It replaced the dark hellishness of distant Mars with an equally frightening, not-so-distant downtown Los Angeles. The game’s real character derives more from the foreboding atmosphere, the soundtrack’s pumping metal licks, the more muted moody music, and the general break-neck pace of the gun-toting action.Īcting more than mere distractions would, the amble interactivity gives players a sense of immersion that was unparalleled at the time of its release.ĭuke Nukem 3D changed all of that in 1996, upping the ante considerably. DOOM had players ripping around corridor mazes of a Martian space base in a descent down to the depths of Hell as a nameless, generic marine known simply by fans as “DOOMguy.”ĭOOM designer John Romero explained years later, “There was never a name for the DOOM marine because it’s supposed to be you ” ( link ). “ DOOM clones,” as they were then called, had flooded the market after former business partner id Software’s 1993 cultural juggernaut took the computer gaming world by force. Scott Miller, founder of Apogee Software, doing business as 3D Realms, stated that the mission of Duke Nukem 3D was to break the cookie-cutter mold of first-person shooters.
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