The stuff, in fact, that Brutal Doom is all about. Shoot the enemy and he just melts,” he tells me.
“To me, when I hear Doom, what comes to my mind is the melting demon stuff. The aim was to finally finish the game by bringing Doom back to its roots, and for animation director Shinichiro Hara, that was all about one thing. The origin of glory kills lies in an animatic, a visual prototype which was made by id’s animation team during the great overhaul of the Doom project some three years ago. It’s a feature, after all, that was intended to capture something special about the original Doom that had little to do with movement, but it turned out to trigger all kinds of secondary effects. You’re the Doom Marine: you move like the wind and your shots are unbroken by the need to reload.Īt the heart of how Doom creates this response in players is a single feature which, paradoxically, is all about pausing your interaction with the game, pressing you so close to the enemy that they often fill the screen. It’s a game of aggression and constant movement. ĭoom, the new one, has one heck of a sense of forward momentum.
This is The Mechanic, where Alex Wiltshire invites developers to discuss the inner workings of their games.
