Gundam Model Grades

Scales And Grades

Super Deformed
Not based on any particular scale, the super-deformed style features comically-proportioned models, the most noticeable features of which are their very large heads. Super Deformed Gundam kits are often very easy to construct but offer very limited articulation and require paint and detailing to truly "finish" the kit. The most famous line is the BB Senshi (or "SD GUNDAM BB Warriors" in English). There are also separate product lines: for instance, Superior Defender Gundam Force and Ganso SD Gundam (discontinued in the 1990s). Most kits of this line are from the Musha Gundam series and the Knight Gundam series.

1:144 scale
The very first kits have been running for 30 years (starting with RX-78-2 Gundam) and are routinely re-released by Bandai. As these kits are limited in articulation and require glue (for the early kits) and paint to assemble, these have retroactively been categorized as NG (No Grade), to differentiate them from FG (First Grade).
During the mid- to late-1980s, the quality of molding improved and HG (High Grade) level kits were introduced in 1990, starting from the titular mobile suits of the first four TV series. These limited-run kits featured full snap fit assembly, an "internal frame" (for the first two kits, which provides better range of motion and were more poseable), and utilized the molding technique known as System Injection, wherein multiple colors would be cast on the same part.
In 2010, Real Grade (RG) surpassed HG as the top-end series of the 1:144 Gunpla line. The kits feature extensive detail and articulation, as well as a poseable skeletal frame comparable to the 1:100 Master Grade kits. The first RG kit was the 1/144 RX-78-2 Gundam, followed by the 1/144 MS-06S Char's Zaku II.

1:100 scale
Just like the 1:144 scale model kits, these kits started about the same time with the very first 1:144 model kits, again starting from RX-78-2 Gundam. "Generic" 1:100 kits may also be called "No-Grade" (NG 1:100) to differentiate from other specific 1:100 kits. Later kits (from Turn-A Gundam onwards) are clearly inspired from the post-HG 1:100 kits and features a similar (or greater) level of quality and detail.
Beginning with Victory Gundam in 1993, the HG line would shift to relatively well detailed larger scale kits in the 1:100 scale. There were need for little painting and detailing. These applied for the 1:100 scale models produced between 1993 and 1998, including Victory Gundam, G Gundam, Gundam Wing, Gundam X, and New Mobile Report: Gundam Wing Endless Waltz. Each TV series would receive on average between 6 to 8 models in this scale and grade.

Master Grade (MG) models were first introduced in the summer of 1995, designed and made to higher standards than most other models. These take much longer to construct and are often much more expensive than their lower-grade counterparts. These kits consists of features similar to those of the HG and HGUC but better. This line of plastic kits was the first to feature a movable inner frame system which enables extensive movement and bending of joints. The popularity of this line was so great that a lot of old and new kits from non-graded series were cast as Master Grade models. The vast majority of MG offerings are from Gundam, with the rest coming from mechas in Patlabor and Dunbine, as well as character figures of Dragonball Z, Kamen Rider W, and One Piece (under the name of MG Figurerise). As the MG line has become a symbol of Gunpla, Bandai released another lineup called Real Robot Revolution (R3), for the non-Gundam type real robots like Layzner and L-Gaim, made using their experience in MG model production.

1:60 scale
Bandai release 1:60 scales to the main mecha of major TV series. These are non grades or TV grades models, and the main line of 1:60 scale. Early 1:60 kits, like other scales, where simply a bigger version of the smaller scales. In the early to mid 90's, 3 High Grade EX models of V2 Gundam, Shining Gundam and God Gundam from the V Gundam series and G Gundam series where release, featuring more details and gimmicks than its smaller counter parts. Bandai also created a much more detailed series of figures. The Perfect Grade (also known as PG) model kits come in standard 1:60 scale but are superbly detailed in terms of color and its inner frame, as well as normally possessing more points of articulation, such as hands that articulate at the knuckles. Perfect Grade kits were mainly used for developing new plastic model technologies, a function currently taken over by the Master Grade series, and typically need a few years to develop each kit.

1:35 scale
Universal Century HardGraph does not primarily center around the humanoids of the Gundam universe. Rather, it centers on military things on a more conventional scale such as land vehicles, tanks and troops. However, some kits do include detailed to-scale mecha parts which are particularly useful for the creation of dioramas. For instance, the Anti-MS Squad kit includes an articulated lower Gundam arm.

