1 00:00:07,230 --> 00:00:10,889 It's only natural to imitate success. 2 00:00:10,889 --> 00:00:15,680 Throughout video game history, there are countless examples of clones: shameless mimics that 3 00:00:15,680 --> 00:00:17,949 ride aboard the coattails of others. 4 00:00:17,949 --> 00:00:23,740 Call it inspiration, an homage - or just a plain ripoff: 5 00:00:23,740 --> 00:00:26,550 no good idea goes without a few retreads. 6 00:00:26,550 --> 00:00:33,710 On rare occasion, a game's influence will be such that it won't just inspire a few imitations 7 00:00:33,710 --> 00:00:40,180 but forge an entirely new genre. 8 00:00:40,180 --> 00:00:45,649 Doom is a massively important step in the development of 3D action games - one that 9 00:00:45,649 --> 00:00:50,199 defined the first person shooter and changed gaming forever. 10 00:00:50,199 --> 00:00:55,170 So, what inspired such a revolutionary game? 11 00:00:55,170 --> 00:00:58,969 What did Doom do that Wolfenstein didn't? 12 00:00:58,969 --> 00:01:03,320 And how much of its influence remains in games today? 13 00:01:07,240 --> 00:01:09,540 The early 1990s. 14 00:01:09,920 --> 00:01:17,680 A time untinged by guilt: when action movies were unironic; thrash metal was at its peak; 15 00:01:17,690 --> 00:01:24,730 and, unlike the vice-ridden 1980s, all you needed for a good time was pizza and video 16 00:01:24,730 --> 00:01:26,000 games. 17 00:01:26,000 --> 00:01:31,960 Id software were living the dream - their previous success bought access to all kinds 18 00:01:31,960 --> 00:01:38,200 of hedonistic thrill: but their core passion remained - and their creative freedom was 19 00:01:38,200 --> 00:01:40,460 unfettered. 20 00:01:40,460 --> 00:01:48,680 Only one obstacle remained: how do you beat a game like Wolfenstein 3D? 21 00:01:48,680 --> 00:01:53,200 While most of the Id team were working on delivering Spear of Destiny, the first strokes 22 00:01:53,200 --> 00:01:56,310 of their next project were being made by John Carmack. 23 00:01:56,310 --> 00:02:01,720 He was discontent with Wolfenstein's engine limitations - and, with the increasing pace 24 00:02:01,720 --> 00:02:08,250 of the PC gaming market, he could afford to target more impressive hardware. 25 00:02:08,250 --> 00:02:13,140 Instead of running on a 286 with less than 1 megabyte of RAM, Id's new game would demand 26 00:02:13,140 --> 00:02:19,760 at least a 386 with 4 megabytes - and only a top-of-the-line 486 would suffice for the 27 00:02:19,760 --> 00:02:23,629 most impressive performance. 28 00:02:23,629 --> 00:02:28,590 Some of Carmack's improvements to the Wolfenstein engine ended up in a game called ShadowCaster, 29 00:02:28,590 --> 00:02:35,209 developed by Raven Software - a first-person RPG with similar ambitions to Ultima Underworld. 30 00:02:35,209 --> 00:02:41,290 It exists as an evolutionary step between Wolfenstein and Doom - the upgraded tech providing 31 00:02:41,290 --> 00:02:45,680 a hint at what was to come later in the year from Id. 32 00:02:45,680 --> 00:02:51,370 Walls and ceilings were now texture-mapped - a corner cut less necessary on newer machines, 33 00:02:51,370 --> 00:02:58,950 and a chance to inject more variety both underfoot and overhead - including outdoor areas. 34 00:02:58,950 --> 00:03:03,499 Diminished lighting allowed texture colours to be gradually faded into the darkness, allowing 35 00:03:03,499 --> 00:03:08,150 for better distance cues - and variable lighting. 36 00:03:08,150 --> 00:03:12,719 Compared to the static, flat light of Wolfenstein - it made a substantial difference to the 37 00:03:12,719 --> 00:03:15,409 game's atmosphere. 38 00:03:15,409 --> 00:03:20,689 Another major upgrade was to the level architecture - grid-based no more, walls could be constructed 39 00:03:20,689 --> 00:03:23,209 at any angle - at any position. 40 00:03:23,209 --> 00:03:29,459 Better yet, floors and ceilings could now be different heights - allowing for platforms, 41 00:03:29,459 --> 00:03:31,989 stairs, windows and elevators. 42 00:03:31,989 --> 00:03:38,499 A massive leap forward in terms of level design: Id's new, upgraded engine unlocked huge technical 43 00:03:38,499 --> 00:03:40,599 potential. 44 00:03:40,599 --> 00:03:46,969 All they needed now was a good idea. 45 00:03:46,969 --> 00:03:51,980 Clearly they were onto something good with the 3D shooter formula - so a further exploration 46 00:03:51,980 --> 00:03:54,760 seemed logical. 47 00:03:54,760 --> 00:03:59,919 Creative director Tom Hall wanted to revisit Commander Keen - a shift away from realistic 48 00:03:59,919 --> 00:04:05,919 violence to a cartoon aesthetic, and a chance to tell a more in-depth story. 49 00:04:05,919 --> 00:04:11,919 However, the others were less convinced. It wasn't a compelling narrative that made Wolfenstein 50 00:04:11,919 --> 00:04:16,049 3D a hit, it was its fast-paced and instant action. 51 00:04:16,049 --> 00:04:23,210 As John Carmack put it: "Story in a game is like story in a porn movie. It's expected 52 00:04:23,210 --> 00:04:27,380 to be there, but it's not that important." 53 00:04:27,380 --> 00:04:35,190 It was the era of the self-assured action hero - with a hefty arsenal of bombastic one-liners: 54 00:04:35,190 --> 00:04:43,540 Yippee ki yay; Hasta la vista; This is My Boomstick! 55 00:04:43,540 --> 00:04:49,570 There would be considerable influence from cinema: not through cut-scenes, or lens flares 56 00:04:49,570 --> 00:04:57,060 - but instead as inspiration for the setting, mood - and attitude. 57 00:04:57,060 --> 00:05:01,190 Even the name stems from a quote taken from a Tom Cruise film. 58 00:05:01,190 --> 00:05:05,870 In 'The Colour of Money', his pool-hustling character is asked what resides within his 59 00:05:05,870 --> 00:05:06,980 cue case. 60 00:05:06,980 --> 00:05:14,050 With a cocky smile - and pause for effect - he retorts: 61 00:05:14,050 --> 00:05:17,760 "In here?" 62 00:05:17,760 --> 00:05:19,620 "Doom." 63 00:05:19,620 --> 00:05:25,480 Doom's cybernetic heart beats with the rhythm of science fiction: future soldiers, high-tech 64 00:05:25,480 --> 00:05:31,190 weaponry and isolated installations on a far-flung world. 65 00:05:31,190 --> 00:05:35,710 The Alien films are a key influence, to the point where Doom was originally planned as 66 00:05:35,710 --> 00:05:42,010 a licensed tie-in - although this idea was ditched in order to retain more creative freedom. 67 00:05:42,010 --> 00:05:46,140 Still, there's no shortage of parallel elements: 68 00:05:46,140 --> 00:05:51,700 the grizzled space marines sent in to investigate an anomaly of unknown origin; 69 00:05:51,700 --> 00:05:56,650 the interstellar conglomerate operating at the frontier of human exploration; 70 00:05:56,650 --> 00:06:00,840 and questionable ethics that unleash dark, dangerous secrets. 71 00:06:00,840 --> 00:06:09,170 The Alien films and Doom also share a common visual inspiration: the disturbing surreality 72 00:06:09,170 --> 00:06:11,960 of H. R. Giger. 73 00:06:11,960 --> 00:06:17,890 His Necronomicon defined the terrifying look of Alien's Xenomorph - and inspired countless 74 00:06:17,890 --> 00:06:19,470 nightmares. 75 00:06:19,470 --> 00:06:25,390 Giger's only official contribution to video games was a graphical adventure called Dark 76 00:06:25,390 --> 00:06:32,130 Seed, and its sequel - but his work's overall influence is far broader. 