My playthrough of Reality-On-The-Norm continues with the 8th game in the series. It was nice to play two entries in a row without having to fuss too much with getting them to work. This one has you playing as Elandra, who has appeared in some of the previous games, and you must help an amateur rocket builder. On average the series has been improving in the quality of the art and gameplay design. This one even features a really nice location select screen.
The game’s location select screen
I think the writing is the best in the series so far too! It’s genuinely fun going back to these and seeing topical nerd humor like an unironic All Your Base Are Belong to Us reference. Part of the fun of playing this series is that it’s a time capsule of a specific point in the adventure game community.
Folks, we’ve got an All Your Base reference
Another way this thing is a time capsule of the community is how many Yahtzee references it has. I posted the following screenshot without any context, because I forgot, and someone thought that there was maybe some in-community fighting happening but no, he had helped with the art in this game and someone in the team threw this reference in there as a fun joke. Maybe there was drama at some later point but it certainly wasn’t happening with this game.
I mentioned in a previous review that a dev saw my RON posting on Bluesky and this was that game. It was entirely positive, since I did have a good time playing this game, but I still imagine that it’s probably weird to see someone playing a game you made almost 25 years ago. They even mentioned that it was like doing an excavation on their 19 year old brain when I mentioned that reference. So generally I’ve kept any and all criticism off social media, as light as it may be, because who wants someone throwing rocks at something you made that long ago when you were a kid. The only real criticism I even have with this is just that it had some frustrating pixel hunting but that’s kinda it. I may have played an updated version too? It makes references to picking up items later and a walkthrough I found references picking up an item and going to rooms that I never came across.
A fun thing about it being a shared universe is that we’re starting to get more callbacks and it’s almost a sequel to the first game. I thought the epilogue and animated cutscene in an early AGS game was fun to watch. Even though I just complained about this game having some goofy design stuff, so far I think it’s the best one I’ve played and it’s fun watching a community learn how to make adventure games and referencing stuff that happened in this universe 8 games ago. Overall I had a lot of fun with this short game and would recommend it to others. Just be sure to play previous entries like the first game before doing this one.
Developer: Ben Pettengill Publisher: Ben Pettengill Year: 2001 Genre: Adventure Game
Well this one was weird. My playthrough of the Reality-On-The-Norm shared adventure game universe continues with the 7th game in the series. I skipped ahead a few because I couldn’t get some to work in DosBox, ScummVM, or my Windows 98 VM. Return of Die Vie Ess is about a scientist in Reality who has plans to take over the world. You play as Nameless Law Official and must stop his scheme. Other than the return of Davy Jones as a character you interact with, and walking around the town of Reality, there isn’t that much of a connection to the previous games. Most of the characters are new and the scientist does all of his scheming from a room that you never go in, so it feels very disconnected from your actions. I’m assuming that some of the new characters will pop up in later games.
The game itself is very straightforward and only took about 5 minutes to beat. It’s still pleasant enough, except for the ending making a very odd detour with a random joke from the scientist about a sex worker and Davy Jones having a comment about unprotected sex. They come out of nowhere and it’s unfortunate mark on an otherwise fine game. Other than that, the game is ok enough and I think it’s worth playing if you’re going to take the same odd journey as I have and try to play through this series.
Like I said in other reviews, it’s hard to be too critical because these were games by teenagers and folks in their early 20s in the early 2000s. I cannot even imagine what 14 year old me would have put in a game if I made one at this time, probably jokes that have aged much more poorly than anything in these games, so I can’t judge anyone for a joke in a freeware game from almost 25 years ago and really isn’t as bad as I’m making it out to be.
I’ve been posting about these games as I play them on Bluesky and Mastodon and even with me being completely positive about the games on there, because I am genuinely having a good time playing these including this game, I think it did trip out one or two devs who worked on these when they saw them on Bluesky, since they had worked on them decades ago. I took a screenshot of an All Your Base joke and a dev commented that it’s like I’m doing an excavation of their 19 year old brain. They liked the post so I don’t think they were mad about it. I wasn’t dunking on the game, but it’s still probably a trip to have someone commenting on what you were doing at 19, 24 years later. I don’t know how I would feel about it if I had made games at that age, which is why I’m not really broadcasting these reviews despite enjoying the series, other than the automatic posts my blog does to Mastodon.