Other/Mixed Scales
There are various other scales, like the Mega Grade's 1:48, the Speed Grade's 1:200. These scales are less dominant in the Gundam Model line.
A 1:400 scale model line is designed for large mobile armours and battle ships in the Gundam Collection line, which the line's ordinary mobile suits are figures, not models. Only extremely large units like Mobile Armours and Warships need assembly. These models are pre-coloured models, and the warships need minimal assemble. An earlier line of model, the High Grade Mechanics, with a scale of 1:550 held a similar function in introducing large mobile units, but the line only consist of 3 mobile units from 0083.
Another high-detail line is the EX model, in scales of 1:144 and 1:100 (non-humanoid units like aircraft) and 1:1600/1:1700 (spaceships), ranging from the Universal Century to Cosmic Era productions. This series is not Gundam-exclusive, having models from other series like some of the jet aircraft from Sentō Yōsei Yukikaze and at least one aircraft from Ace Combat 5.

Special Editions
Over the years, Bandai released special limited editions of various kits, usually as competition (such as the yearly Bandai Action Kits Asia (now Universal) Cup held in Hong Kong) prizes, or as an event-limited (such as Japanese toy expos, movie launch premieres) item, although sometimes these kits are sold as limited web-shop items or discreetly sold by Bandai. These kits usually come in clear plastic, metal-plated (certain kits are in so-called 24-k gold finish), "gloss-finish", "pearl-finish", "titanium-finish", or any combination of these. Their prices are usually much higher than their regular-release counterparts.

Gundam Model

Gundam Models refers to plastic and non-plastic model kits depicting the mechas, vehicles and characters of the fictional Mobile Suit Gundam universe. These kits have become popular among anime fans and model-lovers, especially in Japan and in other nearby Asian countries since 1980s. The popularity of Gundam models increased in the 1990s with North America and Europe being exposed to Gundam through television, video and manga. These Gundam Models may also be called Gunpla (ガンプラ Ganpura?), a portmanteau of "Gundam plastic model". "Gunpla" more commonly refers to the practice of building Gundam models, rather than the models themselves.

History

Late 1970s - 1980s
Mobile Suit Gundam debuted in 1979 and the first Gunpla kits came in 1980, following the show's cancellation. Models produced during this era were considered non-graded models. Parts came in up to 3 different colored sprues. They lacked articulation and detail and required glue and paint to build and finish.
Following the completion of the TV series line, Bandai introduced the MSV (Mobile Suit Variation) line, featuring alternate variants of the series' mobile suits. One of the highlights of the line was the RX-78 Perfect Gundam, which introduced System Injection (a process where one sprue - sometimes even one part - was molded in multiple colors), which minimized the need to paint the model.

Mid 1980s - 1990s
Following a line of kits from the Round Vernian Vifam series, the 1985 Mobile Suit Zeta Gundam kit line incorporated the use of polycaps. These kits, although still needing glue and paint to build, featured polycaps (soft plastic, typically Polyethylene) as connectors for better articulation of joints. The 1987 Gundam Sentinel model line introduced the concept of snap-fit models, reducing the need to use glue. And starting from the 1988 Mobile Suit Gundam: Char's Counterattack line, all Gunpla kits feature snap-fit assembly with many incorporating System Injection molding.
In 1990, Bandai introduced the High Grade (HG) line, which featured newer 1:144 scale versions the RX-78-2 Gundam, the RX-178 Gundam Mk. II, the MSZ-006 Zeta Gundam and the MSZ-010 ZZ Gundam. Each kit boasted exceptional detail and articulation, as well as features normally found in their larger-scale versions such as the Gundam's Core Block System and the Zeta's transformation feature. Since then, the HG line has become the top-end range of the 1:144 Gunpla series, as well as middle-range for 1:100 and 1:60 scales.