77 00:06:32,130 --> 00:06:40,580 Fearful symmetry amidst an uncomfortable place: somewhere between sex and death - demons and 78 00:06:40,580 --> 00:06:42,190 machines. 79 00:06:42,190 --> 00:06:48,220 It's this blend that provides the key aesthetic for Doom: a fusion of metallic sci-fi with 80 00:06:48,220 --> 00:06:51,100 fleshy hellspawn. 81 00:06:51,100 --> 00:06:56,440 The Satanic influences originate from Id's Dungeon and Dragons sessions - where at the 82 00:06:56,440 --> 00:07:01,640 climax of a lengthy campaign, the entire planet was overrun with demons. 83 00:07:01,640 --> 00:07:07,500 No longer constrained by the grid-based stone walls of Wolfenstein, Id's imagination could 84 00:07:07,500 --> 00:07:12,270 run riot: an indulgence of pure twisted fantasy. 85 00:07:12,270 --> 00:07:19,250 A departure from a loose historical basis: from 'heil Hitler' to 'Hail Satan', Id have 86 00:07:19,250 --> 00:07:23,060 never been particularly afraid of controversial subjects. 87 00:07:23,060 --> 00:07:31,740 Still, the devil has all the best tunes - and a game like Doom needed a killer soundtrack. 88 00:07:31,740 --> 00:07:36,780 Id didn't have to look too far for inspiration: the tunes playing on their office stereo would 89 00:07:36,780 --> 00:07:38,980 provide ample material. 90 00:07:38,980 --> 00:07:47,140 Tracks evocative of Metallica, Slayer, Pantera, Judas Priest: True, they were lo-fi MIDI renditions 91 00:07:47,140 --> 00:07:53,970 - but from the first level to the last, Doom is chock full of thrash riffs. 92 00:07:53,970 --> 00:08:01,620 Gory B-movie horror would provide inspiration, too - with films like Evil Dead II a particular 93 00:08:01,620 --> 00:08:02,680 favourite. 94 00:08:02,680 --> 00:08:08,530 Its influence is clear in a number of places, such as human enemies possessed by demons 95 00:08:08,530 --> 00:08:12,930 - in a similar manner to the Deadites from Evil Dead. 96 00:08:12,930 --> 00:08:17,720 The chainsaw (and later addition of a double-barreled shotgun) are taken straight from the film 97 00:08:17,720 --> 00:08:24,780 - and the gory blood-soaked action that ensues is only natural. 98 00:08:24,780 --> 00:08:31,740 Caffeine-fuelled, pizza-fed: and a love letter to the culture they consumed. 99 00:08:31,740 --> 00:08:39,610 All the elements were starting to come together: a fusion of Hell, Sci-Fi and Fantasy - alien 100 00:08:39,610 --> 00:08:43,499 demons with a twist of Satan. 101 00:08:43,499 --> 00:08:48,930 As the end of 1993 approached, so too did Doom's release. 102 00:08:48,930 --> 00:08:54,249 Anticipation was sky-high: with anxious fans following development through newsgroups and 103 00:08:54,249 --> 00:08:55,279 BBS. 104 00:08:55,279 --> 00:09:01,170 Confident, Id declared that their next game would be "Wolfenstein times a million!". 105 00:09:01,170 --> 00:09:10,329 The hype was real - but could they deliver? 106 00:09:10,329 --> 00:09:14,800 Doom's myriad influences ought to make for a crowded mess of ideas - 107 00:09:14,800 --> 00:09:18,490 but in the absence of explanation - it works. 108 00:09:18,490 --> 00:09:20,220 Here's a shotgun. 109 00:09:20,220 --> 00:09:22,170 No more questions. 110 00:09:22,170 --> 00:09:23,420 Just get out there - 111 00:09:23,420 --> 00:09:27,209 and shoot some demons on Mars. 112 00:09:27,209 --> 00:09:32,050 Like with Wolfenstein, very little time is wasted: Action is instant, and you're flung 113 00:09:32,050 --> 00:09:35,290 into combat straight from the first beat. 114 00:09:35,290 --> 00:09:40,860 The level choreography is very similar too: you spawn weapon in hand, fight through room 115 00:09:40,860 --> 00:09:44,639 after room of enemies - making your way to the exit. 116 00:09:44,639 --> 00:09:50,680 Again, levels are episodically grouped, each culminating in a boss fight. The original 117 00:09:50,680 --> 00:09:54,399 release comprised three such episodes: 118 00:09:54,399 --> 00:10:00,490 Knee-Deep in the Dead was the first: an introduction to the Mars base on Phobos, and the incursion 119 00:10:00,490 --> 00:10:05,129 of hellspawn into its metallic sci-fi interiors. 120 00:10:05,129 --> 00:10:11,339 The second takes you to Deimos: The Shores of Hell. A descent into diabolical madness 121 00:10:11,339 --> 00:10:16,990 - and a border between the human and demon domains. 122 00:10:16,990 --> 00:10:23,339 The third was Inferno, a full realisation of satanic terror: and a test of the hero's 123 00:10:23,339 --> 00:10:28,019 mettle against Hell's full fury. 124 00:10:28,019 --> 00:10:33,040 This approach was a tried-and-tested formula: many elements were retained from Wolfenstein 125 00:10:33,040 --> 00:10:37,519 - but Doom was anything but more of the same. 126 00:10:37,519 --> 00:10:43,509 For instance, the arcade influences were chamfered to be far less frustrating: 127 00:10:43,509 --> 00:10:49,370 Gone were the limited lives - death was now but a pause, with tougher levels repeatable 128 00:10:49,370 --> 00:10:51,709 until cracked. 129 00:10:51,709 --> 00:10:56,759 Also absent were the high score tables - and the point scoring pick-ups. 130 00:10:56,759 --> 00:11:03,120 This wasn't Pac-Man. Slaughter is its own reward. 131 00:11:03,120 --> 00:11:09,449 Doom also evolved its health economy, with a greater quantity and variety of health pickups. 132 00:11:09,449 --> 00:11:13,910 Bonus vials litter the levels - with each only providing a single point of stamina, 133 00:11:13,910 --> 00:11:20,480 but providing a strong incentive to stay on the move to gradually replenish lost health. 134 00:11:20,480 --> 00:11:25,839 Stimpacks provide more immediate relief, and the full-size medpacks and rarer supercharges 135 00:11:25,839 --> 00:11:30,600 are a sight for sore eyes when you find yourself in trouble. 136 00:11:30,600 --> 00:11:35,160 The addition of armour adds another dimension: with the standard green pick-up absorbing 137 00:11:35,160 --> 00:11:40,459 a third of all damage until depleted, and the rarer blue suit cutting all incoming damage 138 00:11:40,459 --> 00:11:42,709 by half. 139 00:11:42,709 --> 00:11:47,920 Fully decked out, taking on the hordes of hell almost seems easy - but a quick comeuppance 140 00:11:47,920 --> 00:11:51,360 awaits the overconfident. 141 00:11:51,360 --> 00:11:55,910 Health pickups are not necessarily the best solution for every first-person shooter - but 142 00:11:55,910 --> 00:11:58,180 one thing is certain: 143 00:11:58,180 --> 00:12:05,059 Cowering behind cover won't do you any good in Doom. 144 00:12:05,059 --> 00:12:08,769 The level design is perhaps the most drastic change from Wolfenstein 3D: 145 00:12:08,769 --> 00:12:15,910 The grid-based mazes were gone - Doom's architectural enhancements meant these rigid walls were 146 00:12:15,910 --> 00:12:20,910 instead replaced with more freeform, fantastical spaces. 147 00:12:20,910 --> 00:12:26,449 Rather than conforming to realistic designs, the Mars base has a more abstract composition 148 00:12:26,449 --> 00:12:29,860 than might be expected of a typical sci-fi installation. 149 00:12:29,860 --> 00:12:35,480 Rather than shooting through corridor after boring corridor, the chambers and passages 150 00:12:35,480 --> 00:12:41,910 are varied - serving an unknown purpose in-universe but making for a far better experience as 151 00:12:41,910 --> 00:12:44,160 a game. 152 00:12:44,160 --> 00:12:49,379 This detachment from reality also makes for a far more organic transition to a twisted 153 00:12:49,379 --> 00:12:56,569 vision of Hell as the game unfolds. 