DOOM Documentary: Part 2 - Designing a First Impression
Summary
TLDRThe script delves into the development of 'DOOM 2016', highlighting the challenges in crafting an opening that resonates with the game's legacy. It emphasizes the importance of the first 15 minutes in setting the game's tone, showcasing a self-aware narrative that embraces the franchise's over-the-top action. The developers' struggle to balance storytelling with gameplay is discussed, culminating in a decision to prioritize the player's expectation for demon-slaying mayhem. The summary also touches on the game's tutorial, combat mechanics, and the team's collaborative efforts to create a cohesive and immersive experience, staying true to the 'DOOM' ethos.
Takeaways
- 🎮 The beginning of the game 'DOOM' underwent significant changes, reflecting the importance of a strong start to engage players.
- 🎬 The first 15 minutes of a game are crucial for setting the tone and immersing the audience, similar to how a movie's opening grabs attention.
- 🔥 'DOOM' makes a bold statement right from the start, embracing its identity as a demon-slaying game and leaving no room for ambiguity about the player's role.
- 🛠 The development of 'DOOM' was a struggle to balance storytelling with gameplay, as the team aimed to avoid interrupting the action with excessive narrative.
- 📜 The 'Codex' in 'DOOM' was designed to be a nerd Bible, providing deep lore that fans could dive into, inspired by detailed universes like Pacific Rim and Gundam.
- 🎭 The game's narrative took inspiration from self-aware movies like 'The Last Boyscout', which play on clichés and acknowledge the audience's expectations.
- 👹 'DOOM' embraces its over-the-top nature, with the game world openly acknowledging the demonic invasion, contrasting with the usual secretive or subdued approach in similar games.
- 🚀 The opening level of 'DOOM' was crafted to be a fast-paced, action-packed experience that quickly introduces players to the game's mechanics and tone.
- 👥 The development team's collaborative efforts were pivotal in refining the game's introduction, with contributions from various departments enhancing the final product.
- 🔧 The final stages of 'DOOM' development were a rush to perfect the game, with the team working tirelessly to ensure all elements, from timing to storytelling, were seamless.
Q & A
What was the main challenge the developers faced with the beginning of DOOM?
-The main challenge was finding the right tone and approach for the beginning of the game, as it needed to introduce the story, teach the player how to play, and set the tone for the adventure, while also living up to the cultural expectations of the DOOM franchise.
Why did the developers decide to have a self-aware narrative in DOOM?
-The developers decided on a self-aware narrative to create a connection with the player, acknowledging that both the player and the developers know why they are there—to kill demons. This approach allowed them to have fun with the game's premise and respect the player's intelligence.
How did the developers handle the storytelling in DOOM, considering it was not the main focus?
-The developers struggled with the storytelling throughout DOOM's development, as it was the last thing to fall into place. They eventually settled on a self-aware narrative that didn't take itself too seriously, allowing the gameplay to speak for itself.
What was the inspiration behind the Codex in DOOM?
-The inspiration for the Codex came from the developers' desire to create a 'nerd Bible' filled with detailed information about the DOOM universe. They were inspired by the level of detail fans have for franchises like Pacific Rim and Gundam, and wanted to provide a similar depth for DOOM.
Why did the developers choose to start the game with action rather than exposition?
-The developers chose to start with action to immediately set the tone for the game as an action-first experience. They believed that opening with a tutorial or exposition would set the wrong expectation for the type of game DOOM is.
How did the developers ensure the player felt powerful and feared in DOOM?
-The developers used indirect storytelling and environmental cues, such as characters reacting to the player's presence and the aftermath of the player's actions, to make the player feel powerful and feared within the game world.
What was the significance of the 'demonic invasion in progress' phrase in the game?
-The phrase 'demonic invasion in progress' was used to signal to the player that they were in a world overrun by demons and that their mission was to combat this invasion. It also served as a nod to the player that the game was embracing its absurd and over-the-top nature.
How did the developers create a sense of urgency and excitement in the opening level of DOOM?
-The developers created a sense of urgency and excitement by carefully timing events, such as the shotgun cocking and music cueing, to coincide with the player's actions. They also used environmental storytelling and direct gameplay mechanics to immerse the player in the action.
What was the role of the 'gore nest' in teaching the player about combat in DOOM?