Beginning with Mobile Suit Victory Gundam in 1993, a unified set of polycap joints was created for smaller scale models that allowed easy mass production of models that all shared the same basic skeletal frame. This standardization allowed Bandai to release more models over a shorter period. As a result, the Gundam shows of the '90s usually received sizable 1:144 model lines. These were all of similar quality, with some attention to colors molded in the right area, a reasonable level of detail for their price point, and mobility as such that all major joints had at least some degree of mobility.[citation needed]
In 1995, the 1:100 Master Grade (MG) line was introduced. This line features more parts, better detail and improved articulation than past kits of the same scale. Until now, the MG line has become the high-end segment of the 1:100 Gunpla series.
Following the release of the Perfect Grade Evangelion, Bandai introduced the 1:60 Perfect Grade (PG) line to the Gundam series in 1998. This line features extensive detail and articulation, as well as working skeletal systems and light-up features. The PG line is the most expensive among all Gunpla kits, and only a select few mobile suits have been released in this line.
To celebrate the 20th anniversary of the franchise in 1999, Bandai released 1:144 First Grade (FG) kits of mobile suits from the original series. Marketed as budget models, these snap-fit kits featured the simplicity of the original kits, but with more modern designs based upon the corresponding Perfect Grade kits.
2000s
Mobile Suit Gundam SEED introduced a new type of a non-graded model, with a completely different design plan. While these still feature snap-fit and color molding, they omit major joints, opting instead to only allow critical pieces to move - typically the neck, hips, shoulders, and feet. These are budget models, usually retailing much lower than other models; and this line was extensive, covering nearly every machine to be featured in the TV series. Gundam SEED also featured non graded 1:100 models, identical in quality to Bandai's High Grade offerings.
In 2010, Bandai released the 1:48 Mega Size Model RX-78-2 Gundam kit as part of the franchise's 30th anniversary campaign. This kit features many innovations that make it easy to assemble for first-time Gunpla collectors. For example, the parts are attached to sprue gates thin enough to break without the need to use of plastic cutters, and excess gate plastic can be removed from the parts without using a hobby knife. some sprues have been designed to snap together for easy and quick removal of assembled parts.[1] Also in the same year, Bandai introduced the 1:144 Real Grade (RG) line, which takes design elements from the MG line such as an inner skeletal frame.

Plastic
Plastic Gundam model kits are manufactured by Bandai in Japan (or China) which has an exclusive license in manufacturing and marketing them around the world, the first of them being sold in 1980 in Japan. The models are typical of Plastic model; frames of injection-molded Polystyrene (PS) parts which must be cut out of the frame before assembly. The majority of post-1990 models have snap-fit parts, with models prior to that requiring an adhesive such as plastic cement. Plastic Gundam models kits are typically supplied with stickers and sometimes decals to apply extra colors and markings as seen in popular media such as TV shows, movies, manga or video games. Smaller or lower-grade kits often require paint to give the model a finished appearance, due to color discrepancies.
The kits range in different scales with the most popular scales being: 1:550 , 1:220, 1:144, 1:100 and 1:60, and more recently the 1:35 (UC HardGraph) line. Generally in real world terms, kits range from 4~5 inches for small-scale models, 6 to 8 inches for mid-scale models, and 12 inches for big-scale models, although these sizes vary from model to model. With a few exceptions, all currently produced kits bear grade ratings that give a good idea about their final quality. The following lists the most well-known and common categories with humanoid designs (very roughly) in their order of quality, from lowest to highest.
Please note that other categories, such as EX Model, do exist. Additionally, Bandai often produces limited-run kits for special events such as JAFCON or C3 conventions. These have different packaging, and usually only differ from their common counterparts in that they are metal-plated or made of translucent plastic.

Quake Engine

The Quake engine is the game engine that was written to power 1996's Quake, written by id Software. It featured true 3D real-time rendering and is now licensed under the terms of the GNU General Public License (GPL).
After release it immediately forked, as did the level design. Much of the engine remained in Quake II and Quake III Arena. The Quake engine, like the Doom engine, used binary space partitioning (BSP). The Quake engine also used Gouraud shading for moving objects, and a static lightmap for nonmoving objects.

History

The Quake engine was created in 1996 for Quake. John Carmack did most of the programming of the engine, with help from Michael Abrash in algorithms and assembly optimization. It was later upgraded to id Tech 2 and id Tech 3.

