Sid Meier's Alpha Centauri

Sid Meier's Alpha Centauri
Sid Meier's Alpha Centauri
Sid Meier's Alien Crossfire
Alpha Centauri cover.jpg
Developer(s) Firaxis Games
Director(s) Sid Meier
Designer(s) Brian Reynolds
Michael Ely
Bing Gordon
Sid Meier
Series Civilization
Platform(s) Linux, Mac OS, Microsoft Windows
Release date(s)
Genre(s) Turn-based strategy
Mode(s) Single-player, multiplayer
System requirements

Sid Meier's Alpha Centauri (SMAC) is the critically acclaimed science fiction 4X turn-based strategy video game sequel to the Civilization series. Sid Meier, designer of Civilization, and Brian Reynolds, designer of Civilization II, developed Alpha Centauri after they left MicroProse to join the newly created developer Firaxis Games. Electronic Arts released both SMAC and its expansion, Sid Meier's Alien Crossfire (SMAX), in 1999. In 2000, Aspyr Media and Loki Software ported both titles over to Mac OS and Linux.

Set in the 22nd century, the game begins as seven competing ideological factions land on the planet Chiron ("Planet") in the Alpha Centauri star system. As the game progresses, Planet's growing sentience becomes a formidable obstacle to the human colonists. Alpha Centauri features improvements on Civilization II's game engine, including simultaneous multiplay, social engineering, climate, customizable units, alien native life, additional diplomatic and spy options, additional ways to win, and greater mod-ability . Alien Crossfire introduces five new human and two non-human factions as well as additional technologies, facilities, secret projects, native life, unit abilities and a victory condition.

The game received wide critical acclaim, being compared favorably to Civilization II. Critics praised its science fiction storyline (comparing the plot to works by Stanley Kubrick, Arthur C. Clarke and Isaac Asimov), the in-game writing, the voice acting, the user-created custom units, and the depth of the technology tree. SMAC also won several awards for best game of the year and best strategy game of the year. However, despite the critical acclaim, the game had the lowest sales of the Civilization series. In June 2011, Good Old Games re-released the game.




SMAC takes place in the Civilization universe, beginning in the 22nd century, and follows the space-race victory in Civilization II.[1] The premise is that the United Nations has sent the "Unity" colonization mission to the Alpha Centauri planet Chiron ("Planet").[2] Advanced aliens had conducted an experiment in planetary-level sentience on Chiron, leaving behind monoliths and artifacts.[3] Unfortunately, the experiment was a disaster, creating a hundred-million-year evolutionary cycle ending in the death of all animal life.[4] After the disaster, the aliens split into the Manifold Caretakers, who opposed further experimentation, and the Manifold Usurpers, who favored further experimentation. Immediately prior to the start of the game, a reactor malfunction wakes the crew and colonists on the Unity early and irreparably severs communications with Earth.[5] After the captain is assassinated, the most powerful leaders on board build ideological factions with dedicated followers, conflicting agendas for the future of mankind, and "desperately serious" commitments.[5][6] As the ship breaks up, seven escape pods, each containing a faction, are scattered across Planet.[7]


The game focuses on the leaders of seven factions, chosen by the player from the 14 possible leaders in SMAC and SMAX, and Planet (voiced by Alena Kanka).[8] The characters are developed from the faction leaders' portraits, the spoken monologues accompanying scientific discoveries and the "photographs in the corner of a commlink – home towns, first steps, first loves, family, graduation, spacewalk."[9] The leaders in SMAC comprise: Lady Deirdre Skye (voiced by Carolyn Dahl) of Gaia's Stepdaughters, Chairman Sheng-Ji Yang (voiced by Lu Yu) of the Human Hive, Academician Prokhor Zakharov (voice by Yuri Nesteroff) of the University of Planet, CEO Nwabudike Morgan (voiced by Regi Davis) of Morgan Industries, Colonel Corazon Santiago (voiced by Wanda Nino) of the Spartan Federation, Sister Miriam Godwinson (voiced by Gretchen Weigel) of the Lord's Believers, and Commissioner Pravin Lal (voiced by Hesh Gordon) of the Peacekeeping Forces.[8][10] The seven additional faction leaders in SMAX are Prime Function Aki Zeta-Five (voiced by Allie Rivenbark) of The Cybernetic Consciousness, Captain Ulrik Svensgaard (voiced by James Liebman) of The Nautilus Pirates, Foreman Domai (voiced by Frederick Serafin) of The Free Drones, Datajack Sinder Roze (voiced by Christine Melton) of The Data Angels, Prophet Cha Dawn (voiced by Stacy Spenser) of The Cult of Planet, Guardian Lular H'minee (voiced by Jeff Gordon) of The Manifold Caretakers, and Conqueror Judaa Maar (voiced by Jeff Gordon) of The Manifold Usurpers.[11][12][13]

