never been seen before, and it was perhaps the first of the sandbox-type open-world games that we see today. Certain specific features (narration from multiple characters, ski simulation, time limit for completion, a map showing the enemy clan’s actions, etc.), some resulting directly from The Lords of Midnight, were not reused in any other games. It would be impossible to not mention the very underestimated (and almost forgotten) Corporation (1990). Developed by Dimension Creative Designs (Bill Allen and Kevin Bulmer), Corporation aimed to be the improbable synthesis of change of pre-FPS games/RPGs. It marked not only internal future changes, but also upcoming themes: cyberpunk worlds, multiple improvements of the protagonist character, lock picking, hacking and infiltration. Hints of System Shock and Deus Ex are there, in this bubbling concoction which is certainly not perfect, but largely ahead of its time as it preceded games such as Ultima Underworld and Wolfenstein 3D by several years. Only a large undertaking, quite distanced from that of Ultima Underworld, and a serious gray aesthetic, deprives it from the recognition it would have deserved from the general public, or its integration into the chronology of FPS games. It was both too advanced for its time in terms of concept and, as a contrast, too invested in its time through its gameplay. It was paradoxical.

THE LOOKING GLASS ODYSSEY

There’s a reason why Ken Levine with BioShock and Raphaël Colantonio with Dishonored today claim to be successors of Looking Glass. Too often, the media highlights the Deus Ex games to illustrate FPS/RPG hybrids, forgetting to mention that Looking Glass, before the adventures of agent J. C. Denton, learned from the mistakes of the avant-garde Corporation to offer stronger, better managed experiences that also had better narratives. Returning to this time, this decade of unique games that today are cult classics, means also realizing that the very redefinition of the FPS experience as we knew it in this generation of consoles involves a handful of people who have run into each other and are associated with games that, in the end, had poor sales.

SIX FEET UNDERGROUND

Behind Ultima Underworld: The Stygian Abyss and Looking Glass lies Paul Neurath, designer of Autoduel (an adaptation of the board game Car Wars from American creator Steve Jackson) and Space Rogue (1989), a subtle combination of Origin System (Ultima)-style RPG and Elite-style space simulation. But for Paul Neurath, RPGs have a crucial lack of immersion, as they are centered on the management and strategy of a team, whereby in tabletop role-playing games the players more often tend to interpret their own characters, relegating the whole “rules” part to the game master. In all, RPGs offered up to this point on computers and consoles, which were case-based and turn-based, did not properly align with the role-based experience. It was as though computer role-playing games (CRPGs) were lost from the start. For Neurath, the solution can be found in games such as Dungeon Master and Corporation, in the first person perspective that gives the player full control of the action. The developer then started to make trial games for Apple II with an engine creating a primitive—and terribly slow—3D texture. After reworking this technology for IBM PCs, Neurath founded the developer Blue Sky in the spring of 1990, pairing his skills with those of Doug Church (remember this name!), Dan Schmidt and Doug Wike. Their demonstration, released in the summer of 1990, attracted several software publishers, including Origin Systems (Ultima). The only condition required by the RPG leader was that the full-3D story of this dungeon crawler would take place in the universe of Ultima and include classic elements from Richard Garriott’s series such as the Avatar, the protagonist that the player controls beginning in the fourth installment. From Origin Systems, where he produced Wing Commander, Ultima VII and Ultima: Worlds of Adventure 2: Martian Dreams, Warren Spector (the future producer of Deus Ex) joined the team to oversee development. The problem was that they were far from enhancing narration, and its features fell flat, giving it the feel of a forced spin-off, which is what Ultima Underworld was at the end of the day. That being said, to understand why Blue Sky’s game is so important, we must look at another game that received more recognition: Wolfenstein 3D.

Generally referred to as the very first FPS game, Wolfenstein 3D was released two months after Ultima Underworld. However, in 1991 id Software, known for Commander Keen (a series of 2D platform games), had already worked on first-person shooter games such as Hovertank 3D, which was less successful than Corporation, and Catacomb 3-D, which to us is more essential, and practically a precursor for Ultima Underworld. This game lacked a detailed universe and real plot, but used an immersive representation method, with the protagonist magician’s hand shown in front throwing fireballs and picking up colored keys. At barely 19 years old, the wonderful John Carmack (DOOM, Quake, Rage), along with his associates, launched an extremely quick-action maneuverable game. At the time of its release, there was nothing that really compared to Catacomb 3-D. The rest of the story between Blue Sky and id Software consists solely of competition. Doug Church confirmed having presented a demonstration of Ultima Underworld to John Carmack several months prior, while Carmack claimed at the time he was able to create a faster engine. Youthful arrogance was in play. Catacomb 3-D and Wolfenstein 3D were certainly faster, but, on the other hand, the level design of games from id proved to be sluggish, lazy, uninspired and block-like. Without its politically incorrect subject matter (beating up Hitler), you can imagine that Wolfenstein 3D wouldn’t have been nearly as popular. This is because Ultima Underworld: The Stygian Abyss was better and deeper.

