Low-Poly, Pixels, and Darkness: The Making of Ritual
What began as a modest project for Ritual, with only three maps, eventually expanded into six maps developed in the following order: ze1m3, ze1m2, ze1m1, ze1m4, ze1m5, and ze1m6.
Along the way, Sock joined the project and eventually created additional secret maps. To enhance the challenge, we decided that each secret map would contain a unique rune. Collecting all four would unlock a final remixed map, offering a distinct conclusion to the episode.
At first, the project was intended to be purely vanilla. Even the rotators in ze1m1s and the starting map were achieved through a clever hack. However, the mobile teleporters in the final map caused issues with quake.exe, requiring us to add some quake-c tweaks, and we also customized the end-of-episode messages and refined certain configurations in the starting map.
Along the way, Sock joined the project and eventually created additional secret maps. To enhance the challenge, we decided that each secret map would contain a unique rune. Collecting all four would unlock a final remixed map, offering a distinct conclusion to the episode.
At first, the project was intended to be purely vanilla. Even the rotators in ze1m1s and the starting map were achieved through a clever hack. However, the mobile teleporters in the final map caused issues with quake.exe, requiring us to add some quake-c tweaks, and we also customized the end-of-episode messages and refined certain configurations in the starting map.
ORIGINS
It's been nearly two years since I first embarked on this project, though with many interruptions due to significant life changes. Fortunately, my goals and vision for the project have remained constant throughout.
My previous work involved creating a map for the Arcane Dimensions mod, featuring vast architecture and expansive proportions. At the time, I was heavily influenced by Unreal's single-player campaigns, which shaped my perception of scale. However, I struggled to reconcile these grand dimensions with the classic Quake textures and to balance combat in such large spaces. The result was a map filled with horde-style combat, more suited to Doom than Quake.
Following that, I was invited to collaborate on three maps for Tremor, a 32-level pack designed to emulate the original Quake experience while respecting the technical limitations of the time. During this process, I rediscovered the beauty of smaller, well-balanced maps, reminiscent of those found in the original campaign or Scourge of Armagon. The contrast with modern, highly complex maps made me realize that Quake's charm lies in its simplicity. From this, I established my design philosophy moving forward.
My previous work involved creating a map for the Arcane Dimensions mod, featuring vast architecture and expansive proportions. At the time, I was heavily influenced by Unreal's single-player campaigns, which shaped my perception of scale. However, I struggled to reconcile these grand dimensions with the classic Quake textures and to balance combat in such large spaces. The result was a map filled with horde-style combat, more suited to Doom than Quake.
Following that, I was invited to collaborate on three maps for Tremor, a 32-level pack designed to emulate the original Quake experience while respecting the technical limitations of the time. During this process, I rediscovered the beauty of smaller, well-balanced maps, reminiscent of those found in the original campaign or Scourge of Armagon. The contrast with modern, highly complex maps made me realize that Quake's charm lies in its simplicity. From this, I established my design philosophy moving forward.
My beloved Phillips 107E, which I got for 10€
WHY RETRO
As a passionate advocate for retro gaming, I firmly believe in experiencing games on original systems, using CRT televisions and monitors.
For me, Quake shines brightest when played with its software rendering, low resolution, and the raw aesthetic that defines its unique essence. The pixelated edges, intense lighting, and grainy textures combine to create an atmosphere that is often lost in modern renditions.
In low resolution, the monsters and models in Quake appear as stylized pixel art because the graphical limitations smooth out details and engage the player's imagination. The low definition hides imperfections, making textures and polygons blend better. In high resolution, these limitations become more apparent: textures look stretched and models reveal their rough geometry, giving them an origami-like appearance painted with distorted pixels.
The CRT display and scanlines further enhance the visual effect, softening the edges and adding a nostalgic, organic feel that complements the low-res style, while high resolution can appear harsher and more artificial on modern screens.