154 00:12:56,569 --> 00:13:01,089 Animated textures were another new introduction, used to particularly good effect in creating 155 00:13:01,089 --> 00:13:07,709 pools of noxious liquid, rivers of blood and molten lava. 156 00:13:07,709 --> 00:13:12,399 Serving as a punishment for falling from an intended path, but also enticing the player 157 00:13:12,399 --> 00:13:19,769 with the potential of secrets - the risk of damage versus the reward of hidden supplies. 158 00:13:19,769 --> 00:13:25,379 As well as pools of toxic waste, Doom's levels are littered with barrels - of a particularly 159 00:13:25,379 --> 00:13:27,939 volatile nature. 160 00:13:27,939 --> 00:13:32,249 It isn't the first game to indulge in the trope of explosive barrels - but it might 161 00:13:32,249 --> 00:13:36,709 be the first FPS. 162 00:13:36,709 --> 00:13:41,699 Doom's world is more far more dynamic than Wolfenstein's ever was - beyond simple doors 163 00:13:41,699 --> 00:13:48,869 and pushwalls, now massive segments of level geometry could move in response to the player. 164 00:13:48,869 --> 00:13:53,759 This was limited to up and down motion only, as the binary space partitioning of the level 165 00:13:53,759 --> 00:13:57,920 data required considerable precalculation. 166 00:13:57,920 --> 00:14:03,720 This was perfect for doors, staircases, platforms and elevators, however - and dynamic level 167 00:14:03,720 --> 00:14:07,999 elements are a well-used feature throughout Doom's episodes. 168 00:14:07,999 --> 00:14:13,279 Now, the levels could react to the player: and not always through the explicit press 169 00:14:13,279 --> 00:14:18,079 of a button - some triggers were invisible. 170 00:14:18,079 --> 00:14:23,420 These new tools gave the level designers ample chance to flex their creativity: 171 00:14:23,420 --> 00:14:28,990 Unleashing fresh monster closets to repopulate a previously-trodden path; 172 00:14:28,990 --> 00:14:33,079 Drastically altering a level to reveal entirely new areas; 173 00:14:33,079 --> 00:14:39,819 Or setting traps for greedy players: a tempting power-up atop a well-lit podium in a seemingly 174 00:14:39,819 --> 00:14:48,410 quiet room - but redeeming the prize unleashes far more than you might have bargained for. 175 00:14:48,410 --> 00:14:54,189 These dynamic triggers are used to great effect in tandem with variable lighting: dim corridors 176 00:14:54,189 --> 00:15:00,189 that recede to distant gloom; strobe lighting; and pitch blackness. 177 00:15:00,189 --> 00:15:05,769 Sometimes, the game will turn off the lights while simultaneously unleashing an enemy assault. 178 00:15:05,769 --> 00:15:11,899 Deprived of a vital sense while the guttural growls of demons surround you, such moments 179 00:15:11,899 --> 00:15:17,369 are terrifying - and bring the game's horror influence to life. 180 00:15:17,369 --> 00:15:22,689 Compared to Wolfenstein's stark VGA palette, the dimmer tones of Doom boast an atmosphere 181 00:15:22,689 --> 00:15:25,889 unlike anything else of the era. 182 00:15:25,889 --> 00:15:34,329 Dynamic, diverse - and dangerous: the virtual spaces that Doom forged might not resemble 183 00:15:34,329 --> 00:15:40,429 reality, but they were the perfect stage for its hellish theatrics. 184 00:15:40,429 --> 00:15:47,429 A performance demands players, and our protagonist stands centre stage. 185 00:15:47,429 --> 00:15:50,749 His story - not important; 186 00:15:50,749 --> 00:15:53,610 His name - even less so. 187 00:15:53,610 --> 00:16:00,739 Doomguy is a blank slate - a space marine with no identity: stripped of humanity and 188 00:16:00,739 --> 00:16:03,800 built for only one purpose. 189 00:16:03,800 --> 00:16:09,319 The spartan detail is intentional - making for an easier self-insert into the player's 190 00:16:09,319 --> 00:16:11,569 blood-soaked boots. 191 00:16:11,569 --> 00:16:18,309 And in any case, the real stars of the show were the hero's supporting cast. 192 00:16:18,309 --> 00:16:24,179 The weapons of Doom follow a similar progression to Wolfenstein: a hierarchy of arms of escalating 193 00:16:24,179 --> 00:16:24,869 power. 194 00:16:24,869 --> 00:16:31,029 However, there were far more to choose from - defining the classic FPS tradition of a 195 00:16:31,029 --> 00:16:36,160 a single soldier lugging an impractical arsenal of several heavy weapons. 196 00:16:36,160 --> 00:16:40,769 The introduction of different ammunition types adds a new complexity to gameplay: with ammo 197 00:16:40,769 --> 00:16:44,269 availability shaping weapon use. 198 00:16:44,269 --> 00:16:49,089 The weapons themselves are more varied, too - with a blend of hitscan, melee and projectile 199 00:16:49,089 --> 00:16:52,910 options each mandating different strategy. 200 00:16:52,910 --> 00:16:58,980 You start with the pistol - a basic, slow firing weapon. 201 00:16:58,980 --> 00:17:03,579 It's adequate for facing off with the weakest enemies - but not much more. 202 00:17:03,579 --> 00:17:08,189 Still, it's better than nothing - should you run out of ammunition, you'll have to rely 203 00:17:08,189 --> 00:17:14,779 on your bare fists to fight: and punching demons can be a dangerous proposition. 204 00:17:14,779 --> 00:17:19,899 The beserk powerup can even the odds a little, multiplying your melee power by a factor of 205 00:17:19,899 --> 00:17:25,870 ten - a force capable of turning the basic enemies into a thin red paste. 206 00:17:25,870 --> 00:17:33,299 Equally visceral is the chainsaw - an alternate option that rips and tears through flesh in 207 00:17:33,299 --> 00:17:37,260 a particularly satisfying way. 208 00:17:37,260 --> 00:17:41,549 Getting up close and personal can be dangerous, however - so you'll spend most of your time 209 00:17:41,549 --> 00:17:47,990 using the more powerful ranged options: and the pump-action shotgun is a mainstay of Doom's 210 00:17:47,990 --> 00:17:49,019 shooting action. 211 00:17:49,019 --> 00:17:54,610 It's devastating up close, tearing through low level foes like paper - and is an effective 212 00:17:54,610 --> 00:17:58,830 weapon for highly mobile, aggressive use. 213 00:17:58,830 --> 00:18:03,029 Rewarding a high-octane style of play is what separates Doom from the more modern trend 214 00:18:03,029 --> 00:18:05,610 of cover-based shooters. 215 00:18:05,610 --> 00:18:10,510 Instead of cowering in the shadows waiting for a red screen to fade, Doom's action is 216 00:18:10,510 --> 00:18:17,700 unrelenting: brutal; bloody good fun. 217 00:18:17,700 --> 00:18:22,769 Unlike the slower-firing shotgun, the chaingun offers continuous firepower for effectively 218 00:18:22,769 --> 00:18:27,850 suppressing larger groups: perfect for those who like to keep the trigger held down - and 219 00:18:27,850 --> 00:18:32,529 a far better use of bullets than the anaemic pistol. 220 00:18:32,529 --> 00:18:37,559 The rocket launcher fires slow-moving projectiles which detonate on impact, dealing massive 221 00:18:37,559 --> 00:18:43,230 explosive damage: great for quickly culling enemies at a distance, but very dangerous 222 00:18:43,230 --> 00:18:48,080 at a closer range - getting caught in your own blast radius will quickly deplete your 223 00:18:48,080 --> 00:18:49,500 health. 