-The 'gore nest' was used as a teaching tool to introduce the player to arena combat and the importance of movement and aggression. It was designed to reward the player for seeking out and initiating fights, reflecting the DOOM marine's character as a fighter.
How did the developers balance the need for storytelling with the player's expectation for action in DOOM?
-The developers balanced storytelling and action by using subtle, indirect methods to convey the story while keeping the focus on gameplay. They respected the player's intelligence and expectation for action by not over-explaining and allowing the player to jump straight into the combat.
Outlines
🎮 The Evolution and Philosophy Behind DOOM's Opening
The opening of DOOM underwent significant changes, with the team struggling to find a balance between storytelling and gameplay. The game's beginning had to quickly engage players while setting the tone for the rest of the experience. The developers were conscious of DOOM's legacy and the expectations that came with the name. They experimented with various beginnings, including tutorials and exposition, but ultimately decided to embrace a self-aware, action-focused approach that aligned with the player's expectations. The narrative was a late addition, as the gameplay and level design took precedence. The team aimed to create an opening that was efficient, impactful, and true to the DOOM ethos, where the player's role as a demon-slayer was both obvious and central to the experience.
📚 The Codex: From Dry Guide to Self-Aware Scripture
The DOOM Codex, initially a straightforward guidebook, evolved into a self-aware, humorous, and engaging narrative device. Inspired by Hugo's love for detailed lore found in movies like Pacific Rim and the Gundam universe, the Codex became a 'nerd Bible' for DOOM. The team sought to make it more than just informative, aiming for a tone that was both self-aware and playful. They drew inspiration from movies like 'The Last Boyscout,' which similarly embraced its clichés with a wink to the audience. This approach allowed the Codex to become a unique and entertaining part of the game, reflecting the developers' creativity and their understanding of the game's tone.
🎬 The Creative Journey of DOOM's Opening Level
The development of DOOM's opening level was a creative odyssey that involved intense collaboration and last-minute adjustments. The team, with limited time and resources, focused on crafting an opening that would set the stage for the entire game. They aimed to create an experience that was action-packed from the start, avoiding lengthy tutorials or expositions that could slow the pace. The opening was designed to be efficient, with each element serving a purpose, from the rising out of the sarcophagus to the first encounter with enemies. The team drew inspiration from movies, particularly the way characters like Robocop were introduced, to create an impactful and memorable introduction to the DOOM Marine. The result was a sequence that was both a technical and creative achievement, encapsulating the essence of DOOM in a concise and exhilarating manner.
🚀 The Bold and Subtle Narrative Techniques of DOOM
DOOM's narrative is a blend of bold, direct storytelling and subtle, indirect hints. The game wastes no time in throwing players into the action, with the understanding that players are ready to face demons. The developers used self-awareness to acknowledge the absurdity of the situation, creating a connection with the player that respects their intelligence. They employed indirect storytelling, such as environmental cues and character reactions, to convey the game's world and the player's role within it. This approach allowed DOOM to maintain a fast pace while still providing a rich, immersive experience. The narrative choices were risky but intentional, designed to align with the player's expectations and to create a cohesive and thrilling gaming experience.
🛠️ The Technical Triumphs and Teamwork Behind DOOM's Opening
The creation of DOOM's opening level was a testament to the team's technical prowess and collaborative spirit. Despite numerous challenges, such as timing animations and sound effects, the team worked tirelessly to ensure every element was perfectly synchronized. The opening level was one of the last features to be completed, and it required immense patience and dedication from all involved, particularly the level designer, Brandon Souders. The result was a sequence that not only introduced players to the game mechanics but also built up the legend of the DOOM Marine through a series of impactful and memorable moments. The teamwork and attention to detail in the opening level set the stage for the rest of the game, showcasing the developers' commitment to creating a cohesive and engaging DOOM experience.
Mindmap
Keywords
💡DOOM
💡Tone
💡Story
💡Self-awareness
💡Tutorial Level
💡Glory Kills
💡Cultural Baggage
💡Exposition
💡Codex
💡Demonic Invasion
💡Indirect Storytelling
Highlights
The beginning of the game DOOM underwent significant changes about 4 or 5 times.
The first 15 minutes of a game are critical for setting the tone and engaging the audience.
DOOM's opening levels had to introduce the story, teach gameplay, and set the tone, all while living up to the franchise's legacy.
The development team struggled with DOOM's story throughout the game's development.
