Interesting architecture, a clear objective (reestablish communications for Durandal), sufficient ammo to finish the level and start the next one with enough to survive, and very well-done monster placement makes this a great level. There are extra nice touches, like the swarm of drones at the end of the level (near the final door). You can finish the level without ever seeing these, but fire a shot out the window (or blast the switch with a grenade instead of your fist), and you'll wake them up... a nice adrenaline jolt.
The level is beautifully constructed, and opens like a flower, a bit at a time. It's a destroy-everything-in-your-path level, but the terms provide quite a bit of background that adds to the atmosphere. This level demonstrates the classic dilemma of agression versus valor-the S'pht'Kr are there to fight on your side, but if you hit them in the melee, they'll turn on you like rabid dogs. Often, it's safer to hang back and clean up whatever the S'pht'Kr leave behind. (That doesn't always go over well with the testosterone crowd, though...) Figuring out how to get to the end can be tricky, or you can use brute force and spanker-jump your way there. This is a nice release valve for folks who get tired of the puzzles...
One of the first solo maps released for M2, this single-level scenario is a great example of what atmosphere can do to a map's playability. Great monster placement, well-balanced weapons and ammo, and good level design all add up to a satisfying experience. There are no terminals in this map, because there were no tools available for creating them when it was released.Created by Stephen Ritchie, released February 16, 1996.
A good storyline, attractive term art, very nice level design, and fantastic monster placement makes this map a real attention-grabber. Ammo placement has been tuned to the point where you cannot kill everything you run across by shooting it and hope to survive... you need to think, and plan, and use what you find around you to help you. Bungie, in their progression from Pathways into Darkness to Marathon to Marathon2, moved away from the style of "think, 'cause you ain't the biggest cat in the jungle" towards "Dive into the melee; wield superior firepower; endure". This map brings back the old ideals, for those of us who missed them... your superior firepower is all above your shoulders.There are puzzles which require actual planning, instead of simply bulling ahead and finding the right switch. You'll find yourself studying the map, trying to figure out the best way to get from where you are to where you need to be, because it's not a linear map at all. Lighting is well-used, and textures are aligned (and fit the location, rather than simply being placed for variety's sake). Finishing this scenario will leave you with a feeling of real accomplishment.
Created by Darrell Olson, released August 14, 1996.
This map is strongest in the feature that most sharply differentiates Marathon from other 1PP games: storyline. A great plot, unhampered by the (small, but annoying) problem of misspelling, drives this compelling scenario. Actual level layout and monster/ammo placement are carefully considered, and quite well-done. The final term teases you with hints of the next level, and keeps interest high in the overall story.Created by Luca Uggeri, released June 12, 1996.
This is the second installment in a "series" map (each level is released individually, and can stand alone, but with an ongoing plotline). Construction is nearly perfect, and provides many opportunities to stand back and admire the scenery. (Wait until you've killed everything in the area, or you'll admire it from the ground.) There are several areas to complete before you can advance, and you can choose the order in which you do them. Monster placement is fantastic, and requires real skill to stay alive; it's not unusual to find yourself on a narrow ledge above a lava pool, with aliens shooting at you... a misstep means death. The plot is quite engaging, and contains tie-ins to the original Marathon storyline (and is supplemented by great terminal art). As with most of Tony Smith's levels, there is a feeling of real satisfaction, and some disappointment that it doesn't go on longer, when you reach the end.Created by Tony Smith, released June 11, 1996.
This six-level solo scenario is the most visually stunning creation developed for the Marathon engine. There are no misaligned textures, no suicide rooms (areas you can get into, but not out of), no misplaced textures. Every space is meticulously crafted, with many gratuitious constructs there only to enhance your viewing pleasure. Several tricks have been created to take advantage of the Marathon engine in ways that noone has done yet, including force fields, fixed gun turrets, and airlocks. The plot is well thought-out, and consistent through the six levels. This is not a flip-all-the-switches-and-teleport-out game... you know generally what you need to do at each juncture, but it's not always clear how to do it. Monsters are well-placed, showing up when you least expect them. There are certainly huge firefights, but usually, you're killing stuff that creeps up on you, or appears because of your actions. Often, you're tempted with goodies (weapons, ammo), but greeted with flaming death when you try to collect... You need to keep on your toes at all times.Created by FrigidMan, released June 20, 1996.
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