Remembering Middle-earth: Shadow of Mordor, F.E.A.R., and Other Masterpieces by Monolith

Yesterday, it was announced that Warner Bros. Games decided to shut down three studios, one of which was Monolith Productions. This is a significant loss for the gaming industry — Monolith began its journey back in the '90s and has since released numerous cult classics. Today, we take a look at some of the studio’s most significant projects.

Monolith became a fan favorite right after the release of the shooter Blood. At first glance, it might seem like yet another Doom-style clone, but in reality, it offers much more.

Blood boasts a unique charm — it's brutal, extremely gory, yet also quite humorous. The game is packed with references to pop culture, from horror films to animated series. The protagonist constantly cracks jokes or quotes famous movies while obliterating demons and undead creatures with dynamite or a triple-barrel shotgun.

Unlike the old Doom games, Blood never feels repetitive — each mission introduces new environments, unique enemies, and a fresh batch of references.

The No One Lives Forever series isn't widely discussed today, but back in the day, both games were considered on par with Half-Life. Monolith crafted a one-of-a-kind spy-action experience with deep gameplay, allowing players to approach missions with stealth or direct combat.

The first NOLF showcased Monolith’s talent for AI design. Enemies react to noise, footprints in the snow, and discovered bodies. To complete missions undetected, players must use spy gadgets disguised as everyday accessories — lockpick hairpins, camera glasses, explosive lipstick, and knockout perfume.

Still considered one of the best, if not the best, video games based on the iconic 20th Century Studios’ aliens, Aliens Versus Predator 2 features three vastly different campaigns — one for the Colonial Marine, one for the Predator, and one for the Xenomorph.

Each storyline offers a distinct gameplay experience. Playing as a Marine, AvP2 feels like a classic FPS horror game, where every sound can signal imminent danger. As the Predator, the game shifts to a stealth-action experience that relies on camouflage and powerful but slow weapons. Finally, playing as the Xenomorph completely flips the game on its head — literally — since this agile creature can climb walls and ceilings.

A game ahead of its time, the original F.E.A.R. still feels modern despite being nearly two decades old. Monolith achieved groundbreaking success in multiple areas.

Visually, the game introduced dynamic shadows cast by all moving objects — a crucial feature for an atmospheric horror shooter. To create cinematic firefights reminiscent of John Woo’s action movies, Monolith implemented a complex particle system. Shooting at a concrete pillar, for example, would scatter debris, dust, sparks, and smoke, creating a stunning visual spectacle — one of the reasons the game made it into our list of timeless classics.

However, F.E.A.R.'s standout feature was its enemy AI. Even today, few single-player shooters can match its intelligent opponents. Enemies coordinate via radio, call for reinforcements, take cover, fire blindly around corners, flank the player, and retreat when outmatched. They also tactically throw grenades to flush the player out of cover. They even break glass, climb ladders, and crawl through vents if it gives them a tactical advantage.

F.E.A.R. was so innovative that even its 2009 sequel felt like a step backward in several aspects, including graphics.

In 2005, Monolith released not one but two masterpieces. Just months after F.E.A.R., they launched Condemned: Criminal Origins — a landmark survival horror game that proved Western developers could compete with their Japanese counterparts, who dominated the horror genre at the time.

Like other Monolith titles, Condemned was ahead of its time. Its melee combat system remains more responsive and tactile than most modern first-person brawlers.

Players use improvised weapons — pipes, rebar, axes, and boards with nails. Each weapon has unique animations and handling characteristics. Blocks, attacks, and counters require precise timing, forcing players to anticipate enemy movements. This deep combat system perfectly complements the horror elements, making it surprising that Condemned never got a true spiritual successor.

Today, many developers dream of creating dynamic, player-driven narratives. Studios like Bethesda and visionaries like Ken Levine aspire to build games where the story evolves based on player actions. Interestingly, Monolith already achieved this 11 years ago.

The Nemesis system in Middle-earth: Shadow of Mordor and Shadow of War turns enemies into unique, evolving characters. Orcs have distinct names, appearances, abilities, personalities, and weaknesses.

These games dynamically generate rivalries between the protagonist and the orcs based on the player's successes and failures. If an enemy defeats the player, they remember it, grow stronger, and rise through the ranks. Upon their next encounter, they’ll taunt the player, recalling their previous victory. Some foes even return from the dead—scarred or with mechanical prosthetics—seeking revenge.

Despite its immense potential, the Nemesis system has remained exclusive to Warner Bros. Games due to a patent, preventing other studios from implementing similar mechanics. Unfortunately, Warner Bros. has shown no plans to utilize it further after Shadow of War, leaving one of the most groundbreaking features in modern gaming locked away without reason.

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Monolith Productions was an unusual studio. Despite producing revolutionary hits, it never quite achieved the legendary status of id Software in the collective consciousness of gamers. As is often the case, now that the studio has closed, its legacy will finally be fully appreciated.

How do you feel about Monolith’s closure? Share your thoughts in the comments.