224 00:18:49,500 --> 00:18:55,730 The plasma gun rapidly spits blue balls of energy, effectively interrupting enemy attacks 225 00:18:55,730 --> 00:19:00,779 and quickly despatching even the most robust of foes. 226 00:19:00,779 --> 00:19:07,850 Even so, the ultimate weapon on offer is the BFG 9000: a bigger brother to the plasma gun, 227 00:19:07,850 --> 00:19:16,059 the BFG takes a while to charge but can clear an entire room with just a single shot. 228 00:19:16,059 --> 00:19:21,230 An impressive arsenal - a variety bolstered since Wolfenstein, and a standard for future 229 00:19:21,230 --> 00:19:22,789 games to meet. 230 00:19:22,789 --> 00:19:28,880 But what good is such an array of weapons with no bad guys to shoot? 231 00:19:28,880 --> 00:19:35,200 Luckily, there's no such shortage of enemies - there's a whole demonic ensemble of Satan 232 00:19:35,200 --> 00:19:36,220 claymation. 233 00:19:36,220 --> 00:19:42,950 They're drawn as sprites on-screen - 2D entities within a 3D world - but each monster is drawn 234 00:19:42,950 --> 00:19:47,559 facing multiple directions, to permit rotation. 235 00:19:47,559 --> 00:19:52,630 In order to expedite the drawing process, many of the monsters were first sculpted as 236 00:19:52,630 --> 00:19:56,450 models, photographed - and digitised. 237 00:19:56,450 --> 00:20:01,630 This approach gave the larger monsters more naturalistic, believable form - unlike more 238 00:20:01,630 --> 00:20:08,000 rigid hand-drawn sprites, these speak of corpulent demon flesh. 239 00:20:08,000 --> 00:20:13,200 The realisation of these monsters also benefited from the game's sound design - with each type 240 00:20:13,200 --> 00:20:19,500 exuding idle noises, and announcing their discontent at the player's presence. 241 00:20:19,500 --> 00:20:24,019 Coupled with the dark, dangerous chambers of Doom's levels, the addition of guttural 242 00:20:24,019 --> 00:20:29,830 sounds in gloomy distance further enhanced the game's mood - and the battle cry of the 243 00:20:29,830 --> 00:20:35,590 greater demons sparks terror like no other. 244 00:20:35,590 --> 00:20:41,679 The lowliest of Hell's minions are the human opponents, possessed by some unseen demon 245 00:20:41,679 --> 00:20:47,360 force: the first encounter, and a common sight throughout the first episode. 246 00:20:47,360 --> 00:20:54,090 Some wield machine guns: others shotguns - both provide easy kills and a steady supply of 247 00:20:54,090 --> 00:20:55,269 ammunition. 248 00:20:55,269 --> 00:21:01,690 The brown imps fling fireballs from a distance, and tear flesh up close - they're tougher 249 00:21:01,690 --> 00:21:06,380 than humans, but their attacks are easy to dodge - and they still succumb to a single 250 00:21:06,380 --> 00:21:09,559 shotgun blast. 251 00:21:09,559 --> 00:21:14,799 The pink demons are much tougher - sinewy walls of flesh that lack a ranged attack, 252 00:21:14,799 --> 00:21:19,929 but make up for it with a fervour for consuming thy flesh. 253 00:21:19,929 --> 00:21:26,539 Worse still, some such demons are not pink but invisible: spectres that are hard to see 254 00:21:26,539 --> 00:21:33,450 in the best of conditions, and an unseen menace in darker spaces. 255 00:21:33,450 --> 00:21:39,899 Hell plays home to the lost souls: fire-branded skulls that fling themselves towards you, 256 00:21:39,899 --> 00:21:43,970 fast-moving and a tough target to hit. 257 00:21:43,970 --> 00:21:49,500 Cacodemons are large red spherical monsters that spew fast-moving fireballs while floating 258 00:21:49,500 --> 00:21:56,889 in midair - demon meatballs with a penchant for chargrilled prey. 259 00:21:56,889 --> 00:22:02,480 Beyond lie the greater demons: the hircine Barons of Hell serve as a culmination of Doom's 260 00:22:02,480 --> 00:22:08,360 first episode, satanic brothers that serve as guardians to the gates of the abyss. 261 00:22:08,360 --> 00:22:12,470 Standing head and shoulders above their minions, they are unyielding in the face of whatever 262 00:22:12,470 --> 00:22:17,799 punishment you mete out - flinging green fireballs at you with all their fury. 263 00:22:17,799 --> 00:22:23,799 In later episodes you'll meet yet more Barons, only as regular troops rather than in a boss-like 264 00:22:23,799 --> 00:22:31,019 capacity: episodes two and three end with yet greater menace. 265 00:22:31,019 --> 00:22:38,019 The Cyberdemon is half-goat, half rocket launcher: and all archfiend. 266 00:22:38,019 --> 00:22:42,559 Highly resistant and more than happy to dispense his rockets in your direction, it takes a 267 00:22:42,559 --> 00:22:46,889 well-supplied marine to even have a hope of despatching this vile demon. 268 00:22:46,889 --> 00:22:54,720 Still, at least you can dodge rockets - bullets prove a mite more difficult. 269 00:22:54,720 --> 00:23:00,649 The ultimate evil is the Spider Mastermind: a squishy brain-on-stilts armed with a super 270 00:23:00,649 --> 00:23:04,059 chaingun - and a bad attitude. 271 00:23:04,059 --> 00:23:09,120 Its instantly landing attack will quickly kill anyone foolish enough to stand in the 272 00:23:09,120 --> 00:23:15,200 open: firing from cover your best hope for success. 273 00:23:15,200 --> 00:23:19,039 Enough firepower, and even the most vile of Hell's denizens will be reduced to a puddle 274 00:23:19,039 --> 00:23:23,679 of blood, guts - and brains. 275 00:23:23,679 --> 00:23:26,630 Quite the menagerie. 276 00:23:26,630 --> 00:23:32,679 With distinct designs, varied tactics and attacks, and eerie presence: Doom's monsters 277 00:23:32,679 --> 00:23:40,590 are memorable; frightening; awesome! 278 00:23:40,590 --> 00:23:45,899 Between a protagonist laden with guns and a host of evil demonic opponents - what follows 279 00:23:45,899 --> 00:23:48,600 next is only natural. 280 00:23:48,600 --> 00:23:55,220 Gibbing - that's gibs like giblets, not gibs like goblet - are one of Doom's gory ways: 281 00:23:55,220 --> 00:24:01,039 a red shower of body parts and sickening sound effect your reward for a particularly brutal 282 00:24:01,039 --> 00:24:02,490 kill. 283 00:24:02,490 --> 00:24:07,519 It's a development of Wolfenstein's death-cams: but the gory death animation of the bosses 284 00:24:07,519 --> 00:24:13,700 extend to all enemies instead, and occur as a natural part of gameplay. 285 00:24:13,700 --> 00:24:19,279 Doom wasn't the first gory game to feature fleshy gibs, but it codified the name - and 286 00:24:19,279 --> 00:24:24,840 its later influence made sure similar dismemberment would remain a hallmark of violent shooters. 287 00:24:24,840 --> 00:24:31,590 No guts, no glory - visceral action is the perfect accompaniment to a first person perspective: 288 00:24:31,590 --> 00:24:40,600 What better way to experience the thrill of being knee-deep in the dead? 289 00:24:40,600 --> 00:24:46,370 Shooting mechanical monsters is good fun - but computer controlled opponents are predictable, 290 00:24:46,370 --> 00:24:51,070 and victory over the AI eventually rings hollow. 291 00:24:51,070 --> 00:24:57,220 Single player is great fun, but it's the multiplayer that really gave Doom longevity - and in the 292 00:24:57,220 --> 00:25:01,559 years following its release, the sounds of competitive combat were commonly heard anywhere 293 00:25:01,559 --> 00:25:04,860 near a computer network. 294 00:25:04,860 --> 00:25:10,130 Such was its popularity that network administrators were often forced to take action: the congestion 295 00:25:10,130 --> 00:25:15,759 caused by players could bring even the largest network to a standstill. 