3D Engine Design and Milestones

Reducing 3D complexity to increase speed
Quake was the first true-3D game to use a special map design system that preprocessed and pre-rendered the 3D environment, so as to reduce the processing required when playing the game on the 50-75 MHz CPUs of the time. The 3D environment in which the game takes place is referred to as a map, even though it is three-dimensional in nature rather than a flat 2D space. The map editor program uses a number of simple convex 3D geometric objects known as brushes that are sized and rotated to build the environment. The brushes are placed and oriented to create an enclosed, empty, volumetric space, and when the design is complete the map is run through the rendering preprocessor. The preprocessor is used to locate two types of empty space in the map, the empty space enclosed by brushes where the game will be played, and the other empty space outside the brushes that the player will never see. The preprocessor then strips away the back-faces of the individual brushes which are outside the game-space, leaving only the few polygons that define the outer perimeter of the enclosed game space.
Generally once a map has been preprocessed it cannot be re-edited in a normal fashion because the original brushes have been cut into small pieces. Instead the original map editor data with the brushes is retained and used to create new versions of the map. But it is possible to edit a processed map by opening it in a special vertex editor and editing the raw vertex data, or to add or remove individual triangle faces. Though difficult, this technique was occasionally used by cheaters to create windows in walls, to see normally hidden enemies approaching from behind doors and walls, and resulted in an anti-cheat mechanism used in recent 3D games that calculates a checksum for each file used in the game, to detect players using potentially hacked map files.
A processed map file can have a much lower polygon count than the original unprocessed map, often by 50 to 80 percent. On the 50-75 MHz PCs of the time, it was common for this pruning step to take many hours to complete on a map, often running overnight if the map design was extremely complex.
This preprocessing step can not work if there are any small holes or "leaks" that interconnect the interior game space with the exterior empty space, and it was common for complex map-building projects to be abandoned because the map designer could not locate the leaks in their map. To prevent leaks, the brushes should overlap and slightly interpenetrate each other; attempting to perfectly align along the edges of unusually-shaped brushes on a grid can result in very small gaps that are difficult to locate.
The open cloudy sky in Quake maps is in fact not open, but is covered over and enclosed with large brushes, and textured with a special skybox texture that always looks the same from any viewing position.

Precalculating lighting and shadows
Quake also incorporated the use of lightmaps and 3D light sources, as opposed to the sector-based static lighting used in games of the past. id Software's innovation has been used for many 3D games released since, particularly first-person shooters, though id Software switched to a Unified lighting and shadowing model for Doom 3. After a map had been pruned of excess polygons, a second preprocessing system was used to precalculate and bake the lightmaps into the game map, to further reduce load on the CPU when playing the game. However, full light processing could take an extremely long time, so for the initial map design process, lesser-quality light processing could be done, but at the cost of creating a jagged stair-step lightcast around lights.

Sectioning the map to increase speed
To further decrease 3D rendering, a mechanism was developed to section off large regions of the map that are currently not visible to the player, and to not render those unseen spaces. A 3D rendering engine without any such optimizations would draw every part of the world and then attempt to determine which polygons are the closest; then hide all the other polygons behind the closest polygons (a technique known as Z-buffering); just because a polygon is not visible does not mean it is not part of the scene calculations. With this Quake 3D engine optimization, if the player could not see into a nearby region, the 3D engine could be told ahead of time to not include any of the objects in that space in the rendering calculations, greatly reducing the rendering load on the CPU. This effect can be noticed in the game as small tunnels with sharp 90-degree bends leading from one large space into the next large space. The small tunnel is used to block view into the adjoining unrendered space, and a special type of transparent brush (called a visportal) is used to define the edge of where the engine should stop rendering the adjoining space. It is uncommon in the original Quake to be able to see across the entire length of a map, and outdoor spaces are often very tall and narrow, primarily utilizing distance above and below into open sky or lava, to create a low-polygonal illusion of expanse.

How sectioning is performed
A Binary Space Partitioning (BSP) tree is built from the map, simplifying searching for a polygon to O(number of polygons). Each leaf creates some area of 3D space (imagine cutting a pie into pieces). The leaves of this Binary Tree have polygons of the original map associated with them, which are then used for computing each area's visibility. For each area, the VSD algorithm finds the parts of the map for which a line of sight exists. This is called the potentially visible set (PVS).
This process uses large amounts of memory, since it should take O(n2) (where n is the number of polygons) bits (only visible/hidden information is needed). John Carmack realized that one area sees just a small fraction of the other areas, so he compressed this information by using run-length encoding (RLE). This is what allowed Quake's sophisticated graphics to run so quickly on the hardware of the time.

