![]() It made use of a rendering technique known as ray casting, whereby a 3D environment is generated from a 2D layout by sending out beams from the player avatar’s eyeball and drawing a pixel where they intersect with an object’s coordinates. Among Maze War’s more intriguing descendants is Paul Allen Edelstein’s WayOut, released for the Atari 8-bit in 1982. Naturally, methodologies shifted as new technology became available. The first-person shooter genre as we understand it today arose from the artistic friction between these approaches, shaping and being shaped by them in turn. Maze War spawned a number of sequels and imitators, attractively billed as ‘rat’s-eye view’ experiences by a 1981 issue of Computer & Video Games magazine. There were dungeon-crawlers such as Richard Garriot’s Akalabeth in 1976, which combined a top-down world map with first-person dungeon segments featuring coloured wireframe graphics. There were cockpit simulators such as 1974’s Spasim (often granted dual honours with Maze War as the first-person shooter’s oldest ancestor), a 32-player space combat game in which unofficial approximations of Star Trek vessels wage war at a mighty one frame per second. ![]() There were racing games, such as Atari’s 8-bit arcade offering Night Rider, which treated the player to a dashboard view of a road made up of shifting white rectangles. Nor was the perspective exclusively, or even predominantly, associated with on-foot gunplay. Many studios, including id, preferred terms and slogans like ‘3-D adventure’, ‘virtual reality’ and ‘the feeling of being there’ when describing games that are played from a first-person viewpoint. If Maze War sounds like a fully-featured FPS in hindsight, it’s important to note that the category ‘first-person shooter’ is of much more recent inception-according to a 2014 study by the academic Carl Therrien, it only entered popular discussion around videogames in the late ’90s. Marine Doom was never formally adopted as a training instrument, but paved the way for propaganda games such as the popular Unreal Engine shooter America’s Army. It also replaced the original’s demons with generic human aggressors. Made publicly available after Doom II ’s release, the mod sees a fireteam consisting of a leader, two riflemen and a machine-gunner tackling a range of real-life scenarios, including hostage rescue. ![]() In 1995, the US Army created its own Doom mod in a bid to cultivate such skills as ammunition discipline at a fraction of the expense of physical training, following budget cuts in the aftermath of the Cold War. And nor should we neglect the games-before, during and after id’s breakthrough-that took many of the same concepts and techniques in different and equally valuable directions.įor better and worse, first-person shooters have long seen service as military training simulators. But we shouldn’t view that contribution too narrowly, as simply one step along the road to a game such as Call of Duty: World War II. Between them, Wolfenstein 3D and Doom brought a distinct tempo, savagery and bloodlust to first-person gaming, and programmer John Carmack’s engine technology would power many a landmark FPS in the decade following Doom’s release. The company’s later shooter, Quake, meanwhile, is often held up as the first ‘true’ 3D polygonal shooter.įounded in 1991 by former employees of software company Softdisk, id’s contributions to what we now call the FPS is undoubtedly immense. According to one popular version of the medium’s evolution, the first-person shooter was formally established in 1992 with id Software’s Wolfenstein 3D, a lean, thuggish exploration of a texture-mapped Nazi citadel, and popularised in 1993 by heavy metal odyssey Doom, which sold a then-ludicrous million copies worldwide at release. Events or people who contradict those accounts have a tendency to get written out of the tale. Writers of videogame histories often think in terms of individuals and periods-great innovators and clear-cut ‘epochs’ in design, typically bookended by technological advances.
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