: : Or, if I should paraphrase Mr. Shigesato Itoi, writing like a newspaper
: I really agree with you 100% here. Those examples you just gave are actually
: really, really good. So good, in fact, that they make me wonder if we
: should send them in an email to Extra Credits , or maybe Mark Brown's
: Game Maker's Toolkit , see if we can spread the message around – I think
: modern video game makers really could learn a lot from Marathon and PiD,
: if only they were open to it.
Very much yes. Perosnally, I love the terminals. First off, just being able to get on a computer terminal and read the phosphorous-green text in a game is pretty darn cool, and then there's ridiculously well they advance the story too, such that if you want to search for more info, you can find secret or not-technically-essential-to-finishing terminals that give you more insight into the universe, like the history terms the S'pht were hacking in M1 (which also did a really good job of providing exposition without actually feeling like exposition. It felt like you found some irrelevant piece of info the S'pht happened to be reading, but now you know that MIDA exists, or what the three stages of Rampancy are. Or you can miss the terminal and suffer the consequences. I remember my first encounter with a simalcrum. I'd missed the term where Durandal warns you to stay "about three metres" away and was running through the level looking for Phfor to kill, when some BOB yelled "thank god it's you!" and I was thinking to myself "poor guys, they must be scared out of the--" BOOOM! and my character was on the floor dead and I practically had a heart attack because it was dark, and I was already kinda sorta spooked from all the philosophical Durandal terms (The candles burn out for you...). I think M1 was the first game I ever felt genuinely afraid while playing, and one of the more immersive, despite the 90s graphics and "who designed this spaceship" levels.