The art of Doom

We talk to the con­cept artists who revisited the orig­i­nal FPS for 2016’s next-gen ver­sion.

ImagineFX - - Contents -

with a strafe run or a rocket jump. But mainly you shot any­thing and ev­ery­thing that moved. You used the hand­gun, the shot­gun, the BFG. And you had two speeds: fast and faster.

The bad guys, the de­mons, they also charged around like rag­ing bulls. So you opened a door and blasted away be­fore you’d seen what was wait­ing on the other side. No one kept score – it wasn’t about that. You spilled as much pix­e­lated blood and guts as pos­si­ble. You got lost, dou­bled back, walked into walls. Out of sheer frus­tra­tion you fired a few shots at noth­ing at all. Doom showed us video games could be dif­fer­ent. It said, that’s how things were, but this is how they are now. When id Soft­ware re­leased the en­gine source code, fans started build­ing and shar­ing their

ne critic re­cently de­scribed the orig­i­nal Doom as the games in­dus­try’s “punk mo­ment”. It changed things. It was a de­lib­er­ate break from old conventions. You had mazes to ex­plore, the free­dom to go where you wanted. You could get cre­ative One of the art team’s touch­stones was 80s death metal al­bum cov­ers – an in­flu­ence seen in the light and shadow here.

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