Speeding up the rendering, and rendering order
To reduce overdraw (rendering a new pixel that hides a previously rendered point, meaning the previous work was useless and wasted), the environment was displayed first, from front to back. To hide parts of walls hidden by other walls, a Global Edge List was sorting edges of already rendered polygons ; new polygons were first clipped against previous edges so that only visible parts would get to the framebuffer.
Also while rendering the environment, a ZBuffer was filled (but never read while rendering the environment, as the BSP tree and Global Edge List ensured that each pixel was rendered only once). The ZBuffer was later used to render correctly characters and other moving objects that were partially hidden by the environment.
The pixel rendering loop was implemented in assembly. The texture coordinates perspective correction and interpolation was done using the floating-point unit, due to the limited number of integer registers.
The base texture and the lightmap of a wall were rendered at the same time: a Surface Cache was creating new Surfaces, which are new pre-lighted textures which combines the base and lightmap textures. Surfaces not used since a few frames were released, while new required Surfaces were dynamically created. Generating the surfaces was consuming less time than a secondary lighting pass would have. To save memory, smaller surfaces using mipmaps of the original texture were generated first for further walls.
The characters were lit using a constant ambient light, which value came from a structure storing ambient colors in 3D, depending on the character's position. Characters and objects very far from the camera were not rendered in 3D: they were instead rendered as voxels: 3d big square points of a single color (which came from the object texture).

Hardware 3D acceleration
Quake was also one of the first games to support 3D hardware acceleration. While initially released with only software rendering, John Carmack created a version of the Quake executable that took advantage of Rendition's Vérité 1000 graphics chip (VQuake). OpenGL support was soon added in the form of the GLQuake executable for Windows 95 and higher. Many believe that this kick-started the independent 3D graphics card revolution, GLQuake being the first application to truly demonstrate the capabilities of the 3dfx "Voodoo" chipset at the time. The only two other cards capable of rendering GLQuake were a professional (very expensive) Intergraph 3D OpenGL card, and, later, the PowerVR cards.
To optimize the software rendering engine, lightmaps were shared by polygons that were close in space, and in the same leaf of the BSP tree. This means that quite often polygons using the same main texture could not be rendered at the same time with the 3d acceleration, due to the multitexturing second unit having to be reconfigured with another lightmap. This architecture decision was reducing hardware accelerated rendering performances.

Player movement
Quake by default used the keyboard to turn left and right and move forward and backward, using the mouse, like Doom, to do the same movements. This produced awkward movements, and required settings like "auto-level" that would move the viewpoint back to straight forward as the player moved and "auto vertical aim" that would automatically shoot things above and below the player. Probably because of this, the level design in Quake was more suited to the 2.5D environment of Doom. Only in a few spots in the game was the attacking monster far above or below the player. Quake did have the option of using the mouse to look/aim/orient ("mouselook") and the keyboard to move forward, backward and sideways, but it was not the default until Quake III Arena was released.

Network play
Quake includes cooperative and deathmatch multiplayer modes over LAN or the Internet. Additional multi-player modes were later added using "mods".
Quake uses the client–server model, where a server has control of all game events. All players connect to this server in order to participate, with the server telling the clients what is happening in the game. The server may either be a dedicated server or a listen server. Even in the latter situation, Quake still uses the client–server model, as opposed to the peer-to-peer networking used by some other games. Quake thus cannot suffer from de-synchronized network games that could occur from different clients disagreeing with each other, since the server is always the final authority.
Depending on the client's specific route to the server, different clients will get different ping times. The lower a player's latency (ping time) is, the smoother his or her in-game motions are, which makes it easier to aim, move, and score. Someone playing at the PC or within the same LAN as the server gets a substantial advantage due to having essentially no lag. This created a class structure of haves and have nots, spawning the phrases, Low Ping Bastards or LPBs and High Ping Bait or HPBs.
While gamers had been deathmatching each other via IPX LAN connections, serial cable connections, and modems in the Doom, Heretic, and Hexen series of games, it was not until Quake that the Internet deathmatch community really began.

