I like cyberpunk, though I prefer it in small doses. I’d never go on a cyberpunk reading jag, but I thoroughly enjoy the occasional William Gibson, Bruce Sterling, or Pat Cadigan novel. I also think that IF in the cyberpunk vein could be really cool — after all, if cyberpunk has one defining characteristic, it’s a certain atmosphere, and atmosphere is something that IF does very well. There is a danger, however: with IF conventions having been shaped out of a stock fantasy/D&D tradition in games like Adventure and Zork, the temptation might exist to just slap a cyberpunk sheen on standard fantasy tropes and call it good, when good is something it very probably wouldn’t be.
It’s exactly this trap into which VOID: CORPORATION falls. Instead of a shiny silver key to open a locked door, we find a “silver slab” imprinted with microcircuitry. A pistol instead of a sword, a cube with liquid metal software instead of a spell scroll, et cetera. And instead of wandering kobolds and bugbears and such, we get wandering FMI (Federal Military Intelligence) agents and “cyberpunks.” (It works much better as a label for a genre rather than for a group of people, by the way.)
Let’s talk a little bit more about those wandering monsters. Ask any Quake or Half-Life player this question: “How would it be if every time you fragged something, you dropped your weapon, and had to explicitly pick it up again before you could frag something else?” I think we both know that their answer would certainly be some variation on “It would SUCK! A lot!” Yet this is exactly how things work in V:C. At the beginning of the game, we are told this about the PC: “more people have died at his hands than braincells at a ‘Silver’ party.” Unfortunately, the guy seems to be more butterfingers than trigger-finger. Even worse, the game doesn’t even tell you that you’ve dropped your weapon — it was quite a surprise the first time I tried to shoot somebody and was told, “You don’t see any gun here.” Strange enough that the game seems to want to emulate the random-stream-of-bad-guys dynamic of action games, despite the fact that typing “kill cyberpunk” carries absolutely none of the visceral thrill of an FPS frag. But for god’s sake, why why why would this trained professional killer drop his weapon after every single kill? (Nevermind the fact that these kills happen on crowded streets and shops where nobody seems to bat an eye at gunplay.)
Adding to the irritation is the fact that certain monsters can only be killed by certain specific weapons, even though both weapons are basically guns. For example, if you try to kill a “mean-looking cyberpunk” with your shotgun, you are told “You strike at the cyberpunk with the shotgun, but your weapon bounces off it harmlessly”, almost as if you tried to clobber the guy with the stock rather than the far-less-strenuous effort of pulling the trigger. Yet a pistol takes him out without fuss? What could the difference possibly be? This bizarre behavior, coupled with the fact that every dead bad guy disappears in “a cloud of red smoke” made me feel sure that at some point the game would have the PC “discover” that he’s in a VR scenario. But no, that never happened, and the only explanation I’m left with is that some serious slippage into fantasy has occurred in these portions of the game.
Some of this behavior may be due to the fact that the game is written in AGT. I haven’t played many AGT games, since most of them seem to have came out between the fall of Infocom and the release of Lost Treasures, which is a period during which I had given IF up for dead. However, I have vague recollections of people asserting that the wandering monster stuff is default behavior in AGT, and that it has to be explicitly removed for a game not to have it. Or maybe I’m thinking of GAGS or something — they all sort of blend together for me.
In any case, there are problems in this game that definitely cannot be blamed on AGT. For example, one of the critical puzzles in the game depends on the PC going in a direction that is not indicated as available in the room description. This, mind you, when every single possible exit is listed in every other room description. Hasn’t the UN passed a resolution or something against games behaving like this? In fairness to the game, it’s true that a hint toward this action is given at one point, but in fairness to me, the descriptions do little to indicate in what location the hint is applicable, and in any case that’s still no excuse for leaving an exit unlisted when all others are. This is definitely the worst offender among the puzzles, but every aspect of Void, from the design to the writing to the plot to the coding, is tarnished with flaws. Some of these aspects have a genuine spark of excitement, or at least the possibility of such, but in the end, VOID: CORPORATION is a game that promises far more than it delivers.