296 00:25:15,759 --> 00:25:22,080 It is the game that coined the term 'deathmatch' - and gave birth to a now longstanding tradition 297 00:25:22,080 --> 00:25:26,519 of digital carnage. 298 00:25:26,519 --> 00:25:32,330 Another important contribution to Doom's longevity was its moddability: it wasn't the first game 299 00:25:32,330 --> 00:25:37,399 to support user-created content - but it was very successful in this regard. 300 00:25:37,399 --> 00:25:43,289 Id's generosity played a key role - providing level editors and tools for editing the game's 301 00:25:43,289 --> 00:25:49,539 files: content creators were able to make new levels, add new graphics and sounds - all 302 00:25:49,539 --> 00:25:52,809 with relative ease. 303 00:25:52,809 --> 00:25:57,669 These mods were packaged in convenient files called 'WADs' - an acronym for 'Where's all 304 00:25:57,669 --> 00:26:05,230 the data?'. A single file, easily distributed - and containing anything from minor tweaks 305 00:26:05,230 --> 00:26:08,730 to a full-blown total conversion. 306 00:26:08,730 --> 00:26:13,899 The most popular WADs drew from pop culture - with locations, characters, graphics and 307 00:26:13,899 --> 00:26:18,100 soundbites gratuitously taken from film and TV. 308 00:26:18,100 --> 00:26:23,500 Others indulged in more original work, with imagination unfettered and the keys to Doom's 309 00:26:23,500 --> 00:26:24,179 creation. 310 00:26:24,179 --> 00:26:30,399 With the dawn of the internet, there was no shortage of enthusiastic talent keen to share 311 00:26:30,399 --> 00:26:31,539 their skills. 312 00:26:31,539 --> 00:26:37,880 The right game at the right time, Doom led to a burgeoning modding community - and forged 313 00:26:37,880 --> 00:26:42,789 a tradition that endures today. 314 00:26:42,789 --> 00:26:48,730 Ground breaking technology: an atmospheric and scary setting; 315 00:26:48,730 --> 00:26:51,740 fast-paced and addictive gameplay; 316 00:26:51,740 --> 00:26:54,750 frantic multiplayer deathmatch; 317 00:26:54,750 --> 00:26:58,340 and fully moddable to boot. 318 00:26:58,340 --> 00:27:02,860 Truly a complete package - and the first episode was free. 319 00:27:02,860 --> 00:27:11,399 Who could resist an offer like that? 320 00:27:11,399 --> 00:27:14,799 Doom proved a success by every measure. 321 00:27:14,799 --> 00:27:21,320 The fans loved it, the gaming press praised it at every turn - and it sold by the millions. 322 00:27:21,320 --> 00:27:26,460 It repeated the shareware success story of Wolfenstein: with the first episode available 323 00:27:26,460 --> 00:27:34,129 for free, copies of the game spread like wildfire - with an estimated 10 million installations. 324 00:27:34,129 --> 00:27:39,090 While the shareware model had proven successful, the retail market for PC games had expanded 325 00:27:39,090 --> 00:27:44,659 since the days of Wolfenstein: and boxed copies could attain a broader reach than mail-order. 326 00:27:44,659 --> 00:27:51,399 The Doom franchise first found its way onto shelves with the rapid release of its sequel 327 00:27:51,399 --> 00:27:57,809 in 1994, Doom II: Hell on Earth. 328 00:27:57,809 --> 00:28:02,799 It was not a major change from the original shareware release - retaining the same engine 329 00:28:02,799 --> 00:28:09,399 and overall format: but it came with an all new set of levels, enemies, graphics - and 330 00:28:09,399 --> 00:28:11,409 an extra weapon. 331 00:28:11,409 --> 00:28:18,379 The super shotgun is a defining difference between Doom and Doom II - boasting double 332 00:28:18,379 --> 00:28:22,820 the barrels and nearly triple the damage. 333 00:28:22,820 --> 00:28:28,389 It provides an extension of the shotgun's usefulness with even more close-range power: 334 00:28:28,389 --> 00:28:32,850 and while it fires more slowly than the pump-action the ability to take out crowds of enemies 335 00:28:32,850 --> 00:28:36,080 with a single spray of buckshot is quite satisfying. 336 00:28:36,080 --> 00:28:44,330 A host of new enemies await your wrath - complementing Doom's original set and providing new challenges 337 00:28:44,330 --> 00:28:46,730 and hazards. 338 00:28:46,730 --> 00:28:51,990 A new human enemy, the chaingun guy, is amongst the first you'll meet: a little tougher than 339 00:28:51,990 --> 00:28:56,509 his brothers - and a lot meaner. 340 00:28:56,509 --> 00:29:01,370 The Hell Knights are lesser Barons of Hell, weaker than their superiors - but still very 341 00:29:01,370 --> 00:29:04,240 much a threat. 342 00:29:04,240 --> 00:29:09,139 The spooky rocket-launching skeletons are known as the revenants; a clattering assembly 343 00:29:09,139 --> 00:29:09,860 of shrieking undead. 344 00:29:09,860 --> 00:29:17,659 The grotesque mancubuses have a little more meat on their bones, a corpulent pile of flesh 345 00:29:17,659 --> 00:29:19,990 and rockets. 346 00:29:19,990 --> 00:29:24,289 Miniature versions of the spider mastermind, known as the Arachnotrons, are equipped with 347 00:29:24,289 --> 00:29:27,230 a powerful plasma weapon. 348 00:29:27,230 --> 00:29:33,360 The pain elementals resembles a brown cacodemons, but instead of fireballs they spawn lost souls 349 00:29:33,360 --> 00:29:35,379 instead. 350 00:29:35,379 --> 00:29:42,750 And the arch-vile, a mysterious figure quite happy to immolate all in their path. 351 00:29:42,750 --> 00:29:49,970 A host of new denizens - a host of new ways to die. 352 00:29:49,970 --> 00:29:54,840 The thirty new levels were presented as a single episode: Hell on Earth. 353 00:29:54,840 --> 00:30:03,710 A diverse set, with some more mundane locations - and some truly evil, hellish labyrinths. 354 00:30:03,710 --> 00:30:08,690 Tricks and traps galore, as the game more confidently exploits player expectation to 355 00:30:08,690 --> 00:30:11,590 endless surprise. 356 00:30:11,590 --> 00:30:16,960 More creative levels like Barrels of Fun offer the player a dilemma - where the need to shoot 357 00:30:16,960 --> 00:30:19,110 is tempered by the reluctance to self-destruct. 358 00:30:19,110 --> 00:30:26,500 With the experience gained from the first three episodes, the level designs were more 359 00:30:26,500 --> 00:30:33,389 confident, whimsical - and certainly more devious. 360 00:30:33,389 --> 00:30:39,320 Doom II gave ardent fans another slice of shooting action, and its retail presence introduced 361 00:30:39,320 --> 00:30:42,559 it to a new audience. 362 00:30:42,559 --> 00:30:47,110 Between it and its shareware incarnation, Doom would dominate the home computer gaming 363 00:30:47,110 --> 00:30:47,990 scene: 364 00:30:47,990 --> 00:30:55,460 If you had a PC, you had to have Doom. 365 00:30:55,460 --> 00:31:01,610 Doom would go on to boast a larger install base than Windows: a claim no game since could 366 00:31:01,610 --> 00:31:04,389 possibly make. 367 00:31:04,389 --> 00:31:09,519 Such was its influence that it would define the first person shooter genre: for years 368 00:31:09,519 --> 00:31:16,539 after its release, any FPS would be dubbed a 'Doom clone'. 369 00:31:16,539 --> 00:31:21,580 Such an honour was not without warrant - there was certainly no shortage of attempts to out-doom 370 00:31:21,580 --> 00:31:23,749 Doom. 371 00:31:23,749 --> 00:31:28,539 With Id's games enjoying massive commercial success, plenty of other developers were keen 372 00:31:28,539 --> 00:31:30,999 to taste a slice of the Doom-clone pie. 373 00:31:30,999 --> 00:31:38,850 Nascent studio Bungie were then champions of the Mac gaming scene, and Marathon in 1994 374 00:31:38,850 --> 00:31:43,899 provided 3D shooting action for the rival platform. 