Is this probably more thought than what should go into a 5 minute freeware game from 2001? Yeah probably, but I like logging everything I play through on here since other folks aren’t talking about these games. Not that I’m really expecting anyone to talk about something like this on social media, and demanding that people do would probably make me sound like Jim Gaffigan wanting to talk about the movie Heat, but I think someone should since it’s an interesting time for the genre that I don’t see discussed too much. It’s also why I went back and removed the “Review: ” title from all of my review posts. You can still check out the Review category that all of these posts have, but it’s almost more of a log at this point and having it categorized in the post title made it sound too dang formal. But who knows, maybe I’ll sell out and throw it back in when I desire that SEO boost.
Developer: Ben Pettengill Publisher: Ben Pettengill Year: 2001 Genre: Adventure Game
My playthrough of the Reality-on-the-Norm series continues. I tried to get the 2nd game working but wasn’t able to so I gave up and moved ahead to the third game. It doesn’t matter too much since they’re all standalone games that make references to previous games, but that’s it.
This one has you once again playing as teen magician Davy Jones. His magical ring has been stolen by Russian spies and it’s up to you to get it back. There’s not a whole lot to say about this one. It’s not as good as the first one in my opinion but is still alright enough. It’s more immature than the first game and there’s some humor in it that hasn’t aged great, although neither game has aged as poorly as I expected, given that it was made by people in their teens or early 20s in the early 2000’s, so that’s been a nice surprise. It’s hard for me to be that critical of them since it’s such a weird project and people are also figuring out how to use the engine. So far each game has had a different project setup too.
As you can see in the above screenshot, there’s some weird perspective stuff going on in the MS Paint art, but I think that’s actually kind of the charm for me. I really enjoy that the art isn’t polished but also isn’t just trying to emulate The Secret of Monkey Island or King’s Quest. I have a lot of nostalgia for this era of adventure games, where the community decided to make their own games since Lucasarts and Sierra stopped making them, and had to figure out how to do that. Like I said with the first game, it’s hard to recommend specific 15 minute games, especially ones in the middle of a shared universe, but it is fun going through this series if you can get the games to work.
Developer: ID Software Publisher: GT Interactive Year: 1996 Genre: FPS
Much like with my attempt to review Doom, there’s nothing about this game that hasn’t been said a billion times! There’s multiple books about the making of the game so this review is more of a grab bag of thoughts about it that I had as I played through the game. My absolutely lukewarm take on the game is that it holds up. It’s still a lot of fun to play and the controls feel great.
The game occasionally gets some criticism for the weird mix of aesthetics it has, with it combining Lovecraft, medieval, and futuristic stuff all together and it not completely meshing. I get it, it’s a mess since the game went through development hell, but I dig it. There isn’t really another game doing this mix, even the ones strongly inspired by it, so it still stands out even if it’s a bit sloppy. Maybe it being messy is part of the charm too.
The plot is meaningless junk, even more so than Doom. This is what happens when you push Tom Hall out of your company! I think this is one of the reasons why they haven’t really revisited this specific Quake game with sequels or reboots. There’s just nothing to really grab onto.
I used to really dislike the boss in the first episode, I think everyone was pretty critical of it at the time, but I’m into it now. Doom’s bosses aren’t actually that interesting mechanically so I think it’s fun that this one is kind of a puzzle. I’m guessing the disappointment is that it’s this massive guy but you don’t even shoot at him, which is understandable, but if that was the case I think the boss battle would have just been circle strafing around the boss and shooting it, much like the cyberdemon.
The secret level in the first episode has the really fun novelty of it being low gravity. There’s no other level in the game like this so it’s a really fun gimmick for a one off and feels like a nice reward for finding the secret level. Which makes it odd that none of the other secret levels have any gimmicks. They’re fine, but they’re just more levels.