Quake Arena (Game)

Quake III Arena (also known as Quake 3; abbreviated as Q3A or Q3), is a multiplayer first-person shooter computer and video game released on December 2, 1999. The game was developed by id Software and featured music composed by Sonic Mayhem and Front Line Assembly. Quake III Arena is the third in the series and differs from previous games by excluding a traditional single-player element and focusing on multi-player action. The single-player is instead played against computer controlled bots in a similar style to Unreal Tournament.
Notable features of Quake 3 include the minimalist design, lacking rarely used items and features, the extensive customizability of player settings such as field of view, texture detail and enemy model, and advanced movement features such as strafe and rocket-jumping.
Quake 3 is available on a number of platforms and contains mature content. The game was highly praised by reviewers who, for the most part, described the gameplay as fun and engaging. Many liked the crisp graphics and focus on multiplayer.
Quake 3 has also been used extensively in professional electronic sports tournaments such as Quakecon, Cyberathlete Professional League and the Electronic Sports World Cup.

Gameplay
Unlike its predecessors, Q3A does not have a plot-based single-player campaign. Instead, it simulates the multiplayer experience with computer controlled players known as bots. The game's story is brief - 'the greatest warriors of all time fight for the amusement of a race called the Vadrigar in the Arena Eternal.' The introduction video shows the abduction of such a warrior, Sarge, while making a last stand. Continuity with prior games in the Quake series and even Doom is maintained by the inclusion of player models related to those earlier games as well as biographical information included on characters in the manual, a familiar mixture of gothic and technological map architecture and specific equipment; for example, the Quad Damage power-up, the infamous rocket launcher and the BFG super-weapon.
In Quake III Arena the player progresses through tiers of maps, combating different bot characters that increase in difficulty, from Crash (at Tier 0) to Xaero (at Tier 7). As well as tougher opponents the fights take place in more complex arenas as the game progresses. While deathmatch maps are designed for up to 16 players, tournament maps are designed for duels between 2 players and in the single-player game could be considered as 'boss battles'.
The weapons are balanced by role, with each weapon having advantages in certain situations such as at long-range or fired around a corner; the BFG is an exception to this as a super-weapon. Weapons appear as level items, spawning at regular intervals in set locations on the map. If a player dies all their weapons are lost and they receive the spawn weapons for the current map, usually the gauntlet and machine gun. Players also drop the weapon they were using when killed, which other players can then pick up.
Q3A comes with several gameplay modes; Free for All (FFA), a classic deathmatch, where each player competes against the rest for the highest score, Team Deathmatch (TDM), where usually two teams of four compete for the highest team frag total, Tournament (1v1), a deathmatch between two players, usually ending after a set time and Capture the Flag, which is played on symmetrical maps where teams have to recover the enemy flag from the opponents' base while retaining their own.
Quake III Arena was specifically designed for multiplayer, the game allows players whose computers are connected by a network or to the internet, to play against each other in real time. It employs a client–server model, requiring all players' clients to connect to a server. Q3A's focus on multiplayer gameplay spawned a lively community, similar to Quakeworld, that is active to this day.

Development
During early March 1999, ATI leaked the internal hardware vendor (IHV) copy of the game.[4] This was a functional version of the engine with a textured level and working guns. The IHV contained most the weapons (excepting the Gauntlet) that would make it into the final game although most were not fully modeled; a chainsaw and grappling hook were also in the IHV but did not make it into the final release. Many of the sounds that would make it into the final release were also included.
After the IHV fiasco id Software released a beta of the game called Quake III Arena Test on April 24, 1999. The Q3Test started with version 1.05 and included three levels that would be included in the final release: dm7, dm17, and q3tourney2. Id software continued to update Q3Test up until version 1.09.
During the game's testing it was found that the lightning gun was too dominating. Its strength was reduced to the point that some players have found it useless. Weapon balance was achieved by examining earlier games in the series, Quake and Quake II as well as extensive play testing with well-known players such as Thresh. In the first Quake the rocket launcher was so effective that it dominated entire deathmatches while the rocket launcher in Quake II so weak that it was sometimes ignored. The rocket launcher in Quake III is effective but not overpowering, allowing it to be countered in many situations.

Quake (Game)

Quake is a first-person shooter video game that was released by id Software on June 22, 1996. It was the first game in the popular Quake series of video games. It was made available on Steam on August 3, 2007.

History
A preview included with id's very first release, 1990's Commander Keen, advertised a game entitled The Fight for Justice as a follow-up to the Keen trilogy. It would feature a character named Quake, "the strongest, most dangerous person on the continent", armed with thunderbolts and a "Ring of Regeneration." Conceived as a VGA full-color side-scrolling RPG, The Fight for Justice was never released.