The player controls one of the leaders and competes against the others to colonize and conquer Planet.[6] The Datalinks (voiced by Robert Levy and Katherine Ferguson) are minor characters who provide information to the player.[8][14] Each faction excels at one or two important aspects of the game and follows a distinct philosophical belief, such as technological utopianism, environmentalism, capitalism, militarism, anti-authoritarianism, piracy, classic liberalism, or the Gaia philosophy.[11][15] The game takes place on the last "character", Planet, with its "rolling red ochre plains", and "bands of lonely terraformed green".[16]


The story unfolds via the introduction video, explanations of new technologies, videos obtained for completing secret projects, interludes, and cut-scenes.[1] The native life consists primarily of simple wormlike aliens and a type of red fungus.[11] The fungus is difficult to traverse, provides invisibility for the enemy, provides few resources, and spawns "mindworms" that attack bases and units with a neural attack.[17] Mindworms can be captured or bred in captivity and used as weapons,[18] and the player eventually discovers that the fungus and mindworms can think collectively.[18] Soon the player dreams of a voice.[19] This voice later intrudes into waking moments, threatening more attacks if the pollution and corruption caused by humans goes unchecked.[17][20] The player discovers that Planet is a semi-dormant sentient hive organism that will soon experience a metamorphosis which will destroy all human life.[21][22] To counter this threat, the player or a computer faction builds "The Voice of Alpha Centauri" secret project, which delays the metamorphosis and increases the intelligence of the hive organism.[23][24][25] Finally, the player or the computer embraces the "Ascent to Transcendence" in which humans join the hive organism in "godhood".[26] Thus, Alpha Centauri closes "with a swell of hope and wonder in place of the expected triumphalism", reassuring "that the events of the game weren’t the entirety of mankind’s future, but just another step."[16]


Horizontal rectangle video game screenshot that depicts a digital representation of an alien planet. In the foreground is a series of smaller screens that cover the majority of the image. The smaller screens have black backgrounds and display information about the game's current state as well as options to alter that state. In the background is a reddish-brown planetscape viewed from an isometric perspective. The planet is inhabited by small structures and life forms.
Alpha Centauri and Alien Crossfire feature similar gameplay. Diplomatic actions are handled in pop-up windows, while combat and unit movement are handled on the isometric field shown in the background. Information such as unit health and status changes are displayed on the black field across the bottom.

SMAC, a turn-based strategy game with a science fiction setting, is played from a third-person, isometric perspective. Many game features from Civilization II are present, but renamed or slightly tweaked: players establish bases (Civilization II's cities), build facilities (buildings) and secret projects (Wonders of the World), explore territory, research technology, and conquer other factions (civilizations).[1][7][27][28] In addition to conquering all non-allied factions, players may also win by obtaining votes from three quarters of the total population (similar to Civilization IV's Dominance victory), "cornering the Global Energy Market", completing the Ascent to Transcendence secret project, or for alien factions, constructing six Subspace Generators.[1][29][30][31]

The main map (the upper two thirds of the screen) is divided into squares, on which players can establish bases, move units and engage in combat. Through terraforming, players may modify the effects of the individual map squares on movement, combat and resources. Resources are used to feed the population, construct units and facilities, and supply energy. Player can allocate energy between research into new technology and energy reserves. Unlike Civilization II, new technology grants access to additional unit components rather than pre-designed units, allowing players to design and re-design units as their factions' priorities shift.[9][32] Energy reserves allow the player to upgrade units, maintain facilities, and attempt to win by the Global Energy Market scenario. Bases are military strongpoints and objectives that are vital for all winning strategies. They produce military units, house the population, collect energy, and build secret projects and Subspace Generators. Facilities and secret projects improve the performance of individual bases and the entire faction.

