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.