Deus Ex – Alpha Terrain
simonschreibt.de
simonschreibt.de
I enjoyed the game, interesting depiction of future Prague too. There's some slightly iffy voice acting and interesting pronunciations (pronouncing Václav as "Vaklav" instead of "Vatslav"), which is interesting since there's clearly some Czechs involved (see "Picus") :D
edit: I should explain the "picus" thing for non-DX and/or non-Czechs. There is a media company in the latter two Deus Ex games called "Picus". This is close to a rude word in Czech: https://en.wiktionary.org/wiki/p%C3%AD%C4%8Dus. Also fun fact, I was told "čus, píčus!" (pron choos, peechoos, first word is a loanword from German "tschus") meaning roughly "hey, ya fucker!" was how you say "cheers" when I first arrived here. It can be how you say cheers, but only to good friends who you know enjoy talking like that :)
A Criminal Past is a decent expansion by the way! I recently re-installed the game just to play through the expansion again.
I'll give it a whirl, I promised myself no new games until I finish Elden Ring but maybe I can bend the rules a bit, after all it's a DLC not a "game" ;)
Discovering an entire underground little civilization in the sewers and tunnels I could have equally just easily missed etc. really made me feel like I was discovering things just for me. Cyberpunk instead felt like clinically crossing off items on the map/quest tracker todo list; aside from the fantastic visuals, just looking around on your own offered basically no rewards at all in the game.
Similar feelings around NPC interaction and AI.
Add the fact that Cyberpunk's "hand-holding you through the environment" approach feels more and more lacklustre and grindy as the game develops, as they clearly ran out of resources to do all of the custom animations and setups they have in the first couple of hours to at least make it feel big and cinematic. The emergent/more sim-heavy/sandboxy approach of the DX games is more even there, and things tend to feel deeper rather than shallower over time, I think.
And FWIW, I spent very little time with Cyberpunk before shelving it.
I still listen to the soundtrack from time to time. It is just great music and makes me wish I could "unplay" and play again for the first time.
I hope they do at some point make another Deus Ex game. One as good as the first one, Human Revolution or Mankind Divided.
My favourite series of games by a long margin
UNATCO: https://m.youtube.com/watch?v=nBPK_oXeJgA
Hong Kong: https://m.youtube.com/watch?v=uHQZNNajxOk (give it until 0:35 if you haven't heard it before)
Can it just be tragedy of the commons?
Perhaps immersive sims would need one real block buster to make the genre more widely known? (Similar to Elder Scrolls 3 or GTA 3 for open world games, Dark Souls for Soulsborne games, Super Metroid for Metroidvanias, etc.) There wasn't ever a real immersive sim blockbuster.
Or maybe it's just not for the masses. Like point-and-click adventures.
To me Gothic was one of the milestones: One of the first large 3D open world RPGs that had a chapter structure. As you progressed the main quest line, you would eventually cross chapter boundaries that would toggle major changes in the game world, e.g. whether a given city was in front of or behind the frontlines of a conflict, altering massively who you would find there or what it looked like. While some side quest opportunities would persist over the chapter boundary, other doors would close and new ones would open. All of this did a lot to feel like the game world was meaningfully progressing alongside you, and to show the impact of your own actions on the game world.
As for Deus Ex, even the original had these "hub" locations like Hell's Kitchen, maps you'd return to more than once, in different circumstances, while also taking you all over the world to mission locations. A lot of missions had "establishing locations" where you'd e.g. walk around in a new city a bit before breaking into a corporate HQ found within it. This gave you just enough freedom to make it feel like more than a linear corridor shooter with sim elements, while in reality being planned out and guided enough you had your narrative arcs and peaks. The sequels of course expanded on this with Detroit, Prague, etc.
There's fantastic game design artistry in blending and balancing these concerns. With DX, people usually comment on the sim elements, emergent gameplay, multiple approaches to mission goals, etc., but its story and map structure is IMHO another thing that made that game so groundbreaking and memorable. The immersive sim it got from Ultima Underworld and System Shock, but this careful orchestration of alternating linear and more free-form stretches, of having character arcs, of circling back on itself and revisiting locations, of having narrative beats was new to 3D/FPS games and showed the way.
As a child I was ecstatic when I learned the gaming industry had eclipsed the movie industry. Now I know what that meant: we went from Reservoir dogs to Marvel Endgame.
I'm assuming you mean books here. SF/F book sales generated $590 million in revenue last year. Video games: $56.84 billion.
There's a lot of arguing about what constitutes an immersive sim (i.e. NPC interactivity is not one), but the two common concise definitions are "if you can open a door in several inventive ways (including bypassing it) and more generally, if you have so many complex systems in a game that they interact in unexpected ways. Purists also require first-person perspective, but others would also count Hitman or EVE Online.
In that if there is a rule/mechanism anywhere, it can be used everywhere, with anything responding to it.
Or in Dwarf Fortress + OO/Smalltalk/message terms: every object can and must respond to every message. (to the extent technically possible)
"I just prefer games that are less puzzle oriented or "single-solution" oriented and games that offer deeper simulations. Simulations allow players to explore not just a space but a "possibility space." They can make their own fun... tell their own stories... solve problems the way they want and see the consequences of their choices."
Maybe precursors to todays sandbox game environments then.
Remind me, what was that? The original DX had the mole people under the New York City metro.
I mean, there was a lot going on down there. If you ever find yourself browsing Prague real estate, definitely inquire about secret doors in the basement, trap doors, tunnels, and the like! If there's stuff missing in the pantry, you want to be able to rule out your neighbors.
It's not just the mole people in NYC -- there's an entirely-skippable base early in the game that clues you into bigger things happening.
You can pick up its existence by talking to the mole people. (From memory)
[Warning, spoilers] https://m.youtube.com/watch?v=CViR2uaRAnY&t=8m40s
Edit: Ha, "These tunnels aren't on the New York City sewer maps... weird" really takes me back.
one major success of the franchise is its depiction of a future that feels genuinely forward oriented. I think they dubbed their art direction 'cyber renaissance' (HR in the remaster comes with a great developer narration) and it genuinely manages to seem novel.
There's also a lot of very smart world-building and writing in the ebooks scattered around the game. From tensions in Australia caused by wildfires and draughts to the antagonists backstory in MD featuring Ukrainian separatism in Belgorod it seemed eerily relevant at times having replayed it last summer.
I think the best DLC was Minerva's Den, a Bioshock DLC about a man becoming obsessed with his work to the point he destroys his family, which is relevant to anyone that's career-minded and particularly to founders.
Potential spoilers:
I felt DX:MD needed a grander conspiracy for it's main storyline, and I thought they had that with the Orchid story beats, but then nothing came of that and the finale felt a bit disconnected. I suspect it ended too soon.
Selling it optionally as standalone DLC that you can launch separately (like Deus Ex: Human Revolution's "The Missing Link") would've been great. But it was released in a time where patch certification, clumsy digital stores, and "Games For Windows - LIVE" existed and standalone/cheap digital releases weren't common.
1. Render the terrain to a separate buffer
2. Copy the terrain's depth buffer to the main depth buffer
3. Render all non-terrain objects normally
4. Smoothly blend the terrain buffer into the main buffer based on depth
This sounds similar to the method used in BotW, but allows for depth culling since the terrain is rendered first. I'm not familiar enough with Unreal Engine shaders to attempt making it there, but I made a demo in ShaderToy: https://www.shadertoy.com/view/ct3SDN
I think it'd help a lot of the terrain geometry were distorted such that it looks like it's physically interacting with the object it's blending with (e.g. sand resting against the side of the object). If that were added to this technique I think it'd be a lot more convincing.