The game's narrative was an afterthought, with gameplay and levels taking precedence.
The team experimented with various story introductions but found them cumbersome and player-unfriendly.
A focus tester's question, 'Why do I want to kill demons?', led to a more straightforward storytelling approach.
The team decided to embrace the player's expectation and the game's genre, simplifying the narrative to 'I'm here to kill demons'.
The self-aware narrative and tone of DOOM were inspired by movies like 'The Last Boyscout'.
The game's Codex was intended to be a 'nerd Bible', providing deep lore and background.
Inspiration for DOOM's narrative came from unconventional sources, including movie clichés and self-awareness.
The game's opening level was refined to be action-packed and set the pace for the rest of the game.
The team aimed to respect player intelligence by avoiding excessive exposition and getting straight to the action.
DOOM's opening level was a collaborative effort, with contributions from various departments enhancing the final product.
The level design and pacing were carefully crafted to create a seamless and engaging player experience.
The game's introduction includes subtle storytelling elements that complement the action without detracting from it.
The development team's approach to DOOM's narrative was to take risks and make bold decisions to create a unique experience.
Transcripts
I would say that the beginning of the
game maybe changed, like significantly
changed, 4 or 5 times. Yyou know that the
beginning of a game is always....
You could almost do an entire
documentary on just how DOOM started
they say that the first 15
minutes of the movie the audience is
very receptive. They're like okay what
world do you want me to go to.
Like let's go there
Take the idea that i am here to kill demons and that's the story
it's making a statement it really is
about DOOM about what players want
And you're either on board with us or
you're not on board with us.
Opening levels come in all shapes and
sizes but most of them follow a
relatively tried-and-true template.
Introduce the story, teach the player how
to play and set the tone for the
adventure ahead.
Tirst impressions are critical for most
games. But for a game with the amount of
cultural baggage ias DOOM this was even
more important. Not only was DOOM the
latest game is series that defined the
very genre it was in, but it was also
called "DOOM" - the four had been thrown out
along with the 1.0 version
and with so much of the development
focused on ensuring the game lived up to
its name, the story of DOOM always took
a backseat. In fact the story was
something the team struggled with for
the entirety of DOOM's development.
We struggled with the story, we
really did. It was the last thing to fall
in place because the game is going first.
all levels fall in place, secret fall into
place, got the glory kills got all the
stuff like "how the fuck are we gonna put a story on this?"
You know what i mean?
And like I said it was getting in the way
because you stopped the player and
start trying to justify why he hates
demons and they get everybody loses
their shit. All stories they say the bad
guys have to take something away from
the good guy in order for the audience
to understand that the bad guy is bad.
They took away Robocop's life
essentially you know the the bad guy
takes away his ability to be with his
family. And you see that when he
murders them. So we were like oh the demons...
well...you land on Mars and then you
don't know it's demons yet and then you find
out its demons, and oh my god, and
somebody even asks "What do you think they are?"
and they're like "I think they're demons..."
That's what we did we laughed because
that is ridiculous you know?
Like who cares?
"They have pointy teeth, they might be vampires..."
We had versions that took
minutes to get to the killing the first
demon because kind of as a developer you
feel like we have to explain
stuff to the audience how are they going
to know what to do.
And even when run it
through people outside of the
studio that you get feedback like
"Well what's my justification for doing this?"
We actually even had
a focus tester ask
"Why do I want to kill demons? You need to tell my why"
Those are the easy ones, you're like...
It's a flippin demon! You'll want to kill it!
There was a tutorial level where a
guy stood in front of you and
told you what to do, how things worked
that was awful.
There's just so much stuff like Olivia
lecturing in front of you where she paced
back and forth and you're stuck in your
chair and then we we wanted it like
you'd find out they murdered
someone or that they took
something away from you, and all of it was
like oh my god like who cares?
Every time we did something in a more...
We added more exposition and we tried to
explain ourselves a little bit more we
tried to lead the
audience by the nose or by the
hands or something it never felt right.
There was a moment where we were working
on it where we kind came to the
thing like, somebody who knows
DOOM, they're coming to this with the
attitude "i'm here to kill demons".
The exact same thing that the player is
thinking, because there's always this
idea that in DOOM the player
feels like the DOOM marine
So lets take the idea that
"i'm here to kill demons" and that's the story.