375 00:31:43,899 --> 00:31:48,059 Even LucasArts, best known then for their point-and-click adventure games, leveraged 376 00:31:48,059 --> 00:31:56,039 the Star Wars IP into the first person shooter domain with Dark Forces in 1995. 377 00:31:56,039 --> 00:32:00,799 The most prolific Doom rivals came from Id's former publisher for Wolfenstein, Apogee Software 378 00:32:00,799 --> 00:32:04,649 - who rebranded as 3D Realms in 1994. 379 00:32:04,649 --> 00:32:12,320 Ken Silverman's Build engine would drive their games, most notably Duke Nukem 3D: a game 380 00:32:12,320 --> 00:32:18,389 clearly made in Doom's image, but with a swagger and style all of its own. 381 00:32:18,389 --> 00:32:23,519 Later titles like Blood, Shadow Warrior and Redneck Rampage are generally well-remembered: 382 00:32:23,519 --> 00:32:30,610 not so much as technical innovators, but as varied, fun experiences with an abundance 383 00:32:30,610 --> 00:32:31,539 of charm. 384 00:32:31,539 --> 00:32:38,070 However, none of these imitations are remembered quite as fondly as the real thing: Attempts 385 00:32:38,070 --> 00:32:45,940 to out-doom Doom were of course, doomed. 386 00:32:45,940 --> 00:32:51,470 That's not to say all versions of Doom are equal: the DOS version was the definitive, 387 00:32:51,470 --> 00:32:57,999 but the covetous consoles were also granted ports (of varying quality) of their own. 388 00:32:57,999 --> 00:33:02,669 The 16-bit consoles of the era lacked the grunt needed to shift textures at the required 389 00:33:02,669 --> 00:33:07,490 rate - leading to some severe compromises. 390 00:33:07,490 --> 00:33:13,499 The Super Nintendo version made valiant use of the Super FX 2 chip - but while this co-processor 391 00:33:13,499 --> 00:33:21,850 assistance made the game viable, its frame rate was poor and resolution inadequate. 392 00:33:21,850 --> 00:33:27,980 Even the 32-bit power of Sega's ill-fated 32X add-on couldn't muster a faithful rendition: 393 00:33:27,980 --> 00:33:34,629 while its frame rate was superior, nearly every other aspect suffers. 394 00:33:34,629 --> 00:33:38,940 Lighting effects were reduced, as was the colour palette and number of textures: and 395 00:33:38,940 --> 00:33:40,840 the music was terrible. 396 00:33:40,840 --> 00:33:47,509 It would take a new generation of consoles to deliver something more convincing, and 397 00:33:47,509 --> 00:33:54,570 as a new wave of 32 and 64-bit machines trickled in, each tried their hand at matching the 398 00:33:54,570 --> 00:33:55,779 PC. 399 00:33:55,779 --> 00:34:01,700 Doom was the must-have next-gen game, and the Atari Jaguar, 3DO and Sega Saturn all 400 00:34:01,700 --> 00:34:07,220 made an attempt: but despite their increased power, the conversions were underwhelming. 401 00:34:07,220 --> 00:34:14,710 The marketing hype around bitcount fell flat in the face of poor performance. 402 00:34:14,710 --> 00:34:20,800 The PlayStation version was more convincing: with fullscreen graphics that ran well, and 403 00:34:20,800 --> 00:34:25,790 novel features such as alpha transparency and coloured lighting. 404 00:34:25,790 --> 00:34:31,079 There were some concessions - the level geometry was simplified compared to the PC version, 405 00:34:31,079 --> 00:34:36,109 and RAM limitations restricted the use of some assets: not all monster types could appear 406 00:34:36,109 --> 00:34:38,740 in the same level, for instance. 407 00:34:38,740 --> 00:34:43,960 Still, compared to earlier ports it was far more playable - and the PlayStation's more 408 00:34:43,960 --> 00:34:50,530 confident 3D performance no doubt played a part in its success. 409 00:34:50,530 --> 00:34:55,020 Perhaps the most impressive version of Doom on the consoles came in 1997 for Nintendo's 410 00:34:55,020 --> 00:34:58,260 new platform- with Doom 64. 411 00:34:58,260 --> 00:35:02,799 With new graphics, levels and story, it is a drastic departure from the original Doom 412 00:35:02,799 --> 00:35:06,740 - and is generally considered a spin-off. 413 00:35:06,740 --> 00:35:12,900 The N64's analogue control stick is far better suited to FPS movement than a digital D-pad 414 00:35:12,900 --> 00:35:18,190 - and was a step towards the twin-stick controls used on consoles today. 415 00:35:18,190 --> 00:35:23,609 Between Doom 64, Turok and Goldeneye - the viability of first person shooters on a console 416 00:35:23,609 --> 00:35:27,849 had arrived. 417 00:35:27,849 --> 00:35:35,740 Meanwhile on PC, the original Doom saw a retail release in 1995 as 'The Ultimate Doom' - capitalising 418 00:35:35,740 --> 00:35:40,940 on those who missed the shareware release - and adding a bonus fourth episode, 'Thy 419 00:35:40,940 --> 00:35:43,859 Flesh Consumed'. 420 00:35:43,859 --> 00:35:48,450 With the widespread success of Doom, there was a thirst for more - and expansion packs 421 00:35:48,450 --> 00:35:52,359 were one means of slaking this desire. 422 00:35:52,359 --> 00:35:58,460 The Master Levels for Doom II boasted 20 additional levels from a multitude of designers, curated 423 00:35:58,460 --> 00:36:01,630 by Id and given a retail release. 424 00:36:01,630 --> 00:36:10,380 Similarly, Final Doom combined two 32-level episodes into one package: 'TNT: Evilution' 425 00:36:10,380 --> 00:36:13,260 and 'The Plutonia Experiment'. 426 00:36:13,260 --> 00:36:18,579 These episodes were community-created efforts: officially licensed and distributed as a commercial 427 00:36:18,579 --> 00:36:26,520 product - but they wouldn't exist if not for Id's accepting policy towards modding. 428 00:36:26,520 --> 00:36:31,710 Aside from the scores of user-made modifications, the Doom engine was put to good use in a commercial 429 00:36:31,710 --> 00:36:35,710 setting with two releases from Raven Software. 430 00:36:35,710 --> 00:36:41,220 Heretic in 1994 built on the work they did with Shadowcaster - an atmospheric fusion 431 00:36:41,220 --> 00:36:47,359 of doom with RPG elements, with magic in the stead of firearms amidst a gothic fantasy 432 00:36:47,359 --> 00:36:49,579 world. 433 00:36:49,579 --> 00:36:56,079 A sequel, Hexen: Beyond Heretic, followed in 1995 - further expanding on the Doom paradigm 434 00:36:56,079 --> 00:36:59,079 with a dark fantasy twist. 435 00:36:59,079 --> 00:37:03,700 With a choice of three character classes (each with their own weapons) and a deviation from 436 00:37:03,700 --> 00:37:09,220 Doom's linear level progression: Raven served up a counterpart to Doom that had familiar 437 00:37:09,220 --> 00:37:14,619 choreography, but with merits all of its own. 438 00:37:14,619 --> 00:37:20,300 The RPG elements in Strife were even more developed: with hub worlds, (relatively) seamless 439 00:37:20,300 --> 00:37:24,790 level transitions, and NPCs with dialogue. 440 00:37:24,790 --> 00:37:29,640 All this is blended with familiar shooting action: crossbows, flamethrowers and enemies 441 00:37:29,640 --> 00:37:32,339 lurking in corridors. 442 00:37:32,339 --> 00:37:37,500 It is probably the most advanced use of Doom's engine - although by the time of its release 443 00:37:37,500 --> 00:37:40,640 the technology was starting to show its age. 444 00:37:40,640 --> 00:37:47,780 By 1996, the Doom engine's technical edge had been lost - the dawn of hardware acceleration 445 00:37:47,780 --> 00:37:55,790 had arrived, and full 3D engines were the future. 