What has aged less well is Duke's bawdy nature, which comes to the fore in the game's second stage, Red Light District. Some other default settings are harder to appreciate - duck on the triangle button? - but it shows that Duke was a game that could transition surprisingly well across platforms and decades. The odd fish-eye effect that earlier versions of the Megaton Edition suffered from has been largely eradicated. There are some nice additions though, such as using the front touch screen to swap weapons. Control is a little slippery, having been designed for inputs far less nuanced than we're used to today. Certainly, the crisp but smaller screen is kinder to the chunky graphics than a giant HD TV, although the difference between the polygon environments and the flat sprite characters looks weirder than ever. Even some of the secret areas have secret areas. Even playing through those stages again, courtesy of the generous Duke Nukem 3D: Megaton Edition that's recently come to PlayStation Vita and PS3, I'm still amazed at just how much stuff there is to find and do in this game. That first level - charmingly titled Hollywood Holocaust - was an absolute treasure trove of interaction and environmental feedback, and one that rewarded curiosity.
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Light switches that worked! Toilets that you do a wee in! Mirrors that reflected your character! A movie projector that played an actual movie (or a pixellated looped animation of a woman enjoying herself rather a lot)! Everyone wanted to take turns poking around with the demo, just to see what we could find and do.
I was working on an internet magazine in 1996, and still remember the stunned conversation in the pub at lunchtime after we'd downloaded the shareware demo of Duke on an office PC. Hollywood Holocaust is still the greatest opening level of any shooter ever. Admittedly, it was a version of the real world populated mostly by strippers and toilets, but those first few levels were an absolute revelation at the time.
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Where Doom offered a series of mazes hewn from brushed metal and bright red rock, Duke Nukem 3D offered a recognisable facsimile of the real world. Following indecently close behind the mould-breaking Doom, it ushered in not only an era of proper solid 3D game worlds, but showed that those worlds could be funny as well as fun, and deserving of exploration for reasons beyond another colour-coded keycard. It somehow still manages to represent both the best of what games can be, and the worst of gaming's lazy vices.īack in 1996, when it was still necessary to append "3D" on the end of a title so people knew to expect polygons, Duke Nukem hit the FPS genre like an atom bomb. It's a game that still delights me today, over 20 years since its original release, and also a game that makes me cringe with embarrassment for the easily amused adolescent twerp I was. I've lost track of how many times I've played through the opening chapters of Duke Nukem 3D.
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