“Downtown” is a prime example of the way DOOM II differs from its predecessor. Its networks of hidden passages, demon-filled corridors, and well-concealed keycards may echo superficial elements from the first DOOM, but the core of its design is a marked departure from what came before. The 13th level in DOOM II is called “Downtown.” It’s big, set in a bizarre facsimile of an urban centre where the streets are rendered in lumpy, oatmeal-textured stonework, red brick-work apartment facades are entered through pneumatic metal doors, and the skyline is filled with blazing fires peeking out behind a haze of apocalyptic smog. “Downtown” is, in many ways, the quintessential level of id Software’s 1994 sequel. The full book, which features work from 15 writers, hand-drawn illustrations, and a foreword by Clint Hocking, is available here.
This is an exclusive, original essay from the editors of SHOOTER, a collection of critical essays about games with guns.
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