While other developers like LucasArts and Sierra were simply using the CD-ROM media to add voiceover, Tex's new adventure spanned an unprecedented four CDs, packed with video to illustrate every conversation and major plot point along the way.
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It might seem funny now, but it seemed impossible that these detailed, high-resolution environments full of shadows and nuance could be rendered on the fly. But this reviewer will never forget that feeling of awe upon seeing those graphics move and discovering they were real-time 3D. During a time of pre-rendered slideshows like Myst, it was natural to glance at Under a Killing Moon, and assume it was the same. It might be tough for a new generation of gamers to appreciate how amazing this title looked in 1994. But unlike those games, this was a 3D, first-person adventure game with an unrivaled cinematic presentation. While his first game was an experimental mish-mash of genres, and his sophomore outing a standard point-and-click adventure, Under a Killing Moon was proudly billed as an "interactive movie," a label already facing some backlash as a tide of titles substituting video for gameplay flooded the shelves. This was not the first game in the Tex Murphy series, but it was a new beginning. Years later, it remains a seminal classic but often goes overlooked for the very reasons that once made it seem so fresh. Caught somewhere between the tail end of the full-motion video craze and the dawn of the 3D revolution, it walked a delicate line between passé and cutting-edge, and for that brief moment in time, it was perfect. Like Tex Murphy, a hardboiled, fedora-wearing gumshoe in a post-nuclear future, Under a Killing Moon was a game out of time.
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