Pre-release and QTest
Quake was given as a title to the game that id Software was working on shortly after the release of Doom II. The earliest information released described Quake as focusing on a Thor-like character who wields a giant hammer, and is able to knock away enemies by throwing the hammer (complete with real-time inverse kinematics). At the start, the levels were supposed to be designed in an Aztec style, but the choice was dropped some months into the project. Early screenshots then showed medieval environments and dragons. The plan was for the game to have more RPG-style elements. However, work was very slow on the engine, since John Carmack, the main programmer of Quake, was not only developing a full 3D engine, but also a TCP/IP networking model. (Carmack later said that he should have done two separate projects which developed those things.) Eventually, the whole id team began to think that the original concept may not have been as wise a choice as they first believed. Thus, the final game was very stripped down from its original intentions, and instead featured gameplay similar to Doom and its sequel, although levels and enemies were closer to medieval RPG style rather than science-fiction. Praised throughout the gaming community, it quickly dethroned previous FPS titles and revolutionized the way multiplayer games were developed.
Before the release of the game or the demo of the game, id software released QTest on February 24, 1996. It was described as a technology demo and was limited to three multiplayer maps. There was no single player support and some of the gameplay and graphics were unfinished or different from their final versions. Nevertheless, the game's multiplayer support caused Quake servers to spring up everywhere overnight. QTest also gave gamers their first peek into the filesystem and modifiability of the Quake engine, and many entity mods (that placed monsters in the otherwise empty multiplayer maps) and custom player skins began appearing online before the full game was even released.

Development
Quake was programmed by John Carmack, Michael Abrash and John Cash. The level and scenarios were designed by American McGee, Sandy Petersen, John Romero and Tim Willits. The graphics were designed by Adrian Carmack, Kevin Cloud. Music and sound design was by Trent Reznor of Nine Inch Nails fame.
The game engine developed for Quake, the Quake engine, popularized several major advances in the 3D game genre: polygonal models instead of prerendered sprites; full 3D level design instead of a 2.5D map; prerendered lightmaps; and allowing end users to partially program the game (in this case with QuakeC), which popularized fan-created modifications (mods).

Gameplay
Quake has two fundamental modes of gameplay: single player and multiplayer.

Single Player
In single-player mode, players explore and navigate to the exit of each level, facing many challenging monsters and a few secret areas along the way. Usually there are buttons to press or keys to collect in order to open doors before the exit can be reached. Once reaching the exit, the game takes the player to the next level.
Before the start level, there is a set of three pathways with easy, medium, and hard skill levels; in order to reach the Nightmare skill level (described in the game manual as "so bad that it was hidden, so people won't wander in by accident"), the player must drop through the water before the Episode 4 entrance and jump into a secret passage.
Quake's single-player campaign is organized into four individual episodes of about eight levels each (each including a secret level, one of which is a "low gravity" level—Ziggurat Vertigo in Episode 1, Dimension of the Doomed—that challenges the player's abilities in a different way). As items are collected, they are carried to the next level, each usually more challenging than the last. If the player dies, he must restart at the beginning of the level. However, games may be saved at any time.
Upon completing each episode, the player is returned to the hub Start level, where he can then enter the next episode. Each episode starts the player from scratch, without any previously collected items. Episode I (which formed the shareware or downloadable demo version of Quake) has a boss in the last level. The ultimate objective at the end of an episode is to recover a magic rune. After all of the runes are collected, the floor of the Start opens up to reveal an entrance to the End level which contains the final boss, based on the God Shub-Niggurath from the Cthulhu Mythos.

