EDGE - - THE MAKING OF... - Hugo Martin Cre­ative di­rec­tor, Id Soft­ware

From your per­spec­tive, what was the hard­est part of Doom to get right? The first ten min­utes of the game. We went through so many ver­sions. So many peo­ple worked on that in­tro, just to get the tone right for the rest of the game. Prob­a­bly half the team was in­volved in that. When peo­ple say they like that open­ing, I feel like sag­ging back in my chair and say­ing, ‘Oh, thank God'. How would you de­scribe Doom’s art style and the tone it sets out? Every­thing in Doom looks like it was drawn in the back of a note­book by some 15-year-old dur­ing math class. And it’s all meant to make you gig­gle. The can­vas that is Doom is mas­sive. We put as much colour in as pos­si­ble. We also changed the pro­por­tions of the char­ac­ters. We wanted it to be vi­o­lent, but in a way that was palat­able. Pow­er­puff Girls, which I watch with my kids, has a lot of vi­o­lence but be­cause the char­ac­ters are so ex­ag­ger­ated, it gets away with it. That’s what we wanted. That’s how we knew it would stand out. To help mod­ernise Doom, you cre­ated a more tan­gi­ble nar­ra­tive – how did you bal­ance that with the fast pace of the ac­tion? If the story had a goal, it was to make the char­ac­ter and the player both feel like badasses. And badasses don’t come through the front door. They come through the roof or the vents, like John McClane. That’s what makes the hero a hero. He does things nor­mal peo­ple don’t have the courage to do. So we had the player, and the char­ac­ter, walk­ing on rafters, climb­ing tow­ers, go­ing to places no man would want to. A lot of it had roots in the orig­i­nal, but it was un­fa­mil­iar, too.

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