Games from id Software settled on flat, right-angled 2D levels from retro-engineering on the id tech engine. On the other hand, Ultima Underworld presents an abundance of quirky hallways, slopes and hills, inclines, underground rivers, altars, etc. Like in Dungeon Master, the player can grab any object—every backpack and saddlebag lying around. He can examine them and manage his inventory, and has multiple attempts to use his complex set of runes. All of this is thanks to a set of icons, which were quite practical for the time, located on the left side of the screen. Better yet, Ultima Underworld was the very first 3D game to integrate up/down head movement. Finally, and most importantly, the game from Blue Sky is an open, free world. You can walk around continuously, retrace your steps to discover new areas you’ve opened with keys, talk to or fight prisoners, or use a skill like swimming to reach areas that would otherwise be unattainable. If we are to believe the statements of Doug Church in the April 2002 Computer and Video Games interview, the development had its fair share of technical issues. Several rounds of revisions were necessary to include all the designers’ideas. Numerous movement and combat system prototypes were created. It should be noted that the final version of Ultima Underworld often resembles a pileup of concepts. Sometimes they seem poorly integrated and disconnected within the open world. One example is the text boxes that appear with each dialogue, which are disconnected from the rest of the experience. Nevertheless, what is critique-worthy in Ultima Underworld is even more so in the games that followed, in that they were taken over with these gameplay aspects without ever questioning them.

Despite its shortcomings, Ultima Underworld: The Stygian Abyss enjoyed unprecedented critical success upon its release. In France, Tilt (issue 100, March 1992) gave it a score of 2020, Génération 4 (issue 43, April 1992) awarded it 99%, etc. Reviews appear to be similarly high in the U.S. As for the background, after spending his nights on Ultima Underworld, Ken Levine (age 29) decided to contact Looking Glass. At the time he was a technical consultant on Wall Street, after a disappointing experience as a scriptwriter—where his first job was to rewrite a bad romantic comedy. It was about the same time that another huge fan, Raphaël Colantonio (creator of the future Arkane Studios), after filling out a form in the French magazine Joystick, left military service and was recruited by Electronic Arts to start a subsidiary in France.

Scores are what they are, but they dont always help sell a game. Ultima Underworld and its sequel, which had more developed narration, are perfect examples of this: they required high-tech configurations and were therefore out of reach for many players at the time. Origin Systems then gave up the franchise. In contrast to what happened following Dungeon Master, few clones were produced. Dreamforge created two adaptations of Ravenloft (a gothic Advanced Dungeons & Dragons universe) in 1994 and 1995. It wasn’t until The Elder Scrolls: Arena (1994) and, more importantly, The Elder Scrolls II: Daggerfall (1996), only once the technology was available to everyone, that this real-time first-person role-based 3D game took up the challenge to achieve the result that we’re familiar with today. As for Ultima Underworld III, Paul Neurath’s requests to Origin were left unanswered, and the franchise fell under the ownership of Electronic Arts, who has held onto it to this day.

SHOCK TO THE SYSTEM

Ultima Underworld had just been released when Blue Sky partnered with Lerner Research, a developer specializing in 3D and simulation (such as F-22 Interceptor) for which Doug Church had previously worked. The resulting developer, renamed Looking Glass, focused mainly on two areas: pure, high-level aerial simulation (such as the Flight Unlimited series) and gameplay experiments based on the framework provided by Ultima Underworld. Paul Neurath, Doug Church, Warren Spector and screenwriter/designer Austin Grossman, tired of fantasy and dungeons, decided when they were finalizing UU II to create a game within a science fiction universe. Unwilling to settle for simply reproducing the recipes of their prior critical success, the four designers started with gameplay loop ideas started on paper, without first trying to prototype them.

Above all, the team’s goal was to redirect certain problematic features of Underworld, such as its choice-based dialogues, which, as mentioned, introduced excess layers of gameplay and pushed the player out of the experience. The team’s decision was both simple and laden with consequences. The player starts after the catastrophe in the Citadel, which serves as a unifying location with System Shock—not a soul lives nearby, and no dialogue is possible. Grossman then integrates voice messages and e-mails from dead characters to give depth and body to the plot—extra layers, of course, but they are appropriate and incorporated into the player’s advancement, and naturally guide him. It is tempting to see some sort of evolution of classic written letters unearthed in RPGs. The only exceptions to this golden rule of no dialogues are the exterior commanders at the Citadel that guide the player and SHODAN, the artificial intelligence that he tries to destroy. Incidentally, System Shock also served as an opportunity for Looking Glass to improve the engine and gameplay of UU, which were necessary conditions to combat competition based solely on technological advancements and the production speed, as seen with DOOM from id Software (December 1993).

