Rich is a games journalist with 15 years' experience, beginning his career on Edge magazine before working for a wide range of outlets, including Ars Technica, Eurogamer, GamesRadar+, Gamespot, the Guardian, IGN, the New Statesman, Polygon, and Vice. He was the editor of Kotaku UK, the UK arm of Kotaku, for three years before joining PC Gamer.
John Romero could be ordained as Pope, and people would still come up at mass and ask him about the early days of id Software and Doom. One of the key figures in early FPS history and by far the most infamous and outspoken, Romero's brand of hirsute grungy swagger worked for a very simple reason: the games he designed and promoted were brilliant .about being known for Doom over three decades.
Romero claims the team began work on Wolfenstein 3D that very night, but the principles id had followed in representing 3D space in its earlier titles would stand them in good stead. What set id's games apart"was our speed—the speed of the game was critical to us having that massive differentiation. Everyone else was trying to do a world that was proper 3D—six degrees of freedom or representation that was really detailed.
As for organising the project… well, John had his computer, and the other John had his computer."The files that I'm going to work on, doesn't touch, and I don't touch his files," recalls Romero of programming alongside John Carmack."I only put the files on my transfer floppy disk that he needs, and it's OK for him to copy everything off of there and overwrite what he has because it's only my files, and vice versa.
Where Wolfenstein 3D was going was huge success, with its new style of fast and brutal FPS combat something players simply hadn't seen before. Much of what id learned would be repurposed and refined for Doom, but the scale of Wolfenstein's popularity gave the studio other lessons, and one in particular that would prove crucial to Doom's longevity.
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