In addition to terraforming, optimizing individual base performance and building secret projects, players may also benefit their factions through social engineering, probe teams, and diplomacy. Social engineering modifies the ideologically based bonuses and penalties forced by the player's choice of faction.[7][9][11][15][33] Probe teams can sabotage and steal information, units, technology, and energy from enemy bases, while diplomacy lets the player to create coalitions with other factions. It also allows the trade or transfer of units, bases, technology and energy. The Planetary Council, similar to the United Nations Security Council, takes Planet-wide actions and determines population victories.[34]

In addition to futuristic technological advances and secret projects, the game includes alien life, structures and machines.[1] "Xenofungus" and "sea fungus" provide movement, combat, and resource penalties, as well as concealment for "mindworms" and "spore launchers."[21] Immobile "fungal towers" spawn native life. Native life, including the seaborne "Isles of the Deep" and "Sealurks" and airborne "Locusts of Chiron," use psionic combat, an alternate form of combat which ignores weapons and armor.[21] Monoliths repair units and provide resources; artifacts yield new technology and hasten secret projects; landmarks provide resource bonuses; and random events add danger and opportunity. Excessive development leads to terraforming-destroying fungus blooms and new native life.

SMAC provides a single player mode and supports customization and multiplayer. Players may customize the game by choosing options at the beginning of the game, using the built-in scenario and map editors, and modifying SMAC's game files. In addition to a choice of seven (or 14 in SMAX) factions, pre-game options include scenario game, customized random map, difficulty level, and game rules that include victory conditions, research control, and initial map knowledge. The scenario and map editors allow players to create customized scenarios and maps.[35] The game's basic rules, diplomatic dialog, and the factions' starting abilities are in text files, which "the designers have done their best to make it reasonably easy to modify..., even for non-programmers."[36][37] SMAC supports play by email ("PBEM") and TCP/IP mode featuring simultaneous movement, and introduces direct player-to-player negotiation, allowing the unconstrained trade of technology, energy, maps, and other elements.[38]

Development history


In 1996, MicroProse released the lauded Civilization II, designed by Brian Reynolds.[39][40] However, the firm's management had changed and moved to California by the time the game shipped,[41] and disagreements between the new management and its employees prompted Reynolds, Jeff Briggs, and Sid Meier (designer of the original Civilization) to leave MicroProse and found Firaxis.[39][41][42] Although unable to utilize the same IP as Civilization II, the new company felt that players wanted "a new sweeping epic of a turn-based game". Having just completed a game of human history up to the present, they wanted a fresh topic and chose science fiction.[43] With no previous experience in science fiction games, the developers believed future history was a fitting first foray.[44] For the elements of exploring and terraforming an alien world, they chose a plausible near future situation of a human mission to colonize the solar system's nearest neighbor and human factions.[45] Reynolds researched science fiction for the game's writing.[41] His inspiration included "classic works of science fiction", including Frank Herbert's The Jesus Incident, A Fire Upon the Deep by Vernor Vinge, and The Mote in God's Eye by Larry Niven and Jerry Pournelle for alien races; Kim Stanley Robinson's Red Mars, Slant by Greg Bear, and Stephen R. Donaldson's The Real Story for future technology and science; and Dune by Herbert and Bear's Anvil of Stars for negative interactions between humans.[46][47]

SMAC set out to capture the whole sweep of humanity's future, including technology, futuristic warfare, social and economic development, the future of the human condition, spirituality, and philosophy.[43] Reynold's also said that "getting philosophy into the game" was one of the attractions of the game.[41] Believing good science fiction thrives on constraint, the developers began with near-future technologies. As they proceeded into the future, they tried to present a coherent, logical, and detailed picture of future developments in physics, biology, information technology, economics, society, government, and philosophy.[44] Alien ecologies and mysterious intelligences were incorporated into SMAC as external "natural forces" intended to serve as flywheels for the backstory and a catalyst for many player intelligences.[45] Chris Pine, creator of the in-game map of Planet, strove to make Planet look like a real planet, which resulted in evidence of tectonic action. Another concern was that Planet matched the story, which resulted in the fungus being connected across continents, as it is supposed to be a gigantic neural network.[48]