446 00:37:55,790 --> 00:38:00,369 What do you get if you cross a violent shooter with a marketing campaign for a breakfast 447 00:38:00,369 --> 00:38:01,210 cereal? 448 00:38:01,210 --> 00:38:04,349 (Good question, glad you asked) 449 00:38:04,349 --> 00:38:10,900 Chex Quest is the result of such a bizarre union - a total conversion of Doom's gameplay 450 00:38:10,900 --> 00:38:16,079 with the violence removed: instead of killing your alien opponents, you must 'zorch' them 451 00:38:16,079 --> 00:38:19,109 back to their home planet. 452 00:38:19,109 --> 00:38:24,319 Given away with boxes of cereal - the first video game distributed this way - Chex Quest 453 00:38:24,319 --> 00:38:28,380 found a grateful audience in the younger market. 454 00:38:28,380 --> 00:38:35,170 A far cry from Doom's more mature audience - but targeting adults grants no exemption 455 00:38:35,170 --> 00:38:38,740 from controversy. 456 00:38:38,740 --> 00:38:43,670 Video games were taking some flak in the media at this time - games like Mortal Kombat and 457 00:38:43,670 --> 00:38:49,359 Night Trap were upheld as a cause for censorship: eventually leading to the industry self-regulation 458 00:38:49,359 --> 00:38:53,619 of the ESRB. 459 00:38:53,619 --> 00:38:59,319 Satanism has been a source of alarm for centuries - and even in recent decades has proven to 460 00:38:59,319 --> 00:39:00,630 provoke concern: 461 00:39:00,630 --> 00:39:06,170 From ouija boards, Dungeons and Dragons and heavy metal - any form of entertainment that 462 00:39:06,170 --> 00:39:12,540 dared tread near the occult triggered a new moral panic - and Doom was another sacrificial 463 00:39:12,540 --> 00:39:17,770 goat at the altar of outrage. 464 00:39:17,770 --> 00:39:22,240 Can video games train someone to kill? 465 00:39:22,240 --> 00:39:27,240 Flight simulators can teach someone to fly - so the use of technology to train infantry 466 00:39:27,240 --> 00:39:29,059 seems plausible enough. 467 00:39:29,059 --> 00:39:35,210 In 1996, the United States Marine Corps expressed an interest in using computer-based wargames 468 00:39:35,210 --> 00:39:37,550 as a means for training. 469 00:39:37,550 --> 00:39:44,420 A modification for Doom II, called Marine Doom, was the result. 470 00:39:44,420 --> 00:39:49,020 Intended for co-operative play with a fireteam of four marines, the scenario was designed 471 00:39:49,020 --> 00:39:54,180 for teamwork and supporting fire in the face of an enemy threat. 472 00:39:54,180 --> 00:40:00,309 Military exercises are one application: but the simulation of cold-blooded murder is another 473 00:40:00,309 --> 00:40:04,220 thing entirely. 474 00:40:04,220 --> 00:40:10,829 In 1999, Doom found itself blamed for the death of 13 in a high school shooting: the 475 00:40:10,829 --> 00:40:13,569 Columbine massacre. 476 00:40:13,569 --> 00:40:19,579 The pair responsible were avid fans of violent first-person shooters: and one had even created 477 00:40:19,579 --> 00:40:22,869 his own custom levels for Doom. 478 00:40:22,869 --> 00:40:28,490 In the wake of such a tragedy, there was no easy explanation: but video games alone are 479 00:40:28,490 --> 00:40:33,750 no cause for atrocity. 480 00:40:33,750 --> 00:40:38,410 Doom emerged relatively unscathed from this contention, despite numerous lawsuits and 481 00:40:38,410 --> 00:40:44,740 no end of media criticism: but even now, in a more enlightened age: video games have not 482 00:40:44,740 --> 00:40:49,450 seen the end of outrage. 483 00:40:49,450 --> 00:40:54,450 After the release of Final Doom in 1996, the franchise was left fallow in favour of Id's 484 00:40:54,450 --> 00:41:01,880 next big project - a pause that would persist until the 2004 release of Doom 3. 485 00:41:01,880 --> 00:41:08,020 To say that expectations were high would be an understatement: Doom was a legend amongst 486 00:41:08,020 --> 00:41:11,859 FPS, and so nothing less than a revolution would suffice. 487 00:41:11,859 --> 00:41:18,160 While Id remained a capable developer, they were not the same dynamic team of the early 488 00:41:18,160 --> 00:41:23,099 nineties, nor was game development quite the same. 489 00:41:23,099 --> 00:41:28,710 Nevertheless with John Carmack behind Doom 3's new engine - Id tech 4 - from a technical 490 00:41:28,710 --> 00:41:32,200 perspective, there were some very impressive new features. 491 00:41:32,200 --> 00:41:37,390 A host of new graphical techniques were now supported - stuff we take for granted today: 492 00:41:37,390 --> 00:41:42,190 bump mapping, normal mapping, and specular highlighting. 493 00:41:42,190 --> 00:41:47,079 Dynamic per-pixel lighting sold the game's atmosphere - and the illumination (or absence 494 00:41:47,079 --> 00:41:52,920 of it) made for a tense, terrifying experience. 495 00:41:52,920 --> 00:41:57,740 Your only weapon against the darkness was a flashlight, carving a feeble yet essential 496 00:41:57,740 --> 00:42:02,940 beam through the gloom - so you were forced to exchange sight for the ability to defend 497 00:42:02,940 --> 00:42:06,099 yourself. 498 00:42:06,099 --> 00:42:11,640 This design choice was not universally liked - a 'duct tape' mod was a popular addition, 499 00:42:11,640 --> 00:42:16,579 permitting the use of a weapon and light simultaneously. 500 00:42:16,579 --> 00:42:22,520 A later re-release, Doom 3: BFG Edition, adopted this change into official gameplay - along 501 00:42:22,520 --> 00:42:27,740 with graphical and audio enhancements for more modern machines. 502 00:42:27,740 --> 00:42:33,549 An expansion pack, developed by Nerve Software, followed in 2005 - Doom 3: Resurrection of 503 00:42:33,549 --> 00:42:35,650 Evil. 504 00:42:35,650 --> 00:42:41,099 Much like Doom II did for the original, it added new levels, enemies and weapons: including 505 00:42:41,099 --> 00:42:45,609 the legendary double-barreled shotgun, and a weapon resembling Half-Life 2's gravity 506 00:42:45,609 --> 00:42:47,420 gun called the 'grabber'. 507 00:42:47,420 --> 00:42:53,640 Otherwise, it plays in much the same fashion as the vanilla game: gloomy corridors on Mars 508 00:42:53,640 --> 00:42:59,319 with myriad demons prepared for a welcome. 509 00:42:59,319 --> 00:43:05,160 Doom 3 was a success both critically and commercially - after all, it was a full-blown sequel to 510 00:43:05,160 --> 00:43:11,020 Doom - but it's fair to say it doesn't quite live up to the original. 511 00:43:11,020 --> 00:43:16,660 From an audiovisual perspective, it was spectacular - but there was little evolution in terms 512 00:43:16,660 --> 00:43:23,380 of gameplay: an over-reliance on jump scares and not much deviation from the standard FPS 513 00:43:23,380 --> 00:43:25,180 fare of the era. 514 00:43:25,180 --> 00:43:31,510 Still, its release renewed interest in the franchise - to the point where someone thought 515 00:43:31,510 --> 00:43:39,349 it might be a good idea to make a Doom movie, with Karl Urban starring alongside The Rock. 516 00:43:39,349 --> 00:43:44,500 Films based on video games don't have a particularly good track record, and Doom didn't do much 517 00:43:44,500 --> 00:43:50,859 to change this - but the action-packed first-person sequence almost makes it worth the price of 518 00:43:50,859 --> 00:43:51,960 admission. 