You can clearly see something doesn't look right when seeing vanilla game in high resolution. The amount of "fixes" like HD skin and texture packs, new models, etc. to make the game look "nicer" is more proof...
For me, Quake shines brightest when played with its software rendering, low resolution, and the raw aesthetic that defines its unique essence. The pixelated edges, intense lighting, and grainy textures combine to create an atmosphere that is often lost in modern renditions.
In low resolution, the monsters and models in Quake appear as stylized pixel art because the graphical limitations smooth out details and engage the player's imagination. The low definition hides imperfections, making textures and polygons blend better. In high resolution, these limitations become more apparent: textures look stretched and models reveal their rough geometry, giving them an origami-like appearance painted with distorted pixels.
The CRT display and scanlines further enhance the visual effect, softening the edges and adding a nostalgic, organic feel that complements the low-res style, while high resolution can appear harsher and more artificial on modern screens.
You can clearly see something doesn't look right when seeing vanilla game in high resolution. The amount of "fixes" like HD skin and texture packs, new models, etc. to make the game look "nicer" is more proof...
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| CRT monitor and low resolution | Modern monitor and high resolution |
In Quake's software renderer, shadows and lighting are applied in bands with abrupt transitions, making them more consistent with the pixelated textures. In contrast, in OpenGL, the smooth gradient lighting can make the shadows appear less defined and not align as well with the textures, losing that visual consistency. In order for my maps to be enjoyed in this way, they need to adhere to certain specifications.
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| Software render | GL render |
This area is one of the highest wpoly peaks in the whole pak
OLD LIMITS
The level design team in Quake was allowed a maximum of 600 wpoly. In Quake 2 it was 800.
To give you an idea of modern standards in the community, the starting area of Forgotten Sepulcher (one of the most complex and detailed Arcane Dimensions map) has frequent peaks above 10,000 wpoly.
In the tests I did during this time, quake.exe could run maps stably with peaks up to 900 wpoly or so. After this it can start to stop rendering entities or walls disappear (so-called greyflash).
To design maps under these conditions, you have to maintain clean architecture and base the detail on lighting and textures.
You have to keep the map constantly sealed and vised to inspect from every corner with the r_speeds 1 command activated. Every so often, a change in the area or a new route can increase the wpoly count and force you to remove material and rebuild.
The most important thing is to avoid long viewing distances. So forget about large open spaces and be prepared to block all gates with walls or S-shaped corridors.
Here is an article that explains the process very well.
Textures with transparency cannot be rendered correctly, so they are not used, as well as changes in alpha, so liquids are completely opaque. The latter can be used as an advantage for optimisation, since by compiling with -notranswater we can use water as a visblocker.
Another trick we used was to convert part of the brushes to func_detail or detail_wall, so that they count as entities and not worldspawn. You have to be careful not to abuse this, because it is also limited and the entities cannot be more than 1024.
To give you an idea of modern standards in the community, the starting area of Forgotten Sepulcher (one of the most complex and detailed Arcane Dimensions map) has frequent peaks above 10,000 wpoly.
In the tests I did during this time, quake.exe could run maps stably with peaks up to 900 wpoly or so. After this it can start to stop rendering entities or walls disappear (so-called greyflash).
To design maps under these conditions, you have to maintain clean architecture and base the detail on lighting and textures.
You have to keep the map constantly sealed and vised to inspect from every corner with the r_speeds 1 command activated. Every so often, a change in the area or a new route can increase the wpoly count and force you to remove material and rebuild.
The most important thing is to avoid long viewing distances. So forget about large open spaces and be prepared to block all gates with walls or S-shaped corridors.
Here is an article that explains the process very well.
Textures with transparency cannot be rendered correctly, so they are not used, as well as changes in alpha, so liquids are completely opaque. The latter can be used as an advantage for optimisation, since by compiling with -notranswater we can use water as a visblocker.
