IDDQD IV

[Necuno]

I think D3 was ultimately let down by the technology at the time.

I just hope there are outdoor areas, plus an emphasis on the 'satanic' atmosphere of the original games.

' daars demone in jou huis, op jou kind se rekenaar ! '

Still remembers that from the huisgenoot article om doom 3

 

[Necuno]

Oh there is more...

DOOM: Bethesda E3 Showcase Gameplay Reveal

[video=youtube_share;QiinO9JPUGw]http://youtu.be/QiinO9JPUGw[/video]

 

[Agent_Smith]

Oh there is more...

DOOM: Bethesda E3 Showcase Gameplay Reveal

[video=youtube_share;QiinO9JPUGw]http://youtu.be/QiinO9JPUGw[/video]

OMG! I am nursing a semi! I love those melee kills!

One aspect I miss (which I doubt they'll bring back) is the ability to get monsters fighting amongst themselves. It was so cool to run into a room, pop a shot off and then bolt back out to listen to the ensuing mayhem unfold!

Damn, I can't wait for this.

 

[Ancalagon]

Now there is a reason to upgrade my PC.

 

[Bar0n]

We will see.

Carmack is no longer at the helm, although with that in mind Rage was pretty disappointing.

Carmack was always the tech guy, not design nor storytelling.

 

[.QQ.]

Carmack was always the tech guy, not design nor storytelling.

Not true.

After Romero left, Carmack decided the direction and setting for all of id's games. He was after-all, the dungeon master in their dnd game from the start.

Edit: That being said I saw the E3 trailers for Doom4 and it looks very promising, it seems to stay true to the original spirit of the game, despite none of the original team being at id anymore. I just hope the consoles don't hold it back too much.

 

[Bar0n]

Not true.

After Romero left, Carmack decided the direction and setting for all of id's games. He was after-all, the dungeon master in their dnd game from the start.

Edit: That being said I saw the E3 trailers for Doom4 and it looks very promising, it seems to stay true to the original spirit of the game, despite none of the original team being at id anymore. I just hope the consoles don't hold it back too much.

"Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important." - John Carmack

 

[Progenix Oj101]

I don't know hey :erm:

 

[prod]

Now there is a reason to upgrade my PC.

agreed! finally! My PC is so old even CS:GO runs low FPS =(

edit: when is the release?

 

[.QQ.]

"Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important." - John Carmack

Yeah cause Doom has such deep and complex storyline :erm:

 

[Ancalagon]

Wonder how my current PC would run it...

Also wonder what new hardware will be available by the time this lands. New Intel CPUs certainly, and AMD have just announced their new graphics cards.

 

[Bar0n]

Yeah cause Doom has such deep and complex storyline :erm:

John Carmack doesn't care for storyline or design. He only wants to do tech. Why leave his baby, id Software, for Oculus VR otherwise?

 

[.QQ.]

John Carmack doesn't care for storyline or design. He only wants to do tech. Why leave his baby, id Software, for Oculus VR otherwise?

That doesn't change the fact that he was direct control over the design and concepts of id's games after Romero left. Read masters of doom, it will give you a better understanding of how things worked at id.

 

[Bar0n]

That doesn't change the fact that he was direct control over the design and concepts of id's games after Romero left. Read masters of doom, it will give you a better understanding of how things worked at id.

I've read it three times and listened to the audiobook. There were plenty of people in charge of design and concepts (the names American McGee, Tom Hall, Adrian Carmack, John Romero springs to mind). Carmack cared only for the technical aspects and the game engines.

 

[.QQ.]

I've read it three times and listened to the audiobook.

Clearly :erm:

 

[Bar0n]

Clearly :erm:

Edited my post.

 

[Bar0n]

From Masters of Doom, some proof that Carmack was never interested in storylines, and left the game design to other people.

Since you quoted this source, you're welcome to give me any page numbers stating that Carmack was actively involved in the story design or level design of any id game, before or after Romero's departure.

I'll say it again, Carmack cares only for the technology behind games.

