System Shock doesn’t hold your hand with arrows showing you where to go, or diary entries to remind you of door codes and objectives. If you ever play a modern game where you constantly pick up fragments of audio messages filling you in on bits of background story, or walk into a room where the furniture, items and corpses are laid out for you to interpret forensically, or are constantly taunted by the villain – it’s taking a cue from System Shock. Well, actually, stopping SHODAN is the goal, but you can’t do that without finding out what she’s doing and how to stop her. What the hell happened?įinding the answer to that is the goal of the game. When you awake, the station is in ruins, almost everyone is dead, and the controlling computer, SHODAN, is tearing shit up with her army of mutant cyborg monsters. You hack him into the controlling computer of Citadel Station (which is in orbit around Saturn), and then take a six-month nap while your shiny new neural implants heal. The premise is that you’re a hacker who accepts a shady deal from a corporate bigwig in return for a military-grade bionic hacking interface. It was all around you and you had to pay attention to it if you wanted to progress. In System Shock, however, the game was the story. Most games at the time (circa 1994) were using the emerging technology of CD-ROMs to cut-scene us to death with shitty first-generation CGI or laughable FMV, intermittently dumping us in the game world to fight our way to the next bit of cut-scene. Website: What made it so special? Immersion, that’s what. Genre: First-person shooter / role-playing gameĭeveloper: Looking Glass Studios (original game) / Night Dive Studios (Enhanced Edition)
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