“I love it when people talk about how wonderful and well-thought-out the sounds are.”
. None supported online play, and so deathmatches would take place on opposite sides of the same television screen, rendering these sorts of localization cues impossible. Whatever utility was contained in the hup was becoming an open question.it, a jump sound was the nearly inevitable result of an industry that was maturing.
More power meant the ability to render dramatically larger maps, where even the most over-the-top player noise would be of little tactical value, and a normal jump would be inadequate for traversal. The multiplayer-onlywould be a harbinger of this kind of design philosophy—providing its players a jetpack to zip around its sprawling locations.
Hardware improvements also allowed games to move out of abstract level design and toward realism. The late ’90s and early 2000s would give rise to the military-simulation and tactical-shooter genres, some of which—like—would remove jumping entirely in pure service to actual military protocol. While deathmatch avatars might be able to bounce around while holding 20 weapons and body armor, an actual soldier would likely break their legs if they attempted something similar.
Likely the real nail in the hup’s coffin, though, was a shift in multiplayer games away from deathmatch’s complete free-for-all, starting with team-based play, then the ability to select specialized classes. Whatever information was once contained by a stray jump sound could now be conveyed with greater specificity by a teammate through commands and later via voice chat programs like Teamspeak or Ventrillo, both of which launched in 2002.
And so, for a while anyway, the hup fell out of style, even being omitted from games where one might expect it to crop up. It was absent from the throwback-y
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