I think it’s odd that Episodes 2 and 3 do not have bosses. I really wish they did. The end of ep 3 is especially a big “huh, that’s the end? Well ok.” At least the end of Episode 2 introduces a new enemy type, the Vore.
Speaking of which, the enemy types introduced towards the mid point and end aren’t as fun! The projectiles for the Vore are too accurate so it feels like you have to slowly work your way through them, which hurts the pacing. The leaping blobs are the absolute worst. They’re no fun at all to fight and they may actually be the most difficult enemy in the game since they’re the hardest to hit. The first episode of Quake is the strongest partially because it doesn’t have either of these.
The other reason I prefer earlier Quake levels is because of the designers. Sandy Petersen’s levels in latter of the game are a mixed bag for me. They either work really well or they’re too big and ruin the pacing. All lean into the Lovecraft theme very well though, which I suppose makes sense because he was the Call of Cthulhu guy. I get why they relied on him to make the last episode of levels.
I know everyone hates the last boss. I used to as well but now I don’t mind it! To me the final boss is getting through all of those enemies and then actually killing the big boss is just doing the final blow to end the game. It works for me!
I played this through the Nightdive remaster from a few years ago, which includes the two official expansions from the 90s and the two newer episodes from MachineGames. It’s fantastic and IMO much, much better than the more recent Doom rerelease, which I thought was poor and can go into in a later post. The two official expansions from the 90s are a mixed bag for me but the newer episodes have some incredible level design. Whenever new levels are made for an old FPS, they often make the levels too big and have you hoarding ammo to make it more difficult, but all it does is kill the pacing of the game. Not a problem in these! I loved them and would recommend them to any Quake fan. The first MachineGames expansion is available for free so even if you don’t have this remaster, you can still play them.
There, those are my thoughts on a game that’s nearly 30 years old. The first time I played this game was on Thanksgiving at my cousin’s house, so much like how people have Christmas and Halloween games, this is a Thanksgiving game to me.
Quake is available on Steam, GOG, and a billion other platforms.
Developer: Ben Croshaw Publisher: Ben Croshaw Year: 2001 Genre: Adventure Game
In the early 00’s, adventure games were in a weird spot with Sierra imploding and Lucasarts pulling away from adventure games. There were still a few commercial adventure games being made but with the advent of tools like Adventure Game Studio, the adventure game community decided to make their own adventure games. One of the most interesting projects from this time was Reality-on-the-Norm, a community effort to create a shared universe. This universe ended up having dozens of games, with the most recent being released in 2019. Anyone can still make a RON game, you just need to follow the rules that have been established over the development of this universe, created so one game dev doesn’t step on the toes of another dev by doing anything drastic like killing an established character.
I had never actually played any of these before, so I thought that it would be a fun opportunity to check out the series through the Adventure Game Club (see link at top), starting with the first game. Lunchtime of the Damned is a point-and-click adventure released in 2001 and created by Ben Croshaw, who went on to be the YouTuber Yahtzee and makes a lot of videos that I don’t think are any good. This one has you accidentally creating a zombie and then stopping him before he can murder more people.
So, what did I think about it? It’s alright! It’s hard to be critical of it because it’s a game created by a community that was not only learning how to make adventure games, but also learning a new tool. It’s got obtuse moments with some puzzles being implemented in a clunky way and it’s doing the adventure game trope of an area not having anything interesting, but then leaving and coming back revealing something new to interact with. Some of the humor is dated and edgelordy but it’s still way better than I expected. There’s still something about it that’s charming to me though. I didn’t play any of the RON games at the time but I did play some of the other ones created by the AGS community, so the MS Paint art and lack of polish really works for me. I also think parts are genuinely funny and while there are some bits of puzzles that have issues, most of it is perfectly fine. It makes me wish I had played more AGS games at the time, because I think I would have really loved following along with these games and playing them as it came out. I also wish I didn’t spend more time figuring out how to get it to work, but that’s not the game’s fault. ScummVM does support AGS but I don’t believe it supports anything this old at the moment, so I ended up using a Windows 98 VM because DOSBox wasn’t working for me either.