The beginning of DOOM 2016 was
really informed by where we were
with the development of the entire
game. And again this is
pretty far in the development. We're
talking like probably in the last year
of development maybe even less maybe in
the last nine months or so.
The story of the first level of Doom is in fact the
story of the team finding the tone of
the game. The combat loop of DOOM had
been discovered relatively early on,
we'll talk more about that in the next video,
but the tone of the game, it's wonderful
self-aware narrative, that came much later.
It all started with what many might
consider an entirely disposable part of
the package. When Hugo and external
writer Adam Gascoigne tried to write the Codex.
Adam Gascoigne came in to help
us out with the writing
and Adam would would pitch
We'd give him that direction and he'd do
some stuff. I wanted
the Codex to be like a like a nerd Bible
like basically what you're doing is
you're a comic con geek going around the
world filling it with pages. So by the
end you could sit there and go through
it till your heart's content
I love that stuff, on Pacific Rim there's
a forum
and you know what kind of metal Gipsy
Danger is made out of and who made his
engine you know the Gundam universe
they just nerd out about that stuff i love
that shit. I could read that shit for days
[Danny] The original codex was a guidebook to DOOM
A sacred scripture for all things
DOOM but according to Hugo it was too dry
even to his geekish sensibilities so
Hugo did what he did whenever he hit a
creative brick wall
he looked to other forms of art for
inspiration. And for Hugo and Marty
inspiration came from the strangest of places.
Hugo is great with movie
references and probably one of the
early ones where that self-awareness
began to really take shape was "The Last Boyscout"
It came out a time when
the whole concept of doing a buddy cop
movie action movie with Bruce Willis was
so cliche because he we already
had lethal weapons and die
hards. And the writer I believe is
Shane Black I think he did an amazing
job in that he knew it was cliche and he
let the audience know that they knew
And and they would make
these little comments and I remember as
a kid it just made it all okay
It was so smart. Being self-aware.
There was this wonderful scene where the bad guy
Milo walks in and he's like you know
"We should introduce ourselves" and Bruce Willis is
smoking a cigarette you know this was when
Bruce Willis was awesome!
And Bruce Willis says "So you're the bad guy right?"
he's like "I am the bad guy"
"So I guess I'm supposed to be scared or something like that?"
and he's like
"Yea something like that. I'll quake in my boots in a minute"
And as a fan I was just like this is
awesome you know because i was totally
ready for some super cliche scene and he
just took the sauce right out of it.
And it's this great moment in a
massive Hollywood, you know movie at the
time it was one of the biggest
I think it was the most expensive
script ever optioned at that time.
It was such a good example and again
Hugo through it out there
Yea, you can be really self-aware and
and make it work
[Hugo] we were like "Everybody knows!"
We know, they know
everybody knows. So let's
play with that let's say, what if the
corporation was totally, because
you're expecting the game to be like
"Maybe it's a cult, and it's a secret"
"and no one knows" but how about as soon as
as you walk in it's playing on a fucking
megaphone like "we need volunteers for"
"the Revenant program we're going to turn"
"people into demons!"
And the idea was
The idea was hell had already taken over
so you don't like you're talking to somebody who's
like full-blown nuts about something
they got that glassy look in their eyes
and you're like "you're really scaring me with the"
"stuff you're saying right now" so it was
a little bit of a play on.
Just being so 'out and about' with your
crazy that seemed very liberating
for me and for everybody.
Adam comes back because he would stay
with us for a couple weeks at a time and
I pitched him. I was like
They know. You know?
And they're proud of it because let's
say the demons have already...
...because hell influences everybody
so they've already become members of
the cult and they're not even aware of
how crazy they are. We painted this
scene to sum up the way it was
is that they have board meetings about
human sacrifices to summon the gods
or who's gonna donate their
hearts to the summoning of
the next barron and that they have
interns applying for this stuff and
there's posters in the lunchroom
mancubus programs and
we just kept going with it.
Adam is cracking up
and you know it's right when...it's very much
like being a comedian. You kind of put it
out there and see if the audience laughs.
So we put it out there
Adam is like "dude this is...
"this is awesome"
"we can do this you know?"