Terraforming is a natural outgrowth of colonizing an alien world.[49] The first playable prototype was just a map generator that tested climate changes during the game.[41] This required the designers to create a world builder program and climatic model far more powerful than anything they'd done before. Temperature, wind, and rainfall patterns were modeled in ways that allow players to make changes; for example, creating a ridge-line and then watch the effects. In addition to raising terrain, the player can also divert rivers, dig huge boreholes into the planet's mantle, and melt icecaps.[49]

In addition to scientific advances, the designers speculated on the future development of human society.[50] The designers allow the player to decide on a whole series of value choices and choose a "ruthless," "moderate," or "idealistic" stance. Reynolds said the designers don't promote a single "right" answer, instead giving each value choice positive and negative consequences. This design was intended to force the player to "think" and make the game "addictive."[50] He also commented that Alpha Centauri's fictional nature allowed them to draw their characters "a lot more sharply and distinctly than the natural blurring and greyness of history."[41]

Alpha Centauri

In July 1996, Firaxis began work on SMAC;[51][52] Reynolds headed the project.[41] Meier and Reynolds wrote playable prototype code and Jason Coleman wrote the first lines of the development libraries.[41][52][53] Because the development of Gettysburg took up most of Firaxis' time, the designers spent the first year prototyping the basic ideas.[45] By late 1996, the developers were playing games on the prototype, and by the middle of the next year, they were working on a multiplayer engine.[45] Reynolds' previous games omitted internet support because he believe that complex turn-based games with many player options and opportunities for player input are difficult to facilitate online.[54] Although Firaxis intended to include multiplayer support in its games, an important goal was to create games with depth and longevity in single-player mode because they believed that the majority of players spend most of their time playing this way. Reynolds felt that smart computer opponents are an integral part of a classic computer game, and considered it a challenge to make them so.[55] He also said that the most important principle of game design is for the designer to play the game as it is developed;[41] Reynolds claimed that this was how a good artificial intelligence (AI) was built. To this end, he would track the decisions he made and why he made them as he played the game.[55] The designer also watched what the computer players did, noting "dumb" actions and trying to discover why the computer made them.[55][56] Reynolds then taught the computer his reasoning process so the AI could find the right choice when presented several attractive possibilities.[55][56] He said the AI for diplomatic personalities was the best he had done up to that point.[41]

Doug Kaufman, a co-designer of Civilization II, was invited to join development as a game balancer.[41][45] Reynolds cited the SMAC's balance for the greater sense of urgency and the more pressing pacing than in his earlier game, Sid Meier's Colonization.[41] According to producer Timothy Train, in designing the strengths and weaknesses of the factions, the goal was to suggest, without requiring, certain strategies and give the player interesting and fun things to do without unbalancing the game.[33] He didn't want a faction to be dependent on its strength or a faction's power to be dominant over the rest.[15] Train felt that fun meant the factions always have something fun to do with their attributes.[57] Around the summer of 1997, the staff began research on the scientific realities involved in interstellar travel.[45] In late 1997, Bing Gordon—then Chief Creative Officer of Electronic Arts—joined the team, and was responsible for the Planetary Council, extensive diplomacy, and landmarks.[41][58] A few months before the 1998 Electronic Entertainment Expo (E3), the team incorporated the Explore/Discover/Build/Conquer marketing campaign into the game.[58] The game was announced in May 1998 at E3.

In the latter half of 1998, the team produced a polished and integrated interface, wrote the game manual and foreign language translations, painted the faction leader portraits and terrain, built the 3D vehicles and vehicle parts, and created the music.[59] Michael Ely directed the Secret Project movies and casted the faction leaders.[60] 25 volunteers participated in Firaxis' first public beta test.[61] The beta testers suggested the Diplomatic and Economic victories and the Random Events.[61]

There were a lot of "firsts" for our team in the making of Alpha Centauri. We had never done a public beta test before Alpha Centauri, and this was also the first time we released a demo before the game was out. Since we'd not done one before, we didn't know exactly what to expect when we released it, but it turned out to fit right in with Firaxis' iterative design method.