It’s hard to have a Would I Recommend? thing for this because it’s only 15 minutes long and so much of it hinges on if you have been playing adventure games for a long time since it’s a little tricky to get this working. I can tell you I had fun playing it though. I would definitely recommend going back and just exploring the early AGS games if you’re a fan of the genre. Not just because I think it’s historically interesting and you can see where a lot of today’s adventure game designers came from, but also because there’s still a lot of good stuff in there.
Developer: Id Software Publisher: Id Software Year: 1993 Genre: First Person Shooter
I’ve done another playthrough of the classic Doom as my comfort game for dealing with everything going on lately and what can I say, the game still slaps. There’s nothing really unique I can say about this game that hasn’t been said before. It’s all been said before a billion times because it’s the most heavily discussed FPS on the planet and people are still making levels and mods for it.
I played the Ultimate version through Bethesda’s rerelease so I guess my only real criticisms are as follows:
That 4th episode that was added in Ultimate Doom? Meh, it’s an episode I guess. I don’t find it particularly interesting and my preference in Doom levels has always been shorter ones, which this starts to pull away from. It doesn’t add anything new so it’s just there. More Doom levels are fine, it’s just not that interesting beyond that.
The more time I spend with the recent Bethesda rerelease, the less I like it. I keep running into bugs where it crashes and that mod browser has so many issues since anyone can upload a mod, screw up the crediting, and it may not even work! Who knows how much moderation is even happening. It just feels like a way for Bethesda/Microsoft to try to build walls around a community when Doom just should be free since it’s 30+ years old anyway and no one who worked on the game is still at ID Software.
There, those are my Doom hot takes. Still a great game though and holds up very well.
Doom is available on Steam, GOG, and basically everywhere else.
For whatever reason, it has become a tradition over the last 10 years to replay the three Holiday Hare episodes released for Jazz Jackrabbit. They were three Christmas themed episodes released for free in 1994 and 1995 for Jazz Jackrabbit 1, and 1998 for Jazz Jackrabbit 2. Jazz Jackrabbit isn’t a game that I think is especially great. The game is built around your character being able to move fast, inspired by Sonic the Hedgehog, but punishes you for doing so because the game is too zoomed in on your character for you to be able to react in time when an enemy appears onscreen. This is fixed in the sequel but that’s not the one that most people seem to have a fondness for.
Last week was my time to revisit this tradition, first time on Twitch, and it reinforced my belief that I think the Holiday Hare levels are some of the better designed ones for Jazz Jackrabbit, especially Holiday Hare 1994. It moves quick, features a lot of variety in enemies and level environments, and features great music, like you would expect from the series, but with a holiday theme.
I think Holiday Hare 1995 maybe dips in a quality a little bit due to its difficulty spike and some enemies that I consider annoying, but is also worth checking out if you’re a fan of the series. One thing that I think is interesting about it is the background artwork of a rabbit that would later become the…hmmm…unfortunately named second playable character in Jazz Jackrabbit 2. Holiday Hare 95 came out three years before Jazz Jackrabbit 2, so either they were working on that sequel for a very long time or just liked that character design.
Screenshot of Holiday Hare 95 taken from MobyGames
Like I said earlier, Jazz Jackrabbit 2 fixes the design quirks and is a much better designed game in my opinion, even if I don’t enjoy the art as much. The version of Holiday Hare 98 on GOG is actually Jazz Jackrabbit 2: The Christmas Chronicles, which is apparently a third release of Jazz Jackrabbit 2 that has a slightly updated engine and has the third playable character, Lori, who was added in the Jazz Jackrabbit 2 expansion that was only released in Europe. These levels are perfectly fine but there’s not a whole lot to say about them. They’re fine! I wish it leaned more on the holiday theme and the final boss fight isn’t well designed, but it’s fun to revisit them.
So would I recommend these even though I just said Jazz Jackrabbit isn’t really a well-designed game? Yeah sure. It’s quick, I think the design of the first Holiday Hare pushes back a lot on the design flaws it’s stuck with, the music in all three is fun, and I think Jazz 2 holds up aside from the one character’s name. They’re all free too and the first game runs fine in DosBox, so give it a shot if you like platformers.