So he comes back and he's like
"I'm gonna take the first half of the Codex entries"
Because they come in stages
The first one you unlock on
the imp or whatever or the
facility, is going to be the
straight-line because most cults they're
kind of normal up-front. There like
"yes everything's fine it's about finding"
"yourself and no, there's not weirdness going on"
And then you get to
the seventh level, four years in and
you get handed the book and you're like
"this shit is nuts" like "what is going on?"
so he's like let's make the second
entry be like the black book that
only certain advocates can get and
will reveal the crazy to them and
The first one he gave me was the
one "curl up in a ball and basically kiss"
"your ass good-bye" if you get attacked by and imp
Dude I lost it! I'm like this is it
You found the gear, break the shifter off
we are staying here
And so he kept doing
that and it was like, slightly normal
corporate agenda,
oh this is the access to the black book
which is totally fucking nuts because
that was right about the time when the
whole story kind of fell into place like
literally that was about when from
that came "demonic invasion progress"
All this happened at the
same time because believe me our hair
was on fire because the story
still doesn't work and
[Danny] How much time is left?
oh my god....it'll make us seem
irresponsible if I tell you how much
time was left. And I gotta be honest
Our asses were our there, I mean we were
putting ourselves out there.
But why not? I mean when you're
when you're making something
i'd rather go down swinging for the
fences than bunting like fuck that.
Like who cares, i'm not hitting singles
like I don't give a shit
Home run. Go all the way.
[Danny] Was there a worry that you were
making a joke out of this,
I mean it's DOOM, people love
this thing and they've loved it for
20 years and then and you're putting
all this is in. Was there a
little bit of reticence like "oh maybe
we're doing too much with this?"
I think the brand was so easy to work with
it was like the most pliable clay for a
sculptor to work with.
It's DOOM. Every time we worried about that
stuff which is totally fucking valid
you look at the sprites going *vomit* and
you know what I mean?
[laughter]
We could do anything. I mean have you
seen the stuff that goes on in DOOM?
We'd just play a game and
I'm like, yeah he's got a rabbit....
Like who cares?
There's a rabbit on a stake in one of the games.
Let's just go to town
With a clear direction in mind Hugo and
the team went back to the opening level
with a hatchet. Cutting what no longer
worked and adding the flavor of the new
self-aware tone. What we're going to do
next is take you on a creative journey
through that opening level. Rising out of
the sarcophagus, grabbing your candlelit
suit, the glory kill tutorial, engaging
the first gore nest, and on a short elevator
ride to Mars. A series of rooms that can
be completed in a couple of minutes but
rooms that took the team every ounce of
what little energy and production time
they had left on the project
They say that the first 15 minutes of the movie
the audience is very receptive and
they're very open. They're like
"okay what world you want me to go to?"
Let's go there. You have about 15 minutes
to convince me to what the world is
And then if you break
that later on the audience gets
super upset. So we knew that
the opening, we treated it like that.
We're going to set the
tone for the whole game. It's an action
first game so the beginning has to be
action. If we open with a tutorial
where people are talking they're gonna
be like "okay it's that type of game"
So there's the little scripture in the
beginning that says "may we never"
"need you again bla bla bla"
That kind of set the tone that there's
this biblical biblical force the DOOM marine
it's got that flavoring
and hopefully people tasted the cheese
There's a layering of cheese
to all this and we just wanted
people to exhale and be
like let's just have fun. Like seriously.
We know this is ridiculous, you know
this is ridiculous, good? Can we
shake hands on this and just have
fun? Cool. So it starts with that
little scripture and Corax Tablets
which again the "Corax Tablet"s?
Like what are the Corax Tablets. I don't know.
They're just awesome
They're just sme awesomee text somewhere that
says awesome stuff on it.
Totally metal.
I grew up with that shit
My brother, big-time metalhead
mainly listen to the Iron Maiden stuff
some of the first drawings I ever made where
Iron Maiden album covers.
I remember the opening to Iron Maiden's 666
song with Vincent Price saying
"the number of the beast"
I'm like dude the game should start like this
this would be awesome
[Marty] One of the animators
Alan Rogers he was the one that
put the zombie there and then....
Just the little touches that he grabbed it and then *biting action*
And then you smash him on the table
[Hugo] Me and Marty are just freaking out to it
like oh my god that's awesome
put that in the game
All those little nuances that's
probably the best example of of just
when everybody just kind of starts clicking
[Hugo] And then as soon as you "land"
I love watching the twitch feeds because
the players are like "oh oh my god I'm playing"
Bbut that was good it was
like DOOM - boom! Right in your face.