Multiplayer
In multiplayer mode, players on several computers connect to a server (which may be a dedicated machine or on one of the player's computers), where they can play against each other. Typically in multiplayer mode, when a player dies he can immediately respawn, but loses any items he has collected and so must start collecting them again. Similarly, items that have been picked up previously respawn after some time, and may be picked up again.
The single-player campaign can be played in co-op mode.
The most popular multiplayer modes are all forms of deathmatch. Deathmatch modes typically consist of either free-for-all (no organization or teams involved), one-on-one duels, or organized teamplay with two or more players per team (or clan). Teamplay is also frequently played with one or another mod. Typically, no monsters are normally present, as they serve no purpose other than to get in the way and give away the player.
The gameplay in Quake was considered unique for its time because of the different ways the player can maneuver through the game. For example: bunny hopping or strafe jumping can be used to move faster than normal, while rocket jumping enables the player to reach otherwise-inaccessible areas (or just move faster), at the cost of some self-damage. The player can start and stop moving suddenly, jump unnaturally high, and change direction while moving through the air. Many of these non-realistic behaviors contribute to Quake's appeal. The nature of the gameplay is often fast and frenzied, and has become considerably faster over the years as players mastered advanced movement techniques.
There is obvious skill needed to react quickly, aim precisely, dodge other players' shots, and jump across tricky spaces. As Quake did not include any automap, it also requires considerable knowledge of the sometimes confusingly-contorted maps (made more complex by the frequent use of teleporters) as well as careful planning in order to collect needed items and conserve health and ammunition. Strategies include regularly picking up items to prevent one's opponent from having access to them and controlling certain critical areas of each level. Duels often take place with opponents mostly out of sight of each other, jockeying for position and carefully stocking up on items, with sudden changes in speed of play when one player or the other gains an advantage. Sound also plays a central role in keeping track of other players and even items in the game, so many players use headphones to give the clearest sound and directionality. Teamplay adds even more tactical layers, with different ways to communicate and cooperate.
Multiplayer Quake was one of the first games that people singled out as a form of electronic sport. Most notable was Dennis "Thresh" Fong who won John Carmack's Ferrari 308 at the Microsoft-sponsored Red Annihilation tournament in 1997.

Story
The player takes the role of an un-named protagonist sent into a portal in order to stop an enemy code-named "Quake". Previously, the government had been experimenting with teleportation technology, and upon development of a working prototype called a "Slipgate", this enemy has compromised the human connection with their own teleportation system, using it to insert death squads into the "human" dimension, supposedly in order to test the martial capabilities of humanity.
The sole surviving protagonist in Operation Counterstrike is the player, who must advance, starting each of the four episodes from a human held but overrun military base, before fighting through into other dimensions, traversing these via slipgate or their otherworld equivalent. Once passing through each slipgate, the player's main objective is to survive and locate the exit which will take him to the next level, not unlike that of id Software's previous hit, Doom.
The game consists of around 28 separate "levels" or "maps", grouped into four episodes. Each episode represents individual dimensions that the player can access through magical portals (as opposed to the technological Slipgate) that are discovered over the course of the game. At the start of each episode, the player is deployed in a futuristic military base and he has to find a slipgate that will take him to the alternate realm. The various realms consist of a number of gothic, medieval, as well as "fire and brimstone"-style caves and dungeons with a recurring theme of hellish and satanic imagery reminiscent of Doom (such as pentagrams and images of demons on the walls). The latter is inspired by several dark fantasy influences, notably that of H. P. Lovecraft; most notably, Dimensional Shamblers appear as enemies, the "Spawn" enemies are called "Formless Spawn of Tsathoggua" in the manual, the end boss of the first episode is named Chthon, and the final boss is named Shub-Niggurath (though actually resembling a Dark Young). Some levels have Lovecraftian names, such as the Vaults of Zin and the Ebon Fortress. Originally, the game was supposed to include more Lovecraftian bosses, but this concept was scrapped due to time constraints.
It should be noted, however, that by the time the game was released the specifics of the story had become relatively unimportant and somewhat disorganized. This is mainly due to a last-minute mix of two different game designs: lead level designer John Romero wanted to make a dark fantasy hand to hand combat/RPG hybrid game, while level designers Tim Willits and American McGee wanted to make a more futuristic, Doom-like game. Ultimately the Doom-like mechanics were implemented and many of the dark fantasy design elements were incorporated into the graphics and visual effects of the game.

Sequels
After the departure of Romero, the remaining id employees chose to change the thematic direction substantially for Quake II, making the design more technological and futuristic rather than Lovecraftian fantasy. Quake 4 followed the design themes of Quake II, whereas Quake III Arena mixed these styles, as it existed in a parallel continuity that housed several "id all-stars", from various games, as playable characters.
The mixed settings occurred because Quake II originally began as a separate product line. Unfortunately, due to the failure to gain rights to the title they wanted, id designers were forced to fall back on the project's nickname of "Quake II." Since any sequel to the original Quake had already been refused, it became a viable way of continuing the series without actually continuing the storyline or setting of the first game.