While DOOM finally had level design up to speed with its arcade requirements, it no longer offered control of head position; it was impossible to look up or down. The player shoots ahead, and that’s it. In System Shock (1994), the player can crouch, crawl, run, jump, lean left or right, hack computers, explore programs (in wireframe mode), destroy cameras, heal his wounds, improve his organization with electronic chips, hit maintenance robots with a bar, shoot enemies, etc. And what’s more, a rudimentary physics, a sort of simple body awareness, is applied to the player’s avatar, allowing realistic body reactions. All gameplays that evolved video games since the late 1970s, all the avant-garde concepts led to this meeting and, understandably, respond to one another. And then there was the idea, considered crazy at the time, of full freedom granted to the player, which has since been adopted by all the graduates of this school; the game is, above all, an experimentation tool.

The only thing left was where the rough FPS game arcade from id Software progressed to more than a million copies—mostly thanks to positive word of mouth and a shareware type distribution—System Shock was poorly marketed and from the beginning was sold on voiceless digital discs, then three months later was available in a CD-ROM version closer to the authors’vision, having reached 170,000 copies with difficulty. This was a terrible injustice, as Doug Church’s game influenced the next generation of shooter games more than any other. Without System Shock, there would be no Deus Ex, BioShock, or Dishonored, and no one would be talking about infiltration games, which would have been seen as too different. What until now had been just a sketch, a vague idea of possibilities with first-person games, came to life in System Shock, but hardly anyone acknowledges it. This is the harsh truth of the market.

IN THE SHADOWS

As sales for System Shock were less than satisfactory, Looking Glass made do with other projects, in particular aerial simulations. In 1996, a certain Ken Levine joined the story as he was hired after responding to a small announcement. And no matter that this Levine didn’t know exactly what the job title “designer” covered; his passion and knowledge of Looking Glass precedents made him a top choice recruit. Just after his arrival, he was working on several concepts such as Better Red than Undead (in which the player shoots zombies in a post-Chernobyl Russia) and Dark Camelot (the quest for the Holy Grail seen through the eyes of Mordred). All along, he kept the rather vague notion of offering first-person swordfights and creating an RPG world. Warren Spector, Doug Church and Paul Neurath took hold of Dark Camelot and prototyped every angle, unable to find a link that was strong enough to justify a time-consuming development. And then the idea came: to offer the player only one type of character, the thief, and establish a gameplay concentrated only on the infiltration, based on rules of underwater simulations such as Silent Service. A submarine is invisible and powerful, and attacks silently before hiding off in the shadows. When it is discovered, it’s an easy target to get rid of. Garrett, the thief protagonist in Thief: The Dark Project, follows the same discretion requirements.

But the progression of the project was quickly stopped by financial problems, a direct result of prior games’ semi-failures. The Austin branch, managed by Warren Spector, closed. The team joined Ion Storm and several designers were fired, including Ken Levine, who then went on to found Irrational Games. Development continued on, but many gameplay and functionality elements were removed. No more multiplayer, no more climbing, etc. In fact, the layoffs were the pretext to a dilution, a return to the actual basis of the concept, pushing the remaining team members to rethink their priorities. Artificial intelligence, guard behavior and enemies then became the major focus. As in Metal Gear Solid, which was being developed at the same time, these soldiers had a whole range of behaviors to respond to the player’s actions and movements. The differences with MGS are that it so happened that Thief: The Dark Project included in the equation the presence or absence of light, that the adventure took place in the first-person perspective, that information was provided during the action (instead of in a cutscene) and that the physical elements were as realistic as possible for the time. Finally, the replay value of The Dark Project relies fully on an emerging gameplay, with no script managing the player’s movements, but rather the game responding to each of his actions. With sales rising to nearly a half-million, Thief became the undisputed biggest success for the developer. Two additional installments would later be developed. A fourth installment, called simply Thief was developed in the offices of Eidos Montréal, the developer responsible for the Deus Ex franchise. Unfortunately, despite some good ideas (hands moving over each object that the player can interact with), Thief was a failure. This all happened while an indirect descendent, Dishonored, developed by fans of Looking Glass, stole its thunder.

DESCENDANTS

Fired before the development of Thief was finished, Ken Levine, Jonathan Chey and Robert Fermier founded Irrational Games in 1997. Confident in themselves and their ability to manage the entire administrative aspect of a developer’s business, they signed with Multitude to create a solo mode for Fireteam, which was a mostly multiplayer game. Alas, just two weeks after the contract was signed, the solo mode project was canceled and the team was left with no project and no budget. Looking Glass quickly contacted them with an idea: to develop a second game, any game, around the engine of Thief, the Dark Engine. Levine and his associates quickly decided to jump into creating System Shock 2. Logically, this second installment revisits the concept of rebellious AI (SHODAN), an enclosed space (the spaceship Von Braun