Ruthless efficiency - that was
the motto. Say everything
with as little as you possibly can if
you don't care justdon't even look
at it. Don't even look at the echo
Who cares what that sarcophagus is...
In robocop, in a good action movie
the characters learn
They learn about who the hero is
by what people say about them or to them
so in Robocop when you're slowly being
made into Robocop which is one of the
most phenomenal sequences I've ever seen
Everybody knows it
it goes black and then they put
the lens on and all that stuff
We studied that and it was a big
inspiration for the intro to DOOM
And there's this great scene
Just the moments where he goes to
shake his hand and he crushes his hand
and she's like "1,500 pounds of foot pressure"
"He could crush every bone in your body"
And you're like "Robocop is just fucking badass dude" and then the guy
goes up to him and he rubs his hand
and he says "You're gonna be one bad.."
"mother effer" ...
I just cursed I don't know why I said "mother effer"
Right there you knew Robocop is a badass
And the way that go into his
tracking and everything they just
indirectly are telling the audience
robocop super badass everything he does
is going to be awesome
so when you see him walk into that
grocery store and he just aims and
shoots there's all this subconscious
stuff going on of like "he's just not a guy"
Dude he's got a targeting system
it's fucking crazy you know like
Wait until he picks up that guy, it's 1,500 foot
pressure it'll crush his hand.
So when you woke up and the way they
were bowing to him. You're like "people bowed to me"
That's how badass I am
And I'm just sleeping
And later on when you touch the Slayer's
Testaments and they talk
about you like you're God I mean that
that that is basically that actor
leaning forward to Robocop and saying
"You're gonna be one bad motherfucker"
They're basically saying he's this
wrecking machine. We have to seal him away.
When you got to the
suit, and you walk out...
Giant Bomb wrote this great
article and listening to their podcast
and other people's podcast
I love when they get it. Because some people
looked at it and thought "this is ridiculous"
"Why is this thing with candles?"
But I mean, just let it go. Let's just have fun.
We knew from the very beginning we
wanted to show the suit
because we never really wanted
to go out of first person. We didn't want
to do third-person cutscenes and all
that kind of stuff so we wanted you to
really understand what you look
like and who you were
Honestly you need your characters in your story to
take the ridiculous seriously. It's ok if
I laugh at it - the audience
But when they're bowing
they're not giggling
It's very serious. It's kind of that balance
The area where we are the least subtle
about it is the whole
"demonic invasion in progress"
That's ridiculous.
It's absurd but there's a...
There's a self-awareness there that like,
don't pretend this is some
plague outbreak or anything like
that it's like, these are demons. Yfrom
You know is from the jump
That's what you're there to do
The phrase "demonic invasion in progress" is
meant to take, we're saying something
to the audience we're literally like
handing them a ticket for a train ride
and asking "Are you ready to go? Because"
"we're going we're going to leave right now!"
Forget it. You know they're demons.
I know they're demons. We both want to
shoot them in the face.
Let's just go. And then
when the guy comes on and
delivers the exposition, the rules,
like "Let's talk! I'm going to give you orders"
and you're gonna go push buttons.
And he just throws it away
We purposely wrote that in a
way that right at the moment that
the audience is like "fuck this guy"
and then DOOM Marines is like *push motion*
and you say "Nice! I was thinking the same thing!"
We want the player to know that we are
respecting their intelligence.
And we want them to know, that we know,
that they're there, to play a DOOM game,
and they're there to kill demons. So we
wanted to have this connection.
But at the same time it's a pretty risky
choice, you know?
It's a pretty bold decision to say we're
going to start some exposition like
every other game does and like every
player expects and then we're gonna just
throw it away. Literally. We're gonna grab
it and we're going to throw it aside and
is a player going to be okay, because they're
not making a choice in that
you know? We like to give players tons
of choices but this was one of the ones
where we basically said we're making a
choice for you and you're either on
board with us or you're not on board
with us. But that notion of
respecting the audience enough to
say you're here for a purpose
it's a little wink and nudge to say
we're throwing the story straight out
you know and and you're here to kill
demons so go kill demons.