Working on the ports had helped Carmack and Romero realize how they could best work together given their strengths and weaknesses. Carmack was most interested in programming the guts of the game–what was called the engine. (p. 35)

While Carmack was exceptionally talented in programming, Romero was multitalented in art, sound, and design. (p. 35)

Carmack would bang away at his code for the graphics engine while Romero developed the programming tools to create the actual characters and sections of the game. As Carmack engineered breakthrough code, Romero designed gripping game play. (p. 40)

They already had the ideal team: Carmack, the graphics guru and resident Whiz Kid; Romero, the multitalented programmer and company cheerleader; Adrian, the artist and dark visionary; and Tom, game designer and comic book surrealist. (p. 47)

Carmack and Romero were happy to leave Tom to the creative work; they were too busy programming. Carmack was refining his engine... (p. 54)

Romero pushed Carmack to be a better programmer. Carmack pushed Romero to be a better designer. (p. 57)

Carmack immersed himself in programming what he wanted to be the next generation of his graphics engine, The first engine had enabled the primary breakthrough of side-scrolling action; now he wanted to create more elaborate and immersive effects. (p. 64)

While the other guys were pushing their envelopes, Carmack was pushing his own, specifically, into 3-D. Because he was a craftsman engineer, 3-D was
the obvious next step for him. (p. 65)

Romero and Carmack were now in a perfect groove, with Carmack improving the new Keen engine–the code that made the graphics–while Romero worked on the editor and tools–the software used to create the game elements.(p. 73)

Carmack was the technology leader, coming up with the latest engines with which they could construct a game. Tom, as creative director, was in charge of spearheading the game stuff that would go around Carmack’s technology. Romero fit nicely between the two, able to help Carmack with tools and at the same time goof around with Tom on creative ideas. (p. 76)

And Carmack was growing to appreciate Romero’s talent for taking his technology into a new world, a place he himself would never have conceived. (p. 77)

Carmack and Romero perfectly embodied the two extremes. While Carmack tweaked his code, Romero experimented with the graphics and new ways to exploit the tools. (p. 80)

Carmack didn’t so much care about the accoutrements of the game as he enjoyed Romero’s passion for showing off what his engine could do. (p. 80)

Making a game, writing code, for Carmack, was increasingly becoming an exercise in elegance: how to write something that achieved the desired effect in the cleanest way possible. (p. 90)

As their success grew, Carmack’s and Romero’s personalities came into even sharper contrast. Carmack sank deeper into his technology; Romero, deeper into game play. (p. 97)

Science fiction, however, wasn’t inspiring Carmack’s progress; it was just his science. Technology was improving. So were his skills. (p. 97)

Because Spear of Destiny was built using the original Wolfenstein engine, Carmack could work on new technology while the rest of the guys completed the game. (p. 98)

Though Romero was somewhat supportive at first, Carmack had other ideas. “Story in a game,” he said, “is like a story in a porn movie; it’s expected to be there, but it’s not that important.” Tom gnashed his teeth. Furthermore, Carmack added, the technology was going to be different this time around. (p. 105)

When Kevin suggested that the company buy the insurance for everyone else as well, Jay replied, “Everyone else is expendable.” Because of his technological innovations, Carmack remained the resident Dungeon Master, the guy in charge, the one holding the rule book. (p. 106)

Romero immediately saw the potential in Carmacks technology, potential that Carmack was, by his own admission, not capable of envisioning himself. (p. 107)

“Every id game proceeded just like this before!” he said. “Carmack makes a revolutionary engine, then we put a revolutionary game design on top of it. Let’s just get the engine done, then we can make this really cool game idea that no one’s seen before. (p. 167)

=== Romero leaves id ===

Carmacks technology had long been the heart of id–with Romero out of the way, it was completely unfettered. (p. 181)

More and more, Carmack wanted to grab his laptop and disappear into a hotel room, in some strange state. All he wanted to do was code. That was all he had ever wanted. (p. 196)

With Romero gone, Carmack’s life could aspire to the elegance of his code: simple, efficient, lean. This was how he would lead his company. (p. 196)

The tension between Tim, American, and the other level designers had reached a boiling point. Adrian and Kevin were battling with Paul Steed. They disliked each other too strongly to work closely together on the mission pack, Carmack realized. The solution: build the next game around the company’s animosity. Quake III would be a deathmatch-only title, using most of his ideas for the Trinity engine, that would allow the map designers to work in complete isolation from each other. (p. 203)

Paul agreed, lobbying to do a title that had more of a story, more characters, more freshness. He drafted a long design document detailing a story for the game. Carmack shot it down, saying that story was not important. (p. 203)

The old battles that Carmack had endured with Romero had been supplanted by the rest of the team. Inspired, by Half-Life, everyone, it seemed, wanted a more ambitious design. But no matter what they came up with, Carmack shot it down. (p. 218)

It was a criticism that was starting to bubble up in the community as well: id was rehashing the same game over and over without any consideration for story and design. But Adrian resigned himself to go along. What was he going to do, he thought, fire John Carmack? (p. 218)

Carmack grew increasingly frustrated. Here he was, creating the most powerful graphics engine the company had ever seen, and no one on his staff seemed to be taking advantage of the opportunities. No one was pushing the technology, pushing the design, pushing him. (p. 218)