Brian Reynolds on development aspects Firaxis introduced during SMAC[62]

The design team started with a very simple playable game.[62] They strengthen the "fun" aspects and fixed or removed the unenjoyable ones, a process Sid Meier called "surrounding the fun."[62] After the revision, they played it again, repeating the cycle of revision and play.[62] Playing the game repeatedly and in-depth was a rule at Firaxis.[57] In the single-player mode, the team tried extreme strategies to find any sure-fire paths to victory and to see how often a particular computer faction ends up at the bottom.[57] The goal was a product of unprecedented depth, scope, longevity, and addictiveness, where the player is always challenged by the game to come up with new strategies with no all-powerful factions or unstoppable tactics.[57] According to Reynolds, the process has been around since Sid Meier's early days at Microprose.[62] At Firaxis, as iterations continue, they expand the group giving feedback, bringing in outside gamers with fresh perspectives.[63] Alpha Centauri was the first game with public beta testers.[63]

Finally, Brian Reynolds discussed the use of the demo in the development process.[63] Originally a marketing tool released prior to the game, they started getting feedback.[64] They were able to incorporate many suggestions into the retail version.[64] According to Brian Reynolds, they made improvement in the game's interface, added a couple of new features and fixed a few glitches.[64] They also improved some rules, fine-tuned the game balance and improved the AI.[64] Finally, he adds that they continued to add patches to enhance the game after the game was released.[64] In the months leading to the release of SMAC, multimedia producer Michael Ely wrote the 35 weekly episodes of Journey to Centauri detailing the splintering of the U.N. mission to Alpha Centauri.[65]

Alien Crossfire

A month after SMAC's February 1999 release, the Firaxis team began work on the expansion pack, Sid Meier's Alien Crossfire (SMAX).[51][66][67] Alien Crossfire features seven new factions (two that are non-human), new technologies, new facilities, new secret projects, new alien life forms, new unit special abilities, new victory conditions (including the new "Progenitor Victory") and several additional concepts and strategies.[51] The development team included Train as producer and designer, Chris Pine as programmer, Jerome Atherholt and Greg Foertsch as artists, and Doug Kaufman as co-designer and game balancer.[41][68] The team considered several ideas, including a return to a post-apocalyptic earth and the conquest of another planet in the Alpha Centauri system, before deciding to keep the new title on Planet. The premise allowed them to mix and match old and new characters and delve into the mysteries of the monoliths and alien artifacts.[67] The backstory evolved quickly, and the main conflict centered on the return of the original alien inhabitants.[68] The idea of humans inadvertently caught up in an off-world civil war focused the story.[68]

Train wanted to improve the "build" aspects, feeling that the god-game genre had always been heavily slanted towards the "Conquer" end of the spectrum.[68] He wanted to provide "builders" with the tools to construct an empire in the face of heated competition.[68] The internet community provided "invaluable" feedback.[68] The first "call for features" was posted around April 1999 and produced the Fletchette Defense System, Algorithmic Enhancement, and The Nethack Terminus.[68] The team had several goals: factions should not be "locked-in" to certain strategies; players should have interesting things to do without unbalancing the game, and the factions must be fun to play.[69] The team believed the "coolness" of the Progenitor aliens would determine the success or failure of SMAX.[70] They strove to make them feel significantly different to play, but still compatible with the existing game mechanics.[70] The developers eventually provided the aliens with Battle Ogres, a Planetary survey, non-blind research, and other powers to produce "a nasty and potent race that would take the combined might of humanity to bring them down."[70] Chris Pine modified the AI to account for the additions.[41] The team also used artwork, sound effects, music, and diplomatic text to set the aliens apart.[70] Other than the aliens, the Pirates proved to be the toughest faction to balance because their ocean start gave them huge advantages.[71]

