The making of Doom , id Software's video game released on December 10, 1993, began in late 1992. Doom raised the bar for realism in video games with its then-advanced 3D graphics—central to its success was the new game engine by John Carmack, whose main advances included texture mapping of all surfaces, variable light levels, and floors at varying altitude. The world in Doom materialized through the artwork of Adrian Carmack, Kevin Cloud and Gregor Punchatz, and the level design of John Romero, Sandy Petersen and Tom Hall.
Doom evolved significantly during its development. Originally planned to feature an intricate plot, its gameplay instead gradually turned to focus on fast action and violence. Conflicts surrounding this development led to the resignation of Tom Hall, who had written the Doom Bible , the game's initial design document.
Early development
Conception
Following the successful release of Wolfenstein 3D in May 1992, most of the id Software team set out to finish the sequel Spear of Destiny . Since this game used the same game engine as Wolfenstein 3D , lead programmer John D. Carmack could use the time to do technology research for the company's next-generation graphics engine. One of Carmack's early experiments was the Shadowcaster engine. With significant effort, choosing to isolate himself from the rest of the team for a long period of time in order to avoid distractions, he implemented various new features, including diminishing light and texture-mapped floors and ceilings and sloping floors. The Shadowcaster engine's "speed was about half that of Wolfenstein, but since this was an adventure game, built on exploration, it seemed appropriate to have a steadier pace.". For Doom, Carmack implemented dynamic diminished lighting and a sector based map system (as opposed by the grid map systems of the Wolfenstein 3D and Shadowcaster engines) with wall angles other than ninety-degrees.
The making of Doom began after the release of Spear of Destiny in September 1992. The initial idea was to make a movie license game based on Aliens , one of the team's favorite science fiction-action films, and some negotiations were made with 20th Century Fox. The plan was eventually ditched in order to get more creative freedom, halting the negotiations. John Carmack instead conceived of the basic theme for the game: demons versus technology. Doom was viewed to be a cross between Aliens and the team's favorite horror B movie, Evil Dead II . The idea to include demons was also inspired by their most recent Dungeons & Dragons campaign, which had ended with demons overrunning the entire planet.
Tom Hall and the Doom Bible
The horror-tech theme was not accepted unanimously. Creative director Tom Hall instead wanted to continue the Commander Keen series with a third trilogy, but the others felt that the cartoon style of the Keen games would not do justice to the new 3D engine. Conceding defeat, he instead set out to create the new game's design document — which he titled the Doom Bible , while the others were programming and creating graphics.
Unlike Wolfenstein 3D , which had essentially been a plotless shooter game, Hall wanted Doom to have an elaborate story. The game was to take place on an alien planet called Tei Tenga, on which the UAAF (United Aerospace Armed Forces) had two military research bases. There would be five player characters with different personalities and abilities: Lorelei Chen, John "Petro" Pietrovich, Dimitri Paramo, Thi Barrett and Buddy Dacote (some of these names would return in Rise of the Triad ); the game would start with the five playing cards, with creatures from hell suddenly bursting in. There would be a total of six episodes, with storylines involving traveling to Hell and back through the gates which the hellspawn used, and the destruction of Tei Tenga, for which the players would be sent to jail.
John Carmack disapproved of the detailed plot, instead conceiving Doom as a simple, action-oriented game, making the remark "Story in a game is like story in a porn movie. It's expected to be there, but it's not that important." This creative conflict, and others agreeing that Hall's levels emphasized realism at the cost of making the gameplay entertaining, finally ended with Hall being forced to resign in mid-1993.
The Doom Bible as such was scrapped, but several of the ideas were kept for the final game. As in the Bible , Doom starts in a military research base and features a trip to Hell and back, although Tei Tenga was replaced with Phobos and Deimos, the moons of Mars (though traces of Tei Tenga can be found throughout the first and second episodes). There is only one player character, an anonymous space marine. Several of the locations, items and monsters mentioned in the Bible appear, with modifications.
Some of the ideas from the Doom Bible , though discarded for Doom , showed up in later games. Instead of employing separate levels, Doom was initially supposed to use a hub system to enable a large, continuous world; in the game, the different areas would be connected by a monorail. Hubs were later used in id Software's Quake II , Doom RPG and Raven Software's Hexen . Monorails also make an appearance in Doom 3 , although not as a Hub system. The game would include interactive computer terminals; this first appeared in Doom 3 . Tom Hall additionally used concepts from the Doom Bible in Rise of the Triad and Terminal Velocity , which he designed after leaving id Software for Apogee and 3D Realms. Also, a laser weapon referred to as "the Unmaker" in the Doom Bible made its only appearance in Doom 64 .
Building the game
Programming
Doom was developed on NeXT workstations, under the NEXTSTEP operating system. The Doom game engine was programmed in C, and the editing tools were written in Objective-C. The engine was first compiled with Intel's C compiler for DOS, but later on Watcom's C/C++ compiler was used.
The bulk of the Doom game engine was programmed by John Carmack. John Romero implemented code to save and load games, interactive features such as flickering lights, doors, raising stairs and crushing ceilings. Dave D. Taylor was hired as a "spackle coder", adding things such as the status bar, sound library integration, the automap, level transitions, cheat codes, and the network chat system. The sound library, DMX, was an external piece of software created by Paul Radek, and not included in the 1997 release of the Doom source code.
The editing tools used to build the game included scripts to generate source code for monsters from definition tables, a tool to link together WAD files from data lumps, the BSP nodes builder by John Carmack, and DoomEd , the Doom level editor. DoomEd' s structure and basic functionality, such as drawing lines and reading sector information, was implemented by Carmack; Romero added texture viewers and dialogs. Among the editing utilities, only the BSP nodes builder has been released to the public.
Levels
The Doom Bible contained detailed descriptions of scenarios that were to appear in the game. Tom Hall studied real military bases to create realistic locations, such as "Recreation and Training Center" and "Supply Depot Two". He built several levels, but as they were constructed and placed in the game, the others found them banal and uninspiring. Hall's levels were mostly flat and square, like Wolfenstein 3D , and decorated with real-life wallpapers, floor tiles and office equipment. To show off the game engine's capabilities, John Romero instead began creating levels that were more abstract. The team settled for Romero's less realistic but more vivid style, which is found throughout the game's first episode, Knee-Deep in the Dead .
Romero only designed the levels for the first episode in Doom , due to being occupied with programming and other tasks. When Tom Hall resigned, an extra level designer was needed in order to complete the game on schedule, and Sandy Petersen was hired about 10 weeks before release. In those 10 weeks, Petersen finished all of episodes two and three, and one level for the first episode — 19 levels in total, of which eight were overhauled versions of levels by Tom Hall. Petersen paid less attention to aesthetics than Romero, but the others thought his levels were as fun to play.
Graphics
Adrian Carmack and Kevin Cloud were the chief artists behind Doom . Additionally, Don Ivan Punchatz was hired to create the package art and logo, and his son Gregor Punchatz created some of the monsters.
A mixed media approach was taken to the artwork. Most of the sprites were drawn by hand, but some of the characters were digitized from sculptures. These were the player character, the Cyberdemon and the Baron of Hell, all done in clay by Adrian Carmack, and the Arch-Vile, the Mancubus, the Spider Mastermind and the Revenant, created in latex and metal by Gregor Punchatz. The sculptures were photographed fr
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