519 00:43:51,960 --> 00:43:59,069 The same year saw the release of Doom RPG - a phone game designed for the then-emerging 520 00:43:59,069 --> 00:44:01,530 mobile market. 521 00:44:01,530 --> 00:44:06,930 Gameplay is turn-based and movement grid-based: nevertheless, an impressive distillation of 522 00:44:06,930 --> 00:44:11,730 Doom's essence onto the weak pocket hardware of the time. 523 00:44:11,730 --> 00:44:17,500 Doom Resurrection was another mobile title made for iPhones in 2009: a pared-down version 524 00:44:17,500 --> 00:44:20,809 of Doom 3, this time as a rail shooter. 525 00:44:20,809 --> 00:44:28,589 A fun diversion for idle thumbs, but Doom's strength always lay in its classic FPS formula. 526 00:44:28,589 --> 00:44:32,799 What would we do without the first person shooter? 527 00:44:32,799 --> 00:44:38,329 They remain a common sight today: and while we might be past the recent peak of modern-military 528 00:44:38,329 --> 00:44:43,579 themed games, the genre isn't going away any time soon. 529 00:44:43,579 --> 00:44:49,280 Doom's DNA runs through them all - if not through having direct influence, then via 530 00:44:49,280 --> 00:44:53,809 another game that does. 531 00:44:53,809 --> 00:44:57,150 Half-Life is another seminal game that took direct inspiration: 532 00:44:57,150 --> 00:45:05,049 a cataclysmic invasion of a sci-fi installation, aliens galore, and an abundance of toxic waste 533 00:45:05,049 --> 00:45:07,280 throughout its levels. 534 00:45:07,280 --> 00:45:12,760 Similarly, Doom's lack of cut-scenes or cinematics laden with exposition laid the foundations 535 00:45:12,760 --> 00:45:18,869 for experiential story telling: relying on in-engine events to tell a story. 536 00:45:18,869 --> 00:45:26,369 Halo: Combat Evolved is a game which divides the old-school from the new: defined by its 537 00:45:26,369 --> 00:45:32,119 defiance of Doom's conventions - with its two weapon limit, regenerating shields and 538 00:45:32,119 --> 00:45:35,130 large-scale vehicular combat. 539 00:45:35,130 --> 00:45:43,049 However, for all its differences, enough of Doom remains: both share heavy Aliens influence, 540 00:45:43,049 --> 00:45:46,180 with their sci-fi setting and grizzled space marines; 541 00:45:46,180 --> 00:45:48,500 high tech installations; 542 00:45:48,500 --> 00:45:50,630 a varied array of enemy types; 543 00:45:50,630 --> 00:45:57,500 and a protagonist almost entirely stripped of identity. 544 00:45:57,500 --> 00:46:02,099 Doom's blank-slate character paved the way for the generic leads seen in what feels like 545 00:46:02,099 --> 00:46:08,760 most modern games: a shaven-headed average joe designed to tread the path of least financial 546 00:46:08,760 --> 00:46:12,569 risk. 547 00:46:12,569 --> 00:46:17,460 The horror elements of Doom - variable lighting, and invisible triggers - have been mirrored 548 00:46:17,460 --> 00:46:23,839 in games like System Shock, FEAR and other such scary FPS: with scripted moments designed 549 00:46:23,839 --> 00:46:28,760 to surprise and/or terrify the player. 550 00:46:28,760 --> 00:46:33,650 Without their lack of light - gloomy corridors and areas cast into blackness - games like 551 00:46:33,650 --> 00:46:39,579 Dead Space or Alien Isolation wouldn't have half the impact they manage. 552 00:46:39,579 --> 00:46:46,390 Today, Doom's innovations might seem obvious - and perhaps they are - but it lit the way 553 00:46:46,390 --> 00:46:54,210 for future games to tread: and its massive popularity cemented its influence. 554 00:46:54,210 --> 00:46:58,589 Modern games have tampered with Doom's purity, however - no longer do games give you the 555 00:46:58,589 --> 00:47:03,849 reigns to their experience, instead forcing you down more linear corridors in the name 556 00:47:03,849 --> 00:47:07,260 of cinematic impact. 557 00:47:07,260 --> 00:47:12,109 Some of the longing for old-school gameplay is seen through rose-tinted glasses: and even 558 00:47:12,109 --> 00:47:16,049 the classics are not without faults. 559 00:47:16,049 --> 00:47:23,079 Doom is far from ready to retire, however - it still has an indomitable spirit. 560 00:47:23,079 --> 00:47:27,559 More recently, interest in the game has been rekindled - and given a fresh coat of red 561 00:47:27,559 --> 00:47:32,359 paint - with the help of a mod: Brutal Doom. 562 00:47:32,359 --> 00:47:37,059 A fundamental overhaul, with some drastic changes. 563 00:47:37,059 --> 00:47:42,880 The core is unmistakable fast-paced arcade action, but there are more modern elements 564 00:47:42,880 --> 00:47:45,339 grafted on: 565 00:47:45,339 --> 00:47:47,970 a more reactive HUD with bloodstains and bullet-holes; 566 00:47:47,970 --> 00:47:52,430 smoother animations - and more of them; 567 00:47:52,430 --> 00:48:00,030 AI buddies, reloads, new enemy attacks - and more gore than ever. 568 00:48:00,030 --> 00:48:06,710 The transformation might offend some purists, but it is unquestionably exhilarating: a fusion 569 00:48:06,710 --> 00:48:12,270 of elements from modern games with a classic sensibility - and goblet-loads of blood for 570 00:48:12,270 --> 00:48:13,829 good measure. 571 00:48:13,829 --> 00:48:18,960 Perhaps FPS of the future will take heed? 572 00:48:18,960 --> 00:48:27,970 And perhaps the franchise will see a return to glory: for a new Doom waits in the wings. 573 00:48:27,970 --> 00:48:34,589 A decade since Doom 3, and over two since the originals: at the time of writing, A fourth 574 00:48:34,589 --> 00:48:38,180 Doom is mere months away. 575 00:48:38,180 --> 00:48:42,890 One hell of a pair of boots to fill: but the recent success of Wolfenstein: The New Order 576 00:48:42,890 --> 00:48:44,670 might be a good sign. 577 00:48:44,670 --> 00:48:50,030 Can the reboot live up to the name which it dares to bear? 578 00:48:50,030 --> 00:48:54,609 Will its violence fly unflinching in the face of outrage? 579 00:48:54,609 --> 00:49:00,720 Shall it inspire the same thrill the original did back in '93? 580 00:49:00,720 --> 00:49:06,589 Only time will tell. 581 00:49:06,589 --> 00:49:15,140 Every inch the compelling experience: the world was ill prepared for a game like Doom. 582 00:49:15,140 --> 00:49:21,059 An amalgam of pop culture, it borrowed heavily from its era - but paid back the debt with 583 00:49:21,059 --> 00:49:23,150 interest. 584 00:49:23,150 --> 00:49:30,059 From influenced to influential: and an impact that resonates today. 585 00:49:30,059 --> 00:49:37,940 A new genre forged, and gameplay choreography re-rehearsed countless times.Doom's success 586 00:49:37,940 --> 00:49:41,780 invited others to follow in its footsteps. 587 00:49:41,780 --> 00:49:47,869 And why not? It's only natural. 588 00:49:47,869 --> 00:49:54,869 There is magic in Doom's heart: it's primitive, still raw - and the essence of action beats 589 00:49:54,869 --> 00:49:58,559 throughout its chambers. 590 00:49:58,559 --> 00:49:59,430 Two decades later... 591 00:49:59,430 --> 00:50:11,490 and it still kicks arse. 592 00:50:11,490 --> 00:50:15,220 Of course, Id weren't quite done yet. 593 00:50:15,220 --> 00:50:21,510 Doom might be the pinnacle of their contribution to gaming - but their next project would still 594 00:50:21,510 --> 00:50:23,799 manage to shake things up. 595 00:50:23,799 --> 00:50:29,849 Thank you for watching - and until next time - farewell.