Developer: Raven Software Publisher: Id Software Year: 1994 Genre: First Person Shooter
Raven Software is a game developer located in Middleton, Wisconsin that was founded in 1990. Their first game, Black Crypt (1992), was a dungeon crawler for the Amiga. While it wasn’t a massive commercial hit, the game was critically well received and got the attention of ID Software. John Romero approached Raven and proposed using ID Software’s technology to make games for the PC. Raven licensed a heavily modified version of the Wolfenstein 3D engine to make ShadowCaster, a fantasy action game that ditches some of the RPG elements of their previous game to focus more on action. The game was a success and Raven Software completed their transition to action games by licensing ID Software’s new Doom engine and creating the FPS Heretic, released in 1994.
Screenshot taken from Steam page
Heretic is set in a world conquered by three brothers known as the Serpent Riders. While most of the beings in the land fall under their control, the Sidhe elves resist and become known as heretics. You play as one of these elves, who is revealed to be named Corvus in Heretic 2, and fight the Serpent Rider known as D’Sparil. The format of the game is very much like Doom’s. You have three episodes (five in the retail version) and make your way through levels, grabbing keys to unlock doors, and shooting all enemies you come across.
While it may have a lot in common with Doom, to the extent that some people will say that it’s basically a medieval reskin, it’s not without its innovations and improvements. Doom has a few enemies that rely on hitscan detection, where they fire a gun and then the game does a check to see if you are hit or not. I’m not going to go into if this is bad game design in this style of FPS or not. Generally, I’m not a fan but that’s just my personal preference and there’s plenty of people who have no issue with it. I find it interesting that this doesn’t exist at all in Heretic and the player is able to dodge all projectile shots. I suppose it makes sense, there’s no reason why someone would have a gun in this world, but the player still has two hitscan weapons that carried over from the conversion from Doom, the pistol-like Elven Wand and chaingun-like Dragon Claw. I think it’s fun that some of the weapons are wonderfully illustrated and some clearly are a developer’s hands holding something and have been digitized.
The addition of items adds some depth to the gameplay and a small rpg element to the game. Throughout the levels are pickups like potions that restore health and other bits that will give you powers like temporary flight and invisibility. The most interesting of these is the Tome of Power. This item will temporarily change all your weapons to a different effect, essentially creating a second set of weapons for you to use. Some are more useful than others, but it’s fascinating how much work Raven put into one powerup.
The game also features some innovation in its level design. The variety of environmental hazards and elements like wind and current in the water are a very nice touch and it feels like the developers are building upon what they saw in the level design for Doom and trying to do more complex designs. I would maybe argue that I prefer the simpler level design of Doom, but I think at the time it was probably impressive how much the level designers were trying to build levels that look like real places that people could live in.
The original three episodes in the shareware release of the game are all solid. I feel like in shareware games the first free episode is often the best one. The theory is that they front load the game with some of the best material so you’ll go out and buy it. I don’t think that’s the case here. Both episodes 2 and 3 have better level design and boss fights. There were one or two levels with poor switch placement in Episode 1 that absolutely ruined the pacing for me.
My only major complaint about Episode 2 is that they fill levels with an enemy called the Sabreclaw. It’s incredibly dull and brown and it doesn’t help that it is frequently used in levels with brown walls. All it does is slowly walk up to you and try to do a melee attack and only serves to be a bullet sponge. It is funny that I came across a mod that makes it a more golden color, looks much better, and helps it not blend in with all the brown walls. By the end of the episode they pull back a bit on this enemy as others are introduced, and 3 overall feels more balanced.
The bonus episodes that came with the rerelease of the game, episodes 4 and 5, are competent enough but aren’t interesting. They don’t add anything new and episode 4 has a slow start. Episodes 4 and even 3 to some extent, have you heavily managing your ammo in their first two levels while avoiding batches of enemies since you will not have enough ammo to kill them all. It is a fun novelty for one level but becomes a slog after that when you are repeatedly reloading your game to minimize the amount of ammo you use and damage you take so you can get through the encounters after that. It eventually lets up though and after getting enough weapons over two levels, the game goes back to being fun.
