A big part of game animation, as opposed to film, is actually making that animation work in-game in real-time. Modding really gave me a strong grasp on that side. Since I have a good amount of experience with different productions and techniques, I do a lot of rigging for things like weapons and props and occasionally simple characters. However, we are a small animation team and we all do a lot more than just animate. So what does an animator on a AAA video game like DOOM do?īrett: It mostly involves animating characters and the first-person player.
ORIGINAL DOOM ARTWORK SOFTWARE
When id Software was looking for animators back in 2008, I thought applying was a no-brainer since I considered it to be one of the top places to work in the industry. I spent a year modding different first person shooters for fun and enjoyed it so much that I decided to start applying for game animator positions in the industry. I really enjoyed film and VFX production but I’ve been a gamer pretty much my whole life and knew that at some point I’d want to get into the games industry.
ORIGINAL DOOM ARTWORK HOW TO
Back then there weren’t a lot of options for how to become a CG animator, so I just learned as much as I could in school, received a BFA in design, and then focused on animation once I got my foot in the door.īrett: Eventually, I got onto some CG films as an animator working for Sony Imageworks, Rhythm & Hues, and DNA Productions on films like Open Season, Surf’s Up, and Jimmy Neutron. I had a design background from school and while I do enjoy visual, motion, and graphic design, my passion was really in character and CG animation. We did lots of commercial and film work there ranging from things like Armageddon and Sin City to HBO and NBC bumpers and promos. Rip and tear, Doomguy!Ī discussion with Principal Animator BRETT PATON of id Software.Ĭould you give us a little background on yourself and how you came to be at id Software?īrett: I started in visual effects and animation at Café FX (then Computer Café) back in 1998 as a 3D generalist. It’s precisely what a good end title sequence should do: bookend the experience in an entertaining way while celebrating the people who made it all possible. It’s rare for game developers to get their due in anything but a lengthy end crawl (title sequences remain a rarity in video games), but here each department is given their due with a thematically appropriate tableau a terrifying hellscape for the environment artists, a map room for the mission designers, an arrayed arsenal for the weapon modelers, and so on.
A four-minute reprise of the player’s gib-filled journey, the title sequence is a hard rockin’, shotgun-blasting, demon-dismembering battle across Mars and into Hell itself. It’s all refreshingly retro, an ultraviolent power fantasy with a dash of Verhoevian satire for good measure.ĭOOM’s end credits are the perfect coda for that kind of gameplay experience. According to Creative Director Hugo Martin, DOOM will have players feeling like “Bruce Lee with a shotgun on a skateboard” – an apt description that must be played to be believed. Demonic forces have overrun the red planet and it’s up to a lone space marine to stop them in id Software’s bloody, brilliant reimagining of DOOM – the granddaddy of the modern first-person shooter.Ĭhannelling the heavy metal album covers and pulpy sci-fi that inspired the original game, 2016’s DOOM is finely tuned to capture the essence of what made those earlier games such a blast to play. An evil corporation has tapped the unlimited powers of the underworld with predictable results.
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