Another trick we used was to convert part of the brushes to func_detail or detail_wall, so that they count as entities and not worldspawn. You have to be careful not to abuse this, because it is also limited and the entities cannot be more than 1024.
OLD SCHOOL LEVEL DESIGN
I love old FPSs as much as I hate modern ones. My goal was for us to recreate those compact, highly interconnected, claustrophobic, linear/non-linear designs of the 90's.
Working within the constraints of the original engine also led us to rediscover forgotten design techniques that elevate this gameplay experience.
Working within the constraints of the original engine also led us to rediscover forgotten design techniques that elevate this gameplay experience.
Controlled Sightlines
Rather than creating expansive landscapes, We focused on breaking sightlines by placing occluders, gradually revealing new areas. This not only promotes exploration, rewarding the progress with fresh perspectives, but creates dynamic combat scenarios by controlling the pace and preventing power positions.
Scale
A small or medium scale forces you to think of each area as a meaningful and functional space, rather than creating zones that feel empty or irrelevant. It's easier to identify flow or balance issues in smaller spaces and make adjustments before expanding the map.
It's also simpler to control the placement of key pickups (weapons, health, armor), ensuring they are accessible but strategically distributed.
This scale ensures more suitable proportions for interaction with the limited AI of enemies and allows for more frequent and dynamic encounters.
On a smaller map it is more difficult to get lost, so you can afford more daring non-linear flows or loops, interconnections, backtracking, and alternative routes.
It's also simpler to control the placement of key pickups (weapons, health, armor), ensuring they are accessible but strategically distributed.
This scale ensures more suitable proportions for interaction with the limited AI of enemies and allows for more frequent and dynamic encounters.
On a smaller map it is more difficult to get lost, so you can afford more daring non-linear flows or loops, interconnections, backtracking, and alternative routes.
Minimalism
Aesthetic harmony lies in the balance of shapes, lighting, and architecture. Every element, no matter how small, must contribute meaningfully to the whole. It's not just about removing the unnecessary, but about focusing on the details that define the space's character.
This approach ensures the design maintains visual clarity and an immersive experience without distractions.
That protruding brick is probably a secret button. That door with different artwork will be a main route... Communicate instead of decorate!
This approach ensures the design maintains visual clarity and an immersive experience without distractions.
That protruding brick is probably a secret button. That door with different artwork will be a main route... Communicate instead of decorate!
The Hypogeum with its blue theme
Strategic Focus
Due to wpoly overruns we sometimes had to make smaller areas, remove some routes or connections and redesign elements with a lot of pain... but surprisingly these changes improved the maps' flow and combat!
By adhering to the limitations of entities, polygons, and visibility, We were forced to make more strategic design choices, resulting in a more efficient and harmonious map layout with less clutter visually and more direct focus of routes and actions, instead of the abuse of buttons and interactive elements (the Half-Life crutch). Doors in Quake have a touch trigger for a reason!
By adhering to the limitations of entities, polygons, and visibility, We were forced to make more strategic design choices, resulting in a more efficient and harmonious map layout with less clutter visually and more direct focus of routes and actions, instead of the abuse of buttons and interactive elements (the Half-Life crutch). Doors in Quake have a touch trigger for a reason!
Textures
I'm a big fan of ID's texture work, both in Quake, its sequel, and early Doom. I think, along with Raven in the Heretic and Hexen sagas, they are the pinnacle of this style of graphics.
The point they achieve between illustration and realism gives that fantastical yet gritty take on the dark atmosphere perfect for these abandoned bases and sunken castles. And especially how the monster skins are exactly the same style.
I have to admit that when the pixel art of the textures is in a totally different style from the rest of the game, I can't stand it and that's reason enough for me not to play it.
But there are new themes created by modders that, even though they are brand new, completely respect this style. Such as in The Secret Installation, the Egyptian theme in Dissolution of Eternity, or Contract Revoked (like a mix of City textures with Quake 3 temples).