You get the tutorial, you go through, you get
introduced to the first bit of arena
combat and that's really interesting
because we had a rule if you stand in
place your dead. So that imp room is
meant to teach you that like you're
skipping around your learning the
mechanics you're learning the imps which
is one of my favorites you meet the first
gore nest. What I love about the gore nest
is in a lot of games,
and we had discussions about this,
in a lot of games the gore nest would
be something you avoid
Like, that's the thing. Avoid the thing...
Oh shit I triggered the thing. And it starts the fight.
The DOOM marine is looking for a fight
It's literally like a t-bone steak. When he sees
that thing it's a t-bone steak and he's a tiger
Because he loves starting fights.
My favorite thing is to kill demons...
does this start that? Great!
When he goes in and he just rips it apart
and the blood pops out
there's this huge scream and BOOM
the fights off, but we were betting on
the audience that that was what they
wanted to do. We had 1 or 2
people say "oh well should i avoid these?"
This is early during tests and
we thought I don't think anybody who
paid $60 for a DOOM game is going
to avoid a fight.
And then when you walk through the hallway and she
says "We have to contain this. You could ruin everything"
that's that subtle indirect storytelling
like just super lean. Very efficient
I love the idea that she would say he
could ruin everything because again it's
the robocop scene of him leaning in
saying "you're a bad motherfucker"
It's basically saying I'm powerful and
I'm feared. Which makes the
player feel powerful. And I just kicked
the shit out of a bunch of imps
And when you get in the elevator was just timing. To get
stuff to work in video game development
is not easy. To get stuff timed to the
point that when the elevator opens the
shotgun cocks and the music is right there
with the lag-this and the timing of that
and the framerate this and holy cow...
It's like literally three in the morning at
Jerry's desk and we're all
sitting there like pale like "the timing is off"
"we have to get this fixed"
This was Marty's suggestion when he glances down at the
body when the guy says "it was worth the"
"risk I assure you"
"clearly things have gotten out of hand"
and then he glanced down, I love that little touch.
The the button smash and
the shotgun cock is very much
him giving the finger to the
idea that this this was all worth it
It's not. It's demons .
And i'm going to kill them all because
that's what I do.
[Hugo] I mean if I think about it
the textures broke in the glass,
then we fix the textures, then it broke
again, then there's no sound
It's just crazy.
When it finally went into the box we were like
"Don't breathe on it. It works"
"Don't even look at it!"
The opening level of Doom is a great
achievement in design. It does everything
on our opening level checklist.
It introduces the story, teaches the player
how to play, and sets the tone for the
adventure ahead. Once you cocked the
shotgun and walked out of the elevator
you knew what type of game you were
playing. And in our next episode we're
going to show you how they put all that
together. In part 3 we talk to the team
about designing combat chess and chat to
Mick Gordon about reimagining one of the
most iconic video game soundtracks.
One of y favorite things about
the intro is is it is a great example of
the teamwork that was involved in making
this because everybody from every
department contributed something totally
awesome to this it was just constantly
getting plused every time somebody put
their hands on it. We all high-fived.
It was one of the last things we did and
I think throughout any project you're
learning how to work like a team so by
the very end we were a team.
We knew how to get shit done and work
together and I mean as painful as was to
throw stuff out Brandon Souders who is
the level designer in the intro-level
was I mean it required an incredible
amount of patience but he was totally
down he kicked major ass I mean it it's
a huge credit to him the work that he did.
Movies, I love when they take the time to
put the juice into the character I think
that JAWS is powerful because
they spend so much time talking about
how badass Jaws is and they build him up
and he's the thing and "oh my god" and so
we were doing that with the DOOM marine
I love when they do that like you know
when the hero pulls out his
special gunm don't just pull it out and
shoot somebody. I want to know that that
was made out of special metal that was
forged by some fucking samurai dude.
You know what i mean? And slowly
pull it out and the gleam off the thing
like that's really what we were doing we
were milking it. Building
up the legend of the DOOM marine.
And the level that Sauders had
put together immediately following that
i thought was wonderful and introduced
you to the secrets, a little keycard
action, which I'd love to talk about more
later, and I love that it all
ends with again that little subtle nod
You're just blasting through and he says the
rging about the 221 accident free days.
You're just like "we just caused a lot of havok"
and he makes that little comment
But it's just on the side you know it's very very much out of the
way but i think it maintains that tone.
That complements the fact
that i'm ripping people's arms often
beating them to death with it.
I think that's what felt right, all
the puzzle pieces kind of coming
together make like a DOOM experience
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