Viktor Timofeev hat einen sehr langen, ausführlichen und superinteressanten Essay auf dem Architekturblog The Funambulist über das Gamedesign von Doom, das er mit der Doomsday Engine nochmal durchgezockt und unter architektonischen Gesichtspunkten analysiert hat. Ganz, ganz großartig!
The 1993 technology running Doom strove to imitate physical reality to the best of its ability. Due to its extremely limiting parameters however, it instead created a hybrid third reality, a cybernetic space that confronts the physics of real with the invented. While this binary is generally true of most cyber-space, no game had done this to such an extent before Doom – gravity coexisting with the absence of real-time shadows and texture-mapped three-dimensional projections peppered with two-dimensional sprites. Because its operative mechanisms are so easily exposed (texture-stitches, sprites), players immediately deal with the fallacy of the experience, and so are able to be transported into the game-world quickly, adopting its hybrid logic.
Also, since a lot of the Doom narrative takes place in or around Hell, it is liberated from imitating our constructed reality and gives the id team complete freedom to conceive the architecture of Hell as they see fit, synthesizing gravity-defying utopianism, sci-fi, techno-fetishism and fantasy, all within the parameters of the highly reductive graphics engine.