Upon completion, the team felt that SMAX was somewhere between an expansion and a full-blown sequel.[71] In the months leading to the release of SMAX, multimedia producer Michael Ely wrote the 9 episodes of Centauri: Arrival, introducing the SMAX factions.[65] The game initially had a single production run. Electronic Arts bundled Alpha Centauri and Alien Crossfire in the Alpha Centauri Planetary Pack in 2000 and included both games in The Laptop Collection in 2003.[72][73] In 2000, both SMAC and SMAX were ported to Mac OS by Aspyr Media and to Linux by Loki Software.[1][74][75]


Alpha Centauri received wide critical acclaim upon its release,[76][77] with reviewers voicing respect for the game's pedigree, especially that of Reynolds and Meier. The video game review aggregator websites Game Rankings and Metacritic, which collect data from numerous review websites, listed scores of 92% and 89%, respectively.[78][79] The game was favorably compared to Reynold's previous title, Civilization II,[1][80][81][82] and Rawn Shah of IT World Canada praised the expansion for a "believable" plot.[1] However, despite its critical reception, it sold the fewest copies of all the games in the Civilization series.[17] It sold more than 100,000 copies in its first two months of release. This was followed by 50,000 copies in April, May and June.[6]

Critical reaction

Aggregate scores
Aggregator Score
Metacritic 92/100[76]
Review scores
Publication Score
The Adrenaline Vault 4.5/5 stars[83]
FiringSquad 90%[82]
GamePro 5/5 stars[81]
Game Revolution B+[84]
IGN 9.5/10[80]

The game showed well at the 1998 Electronic Entertainment Expo (E3).[85] Walter Morbeck of GameSpot said that SMAC was "more than hi-tech physics and new ways to blow each other up," and that the game would feature realistic aliens.[86] Terry Coleman of Computer Gaming World predicted that SMAC would be "another huge hit".[87] OGR awarded it "Most Promising Strategy Game" and one of the top 25 games of E3 '98.[88][89] In a vote of 27 journalists from 22 gaming magazine, SMAC won "Best Turn Based Strategy" of E3 Show Award.[90] Aaron John Loeb, the Awards Committee Chairman, said "for those that understand the intricacies, the wonder, the glory of turn based 'culture building,' this is the game worth skipping class for."[91]

Alpha Centauri's science fiction storyline received high praise; IGN considered the game an exception to PC sc-fi cliches,[80] and GamePro compared the plot to the works of writers Stanley Kubrick and Isaac Asimov.[81] J.C. Herz of The New York Times suggested that the game was a marriage of SimCity and Frank Herbert's Dune.[92] GamePro's Dan Morris said "As the single-player campaign builds to its final showdown, the ramifications of the final theoretical discoveries elevate Alpha Centauri from great strategy game to science-fiction epic."[81] Game Revolution said, "The well crafted story, admirable science-fiction world, fully realized scenario, and quality core gameplay are sure to please."[84] Edge praised the uniqueness of expression saying it was "the same kind of old-fashioned, consensual storytelling that once drew universes out of ASCII." [9] The in-game writing and faction leaders were also well-received for their believability, especially the voice acting.[7][80][82][83] GameSpot reviewer Denny Atkin called the factions and their abilities Alpha Centauri's "most impressive aspect".[93] Greg Tito of The Escapist said, "the genius of the game is how it flawlessly blends its great writing with strategy elements."[17]

Alpha Centauri's turn-based gameplay, including the technology trees and factional warfare, was commonly compared to Civilization and Civilization II. The Adrenaline Vault's Pete Hines said, "While SMAC is the evolutionary off-spring to Civ and Civ 2, it is not Civ 2 in space. Although the comparison is inevitable because of the lineage, it is still short-sighted."[83] Edge in 2006 praised "Alpha Centauri’s greater sophistications as a strategy game." [9] IGN said "Alpha Centauri is a better game than Civilization II; it's deep, rich, rewarding, thought-provoking in almost every way."[80] Game Revolution's reviewer was less magnanimous, saying "Alpha Centauri is at least as good a game as Civilization 2. But it is its great similarity that also does it the most detriment. Alpha Centauri simply does not do enough that is new; it just doesn't innovate enough to earn a higher grade."[84] The ability to create custom units was praised,[82][83] as was the depth of the tech tree.[83][84] The artificial intelligence of computer-controlled factions, which featured adaptability and behavioral subtlety,[94] was given mixed comments; some reviewers thought it was efficient and logical,[80][81] while others found it confusing or erratic.[83][84] Edge was disappointed in the game's diplomacy, finding "no more and no less than is expected from the genre" and unhappy with "the inability to sound out any real sense of relationship or rational discourse." [16]