But in other cases, the new textures are extensions and edits of the original campaign's own themes and can go unnoticed to the eye of the average player. This is true of many maps and packs like In the Shadows, Underdark Overbright, Deathmatch Dimension and our episode, Ritual.
We used Photoshop, Wally and Texmex (super useful for palette conversion). Many of these changes are recolourations to make everything fit into a chosen theme scheme. Others are imitations of other textures within the dimensions needed for specific trims or spaces. Also new doors, buttons, decoration...
The point they achieve between illustration and realism gives that fantastical yet gritty take on the dark atmosphere perfect for these abandoned bases and sunken castles. And especially how the monster skins are exactly the same style.
I have to admit that when the pixel art of the textures is in a totally different style from the rest of the game, I can't stand it and that's reason enough for me not to play it.
But there are new themes created by modders that, even though they are brand new, completely respect this style. Such as in The Secret Installation, the Egyptian theme in Dissolution of Eternity, or Contract Revoked (like a mix of City textures with Quake 3 temples).
But in other cases, the new textures are extensions and edits of the original campaign's own themes and can go unnoticed to the eye of the average player. This is true of many maps and packs like In the Shadows, Underdark Overbright, Deathmatch Dimension and our episode, Ritual.
We used Photoshop, Wally and Texmex (super useful for palette conversion). Many of these changes are recolourations to make everything fit into a chosen theme scheme. Others are imitations of other textures within the dimensions needed for specific trims or spaces. Also new doors, buttons, decoration...
All textures used are included within the pak. Here I show a small sample of the type of edits made:
Balance
If there's one thing that frustrates me about custom content communities, it's their elitism about skill and their exclusive focus on people who have spent decades mastering the game. It was very important to us that Ritual could be enjoyed by everyone no matter their skills. Properly levelling your designs for this purpose shouldn't be a problem with the existing difficulty levels, and we tested them and iterated them ad nauseam for this. The idea of these maps is that they could be played without abusing save states, which is a clear sign of a poorly balanced level.
Hard skill is the mode in which we, as designers, play the map and must complete it without dying, as we know perfectly all the traps, monster positions and items. We also use as a reference the testing of highly-skilled players, who submit to us another run in nightmare when they already know these.
For normal and easy we reduce the number of monsters, switch to less lethal monsters, and avoid more complex traps and positioning.
We have not based items on skill levels (with very few exceptions) as we believe that players with fewer skills do not manage resources well.
Hard skill is the mode in which we, as designers, play the map and must complete it without dying, as we know perfectly all the traps, monster positions and items. We also use as a reference the testing of highly-skilled players, who submit to us another run in nightmare when they already know these.
For normal and easy we reduce the number of monsters, switch to less lethal monsters, and avoid more complex traps and positioning.
We have not based items on skill levels (with very few exceptions) as we believe that players with fewer skills do not manage resources well.
Combat
The limitations that forced Quake to have fewer enemies on screen, made the monsters harder to kill, with more endurance and lethality.
Some Quake mappers have tried to emulate the horde combat of Doom or Serious Sam, adding changes in mods, Quads, abuse of Rockets and so on. But we prefer smaller encounters where the challenge is based on strategic positioning, vertical variation, funnels, etc. We avoid the modern approach of closed arenas that are only unlocked at the end of combat, and boring wave hordes that arrive one after the other. Fighting erupts along the way as the ranger does not cease his forward advance! The interconnectedness and reuse of the layout means that in most cases any enemy left alive can still be a danger.
Some Quake mappers have tried to emulate the horde combat of Doom or Serious Sam, adding changes in mods, Quads, abuse of Rockets and so on. But we prefer smaller encounters where the challenge is based on strategic positioning, vertical variation, funnels, etc. We avoid the modern approach of closed arenas that are only unlocked at the end of combat, and boring wave hordes that arrive one after the other. Fighting erupts along the way as the ranger does not cease his forward advance! The interconnectedness and reuse of the layout means that in most cases any enemy left alive can still be a danger.