Episode 5 on the other hand feels like it has convoluted level design just for the sake of padding the runtime. It felt like every level had you hitting a switch, searching the rest of the level to see what it opened, and repeating the process. It is incredibly tedious to play and the entire episode does it. It doesn’t help that the game also decides that sometimes you’ll now need to shoot doors to open them. It doesn’t happen very often, just enough that you’ll forget that’s now a mechanic in the game and waste a lot of time trying to figure out if there’s a switch that will open them. Neither of these episodes adds anything new, so you’re just seeing repeats of enemies you already fought many times in Episodes 1-3.
Weirdly enough, there’s also a partially complete Episode 6 hidden in the game. It’s just a few levels, with the last one being unfinished, so it’s not terribly interesting. I just find it fascinating that it was left in. It’s not something I can complain about, you must enter codes to access the levels, but it’s interesting that it exists.
If there’s a hot take in this review, I think that it’s that Raven Software was just not that good at level design compared to some of their peers. A lot of people give Hexen 1 and 2 grief for clunky design (the case for why both of these games are good is coming at a later date) but I wasn’t impressed by a lot of the design in the later episodes of Heretic and Jedi Knight 2 is also a game that’s infamous for having a dull single player campaign up until you get the lightsaber before that game improves.
It’s hard to be too critical of these episodes because I see them as bonus levels anyway and the game’s story has already concluded by the time you get to these. If you want more Heretic, here you go, but if not then it’s fine to just stop after the first 3 episodes. If you would like to read more about the game’s level design process, I found this interview with the level designer to be interesting.
Overall, I’d highly recommend this game to anyone who enjoys faster paced FPS. I have my gripes about the pacing in some parts of the game, but I think it holds up very well. As a long time Raven Software fan, it’s fun seeing their evolution from being a roleplaying game developer with Black Crypt on the Amiga, to transitioning to the FPS/RPG hybrid Shadowcaster, and then to FPS that contain some RPG elements like Heretic and Hexen. It’s a little less fun seeing them being absorbed into the Call of Duty machine and only working on entries in that series now.
Developer: Jonny Hopkins Publisher: Johnny Hopkins Year: 2020 Genre: Puzzle
In the decades since Tetris was released, there have been hundreds of games inspired by it. Not just clones involving falling blocks but also games that use the famous Tetris block pieces for other types of gameplay. Chesstris 2000 is a recent favorite of mine that does just that. The game combines elements of Tetris and Chess to create something new. Players clear levels by navigating a chess piece attached to a Tetris block though a maze of blocks to an exit square on the board. The Tetris inspiration also comes through in the line clearing mechanic where having a row of 8 squares clears that line. Sometimes you’ll need to clear lines to create room on the board but must also be careful to not eliminate your chess piece. I felt that the levels were well designed and slowly ramp up in difficulty.
I also love how the game sounds and looks. The Itch page cites inspirations like Tetris for Philips CD-i, Tetrisphere, Myst, and educational software, which all contribute to the game’s combination of the vaporwave and utopian scholastic aesthetics that really works for me. If you haven’t seen Tetris for the Philips CD-i before, I highly recommend watching a video of it on YouTube. We’ve had so many rereleases of Tetris games but I’m still waiting for this one. The soundtrack is by Stevia Sphere, using vaporwave music under the Creative Commons license, and fits perfectly with the aesthetic the game is going for.
I really can’t recommend Chesstris 2000 enough if you’re looking for a puzzle game. It’s available as Pay-What-You-Want on Itch and available as both a browser game and download so anyone can play it.
After developing the massive hit Dune 2, Westwood was looking to make another RTS but set in a property they owned and created Command & Conquer. C&C is about a war between two factions, the Global Defense Initiative, which is a military force setup by the United Nation, and the Brotherhood of Nod, a terrorist cult. The war is focused on their fight over a resource called Tiberium, a material that has arrived from space and is a powerful resource, but at the expense of it destroying the planet wherever it grows. Bretty Sperry, a producer for the game, had slowly been developing a fictional universe for a few years which would set the foundation for the C&C universe. The game was designed to be set in the very near future since modern military combat was on the minds of folks at the studio due to news events at the time such as the Gulf War. From watching the GDC classic game postmortem, development of the game seemed to go along very smoothly. It was described as a very collaborative environment and morale was generally high during development.