The game's graphics were widely acknowledged to be above average at the time of its release, but not revolutionary.[80][82] Its maps and interface were considered detailed and in accordance with a space theme,[82][84] but the game was released with a limited color palette.[83] The in-game cutscenes, particularly the full motion video that accompanied technological advances, were praised for their quality and innovation.[82][83] Alpha Centauri's sound and music received similar comments;[80][83] FiringSquad said "[The sound effect quality] sort of follows the same line as the unit graphics - not too splashy but enough to get the job done."[82]

Alpha Centauri has won several Game of the Year awards,[17] including those from the Denver Post and the Toronto Sun. It won the "Turn-based Strategy Game of the Year" award from GameSpot as well. The Academy of Interactive Arts & Sciences named Alpha Centauri the best strategy game of the year, and in 2000, Alpha Centauri won the Origins Award for Best Strategy Computer Game of 1999.[95] Alpha Centauri has the distinction of receiving gaming magazine PC Gamer's highest score (98%),[17] surpassing Civilization II's score (97%).[96]


Sid Meier's Alpha Centauri
Author Michael Ely
Country United States
Language English
Genre Science fiction
Publisher Simon & Schuster
Media type Print (Paperback)

After the release of the expansion, multimedia producer Michael Ely wrote a trilogy of novels based on the game. Illustrator Rafael Kayanan also wrote a graphic novel entitled Alpha Centauri: Power of the Mindworms.[65]

While not a direct sequel of Civilization II, Alpha Centauri is considered a spiritual successor because it shares the same general principles and was made by many of the original developers. There have been no sequels beyond SMAX, something that writer Greg Tito attributed to Reynolds leaving Firaxis in 2000 to form Big Huge Games.[17] SMAX producer and lead designer Timothy Train also left Firaxis with Reynolds.[97]

Many of the features introduced in SMAC were carried over into subsequent Civilization titles.[17] For example, each civilization's characteristics in Civilization III are reminiscent of faction bonuses and penalties,[17] the government system in Civilization IV closely resembles Alpha Centauri's,[17] and Civilization V includes a new win condition: the completion of the Utopia project, which is reminiscent of the Ascent to Transcendence secret project.[98]

Upon its release, Civilization III was compared negatively to Alpha Centauri,[99] while Edge magazine noted that Alpha Centauri remained "highly regarded" in 2006.[16] Steve Jackson Games published GURPS Alpha Centauri, a sourcebook for the GURPS role-playing game set in the Alpha Centauri universe.[100] On May 7, 2010, Brendan Casey released an unofficial patch, which fixes bugs in Alpha Centauri.[101] His project began in February 2009 at Apolyton's Alpha Centauri site[102] and moved in June 2009 to the Civilization Gaming Network,[103] where he plans to continue developing further patch versions.[104] Sold-Out Software also re-released the game.[105]

See also

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  2. ^ Reynolds (1999), p.2.
  3. ^ Shah (2000), p.3.
  4. ^ McCubbin (1999), p.286.
  5. ^ a b Reynolds (1999), p.3.
  6. ^ a b c Rosen (1999)
  7. ^ a b c d Tito (2005), p.1.
  8. ^ a b c Reynolds (1999), p.246.
  9. ^ a b c d e Edge Staff (2006), p.1.
  10. ^ Reynolds (1999), pp.11-13.
  11. ^ a b c d Shah (2000), p.2.
  12. ^ Train (1999), pp.11-13.
  13. ^ Train (1999), p49.
  14. ^ Reynolds (1999), p.111.
  15. ^ a b c Train (1998-08-11), p2.
  16. ^ a b c d Edge Staff (2006), p.2.
  17. ^ a b c d e f g h i j Tito (2005), p.2.
  18. ^ a b McCubbin (1999), p.277.
  19. ^ McCubbin (1999), p.278.
  20. ^ McCubbin (1999), p.281.
  21. ^ a b c Shah (2000), p.4.
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