A less static architecture than in Wolfenstein 3D: platforms can move up or down, floors can be lifted sequentially to form staircases, and bridges can rise or lower.This not only made each map's structure more visually authentic, but contributed to its atmosphere and gameplay by using darkness to frighten or confuse the player.

Varying light levels (all areas in Wolfenstein 3D have identical lighting).However, all walls in Doom are still perpendicular to the floor and/or ceiling. Non-orthogonal walls (all walls in Wolfenstein 3D run along a rectangular grid).Altitude differences (all floors/ceilings in Wolfenstein 3D are at the same height), but not sloped surfaces.Several new features improved on those of Wolfenstein 3D: A heavy metal/ ambient soundtrack was supplied by Bobby Prince.ĭoom's primary distinguishing characteristic at the time of its release was its '3-D' graphics, then unparalleled by other real-time-rendered games running on consumer-level hardware. The graphics, by Adrian Carmack, Kevin Cloud, and Gregor Punchatz, were created in various ways: although much was drawn or painted, several of the monsters were digitized from sculptures in clay or latex, and some of the weapons are modeled on toy guns from Toys 'Я' Us. Most of the final level designs are those of John Romero and Sandy Petersen. However, many of his ideas were discarded during development in favor of a simpler design primarily advocated by John Carmack, resulting in Hall's eventually being forced to resign from id Software. That, and the resulting carnage, was how I viewed us springing the game on the industry.ĭesigner Tom Hall wrote an elaborate specifications document called the Doom Bible, according to which the game would feature a detailed storyline, multiple player characters, and a number of interactive features. 'What do you have in there?' asks someone. There is a scene in ' The Color of Money' where Tom Cruse shows up at a pool hall with a custom pool cue in a case.

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