It’s clear from playing it that a great amount of love went into each part of the game. Even the installation process is very elaborate and visually impressive. The game was originally planned to have mission briefings given through text but after some testing, realized this was too boring and went with the approach to have actors in live action video describing the mission to you with graphics overlaid to show you what you needed to do on the mission’s map. Since it was still the early days of full motion video, the game’s cutscenes were very loosely put together. The set, consisting of just a green screen, was a room that Westwood rented out on the other side of the office building they were in, and Eric Gooch, who oversaw video and film and played the Brotherhood of Nod’s Seth, just bought some linoleum from a store and painted it green. Rewrites frequently happened too, including on the set on the days of filming. Joe Kucan, who worked in casting and direction at Westwood and had even voice acted in some of their previous games, portrayed the game’s main villain Kane, the head of The Brotherhood of Nod. His performance is the standout in the game’s cutscenes and even in later games when Westwood started to hire famous actors for their games, his scenes usually remained the most interesting. Many of the other actors in the game came from the Las Vegas strip, since Westwood Studios was in Las Vegas, while others were employees of Westwood or people that the developers knew. Even if they’re low budget, the cutscenes are very charming in their unique and cheesy way. It’s not quite as intentionally campy as the cutscenes would be in later games but they never feel cringeworthy either and are a nice little reward after completing levels.
Screenshot of the game from the remastered collection
Multiplayer also contributed to the game’s success. The game supports 4 players over a network. It helped that the game shipped on two CDs, one for the GDI campaign and one for the NOD campaign, so two people could play multiplayer with one copy of the game. Multiplayer would be a big component of future games as well and there was even a multiplayer focused Command & Conquer game released in 1997 called Command & Conquer: Sole Survivor. This was a multiplayer only game where players each controlled one unit and would explore a map and gain power ups, while engaging in deathmatch with other player controlled units. The game was considered a disaster at the time but could maybe be considered a proto-MOBA today.
The memorable soundtrack by Frank Klepacki, which took advantage of the switch to CD and streaming audio, features a mix of influences from basically everything and determined the sound for the rest of the franchise. Westwood must have been confident in how great their soundtrack was because the game also features a Jukebox option, which lets people select what songs they want to use while they play. Highlights of the soundtrack include the tracks Mechanical Man and C&C Thang.
The game is a bit dated due to all the advances made in the genre since it has been released but I was pleasantly surprised that most of the game still held up for me and it was very enjoyable to revisit. It featured enough quality of life items like being able to select multiple units at once to attack that kept it from feeling too dated for me to enjoy, like Warcraft 1 and Dune 2. The story and cutscenes were good, cheesy fun that kept me playing and there’s still nothing else like that game’s soundtrack outside of the C&C series. It might be a little harder for people with no nostalgia for 90’s PC games to get into it, but if you grew up playing the game or other RTS for the era, consider going back to play Command & Conquer.
Screenshot of the upscaled video
In 2020, we got the Command & Conquer Remastered Collection, a compilation of Command & Conquer, Command & Conquer: Red Alert, the expansions for both games and levels that were originally exclusive to console versions of the game. The compilation was developed by Petroglyph, a company started by ex-Westwood employees, so it was nice to see the original creators of the series still involved in some capacity. It’s a pretty nifty package and the unused and behind the scenes videos from the making of the original game are interesting. The game also features some upscaled videos and 4K graphics for the art, to mixed results. The updated art looks fine enough but I turned that off and the upscaled videos mostly look ok but occasionally you’ll get the thing in AI upscaled art where a frame will look off and you’ll see a nightmarish image for one frame. That said, it’s not a bad way to check out the game if you’re apathetic about playing the original DOS version, and the accessibility options are nice too. Electronic Arts also released the source code for the original game, which has been released as freeware, so people have made some nice source ports and mods for the game as well.