Congruent with the first-person view
First-person visibility presents several limitations. To address this, we have steered clear of mechanics like platforming or trap avoidance, which may be difficult for the player to assess, as well as situations where events unfold outside of their view.
The Inhuman Host cassette release
MUSIC
I wanted a soundtrack of my own for the episode, just like many Doom wads nowadays. But for Quake, it had to be atmospheric drone and industrial ambient, like the NIN soundtrack.
I'm an old friend of one of the members of The Inhuman Host. He had shared with me a Bandcamp link to their 2022 release and as soon as I heard it I asked him if they wanted to be involved, as what they were doing fitted perfectly with what I needed.
They certainly didn't have any experience of working with video games or their ideosyncrasies. So they relied solely on descriptions I gave them of the levels, doing everything from scratch as if recording a formal album (no samples, no presets), with a tactile and ideographic approach... if it was a sewer level, the sound design suggested drains, echoes... etc.
For recording they used everything but vsts... analog and digital synths, modulars, field recordings, microphones, guitar pedals for the fx... everything direct to the interface... and when it came to mixing and production, special attention was paid to polishing the cleanliness of each track to achieve a clean result.
The volume we got from the master was perfect, it sounded good and didn't block out the ambient sounds of the map.
The truth is that each track originally lasted around 20 minutes and made the pak very heavy, so they were drastically reduced and making a small adjustment so that the loop was correct.
I'm an old friend of one of the members of The Inhuman Host. He had shared with me a Bandcamp link to their 2022 release and as soon as I heard it I asked him if they wanted to be involved, as what they were doing fitted perfectly with what I needed.
They certainly didn't have any experience of working with video games or their ideosyncrasies. So they relied solely on descriptions I gave them of the levels, doing everything from scratch as if recording a formal album (no samples, no presets), with a tactile and ideographic approach... if it was a sewer level, the sound design suggested drains, echoes... etc.
For recording they used everything but vsts... analog and digital synths, modulars, field recordings, microphones, guitar pedals for the fx... everything direct to the interface... and when it came to mixing and production, special attention was paid to polishing the cleanliness of each track to achieve a clean result.
The volume we got from the master was perfect, it sounded good and didn't block out the ambient sounds of the map.
The truth is that each track originally lasted around 20 minutes and made the pak very heavy, so they were drastically reduced and making a small adjustment so that the loop was correct.
HOW TO PLAY RITUAL THE RETRO WAY
Most of the commands for a retro look and feel for modern engines are in the quake.rc included in the pak.In the case of Ironwail it is recommended to select in the video options '8-bit mode: raw' (or 'r_softemu 3' in the console/cfg).
Still, if you want the most retro experience possible we recommend the following options:
- MarkV Winquake - Engine with software renderer created by Baker.
Very powerful in my opinion and our first recommendation for the pak. It has its detractors that say it's very buggy, but I haven't detected a single problem in my life with it, except for an insane amount of warning messages that I don't understand in the console in developer mode. Some gaming mice may give problems if you do not change the polling rate to 250 mhz but we've never had that issue.
It is the only option here that plays mp3.
Select the winquake one, not the gl.
- Winquake - The original Winquake.
Same as the previous one but with less options. You need to burn a cd to play the music (with some filler like track 1 for the correct order) or burn an iso with some virtual CD software.
- DOSBox - My choice to play as primitive as possible.
DOSBox emulates the VGA line-doubling faithfully if you set machine=vgaonly in the config (only for CRT users)
LAST WORDS
Ultimately, this episode has not just been about map design or overcoming technical limitations, but about rediscovering what makes Quake timeless: its immersive world, its gameplay challenges, and its ability to transport players into a universe where every corner hides something mysterious and deadly. Through this process, I hope to have crafted a map pack that resonates with both nostalgia and fresh excitement, honoring Quake's legacy while providing a new challenge for players.For feedback,
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