![]() ![]() ![]() This allowed Romero a great deal of autonomy and, to a degree, authorship of levels. Because DOOM’s levels were made with most of the assets already present, one person could make a level by himself. Now one element that might have popped out is the specific mention of Romero as the designer of E1M1 while also being the programmer. ![]() As technology moved forward the plethora of options that came with it seemed to have steered titles in a simpler direction. Other modern techniques that allow for newer, more interesting types of geometry or combat options – such as walking on the ceiling in Prey from 2006, flying in 2010’s DarkVoid or grappling from Sekiro – are contextualized, ignored or relegated to gimmicks, instead of being a key part of the game’s design. Elevation is generally avoided or nothing more than a cliff to jump on. With rare exceptions, most action titles offer big open spaces with the occasional hallway. While these elements aren’t as impressive now as they were in 1993, the mentality is, especially for Action games. Starting off in a U-shaped area with a staircase, leading to a hallway with a zigzag pattern surrounded by acid, all while being able to look outside to a seemingly unreachable place that teases you with an armour powerup. Episode 1, Mission 1: Hangar, by John Romero, is the most famous example of this. These elements are what make DOOM’s levels stand out and even exceed many that are created today in more modern games. ![]()
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