Exploring the Oddities of Console FPS History
In the realm of first-person shooters (FPS), the narrative often centers around the dominance of PC gaming, particularly with the rise of titles like Halo: Combat Evolved. Yet, before the console landscape was forever altered, several games made valiant attempts to carve out their own niche in this competitive genre. Notably, Rare’s GoldenEye and Perfect Dark made significant contributions, while titles such as Turok, Powerslave (known as Exhumed in the UK), and Alien Trilogy hinted at the potential for console shooters to thrive. However, the quest for console supremacy over the PC began even earlier, with an unexpected contender: the 3DO.
In 1993, the 3DO Company introduced Escape from Monster Manor, a horror-themed FPS that drew inspiration from the iconic Wolfenstein 3D. Unfortunately, its release coincided with the explosive popularity of Doom, overshadowing its innovative efforts. Undeterred, the 3DO Company sought out new projects and stumbled upon a title in development by Any Channel: PO’ed.
The recent remaster of PO’ed by Nightdive Studios has reignited interest in this long-forgotten title, now available for PC gamers to experience. However, the journey into this early ’90s shooter may not be as rewarding as one might hope. The premise is intriguing: players assume the role of a chef aboard a spacecraft overrun by aliens, a refreshing departure from the typical muscle-bound hero archetype prevalent in the genre. The game boasts a quirky arsenal, including a frying pan, flamethrower, and a blood-splattering drill, alongside a jetpack that allows for six-degrees-of-freedom movement. Its lighthearted tone, complete with toilet humor, was ahead of its time, predating Duke Nukem 3D by several months.
However, the execution leaves much to be desired. Players are thrust into uninspired environments, such as a bland square room filled with enemies, and the lack of floor textures creates a disorienting experience akin to floating in a void. The absence of in-game music further amplifies the awkwardness, leaving players to navigate through a cacophony of farting sounds emitted by the game’s bizarre enemy design, which includes everything from acid-spitting bats to disembodied arses that launch projectiles.
As players navigate through PO’ed, they encounter sprawling, open-ended levels that lack the pacing and direction found in other FPS titles. The design choices often lead to confusion, with false walls and segmented areas complicating navigation. Coupled with a control scheme that feels imprecise, the gameplay experience can be frustrating. The introduction of a jetpack, while innovative for its time, suffers from sluggish ascent and a lack of hovering capabilities, further complicating traversal in combat-heavy scenarios.
Despite its shortcomings, PO’ed remains a curious artifact of gaming history, embodying the crude and unrefined nature of early FPS titles. Nightdive Studios’ commitment to preserving such games raises questions about the balance between historical accuracy and playability. As the CEO, Stephen Kick, has articulated, every game, regardless of its quality, deserves preservation. However, one must ponder whether the preservation of PO’ed in its original form serves a greater purpose or simply highlights the genre’s growing pains.
Ultimately, PO’ed stands as a testament to the experimental spirit of its time, a game that, while flawed, captures the essence of an era in gaming history that many would prefer to forget. It is a reminder that even the most unconventional titles have their place in the tapestry of video game evolution.
