It has to be. The PC ending was just text. All they had to do was type it in.

I like the PlayStation version's soundtrack and sound effects the best.

Also, colored lighting!

Haha. 'Models'. Maybe today is the day that Void_71 will learn what a sprite is.

Technically, half the monsters in Doom and Doom 2 are digitized clay models.

and they at least had side views in the PC version.

Also: C:\DOOM

Hey, it was limited video RAM they were working with, they had to cut corners somewhere. With monsters' basic tactic being "run towards and scream" it doesn't make much of a difference.

Wow, I never knew about the clay models. They even digitized the guns using toy guns bought from Toys R Us.

The final products in the game *were* sprites, though, not any sort of wire models, right? It seems like it would've been easier for them to create the sprites with a graphics program than to do what they did.

I remember seeing footage of them digitizing the clay models. Doom is what Carmack called, "2.5D". It's not proper 3D like post-Quake utilizing polygons and 3D meshes (at least for objects/monsters), but some weird hybrid of faking a 3D environment with 2D techniques.

...so in all my time working on both sprite and polygonal game art assets, I never understood the clay model aspect of the monster graphics either. Unless it was a load of bullshit to make people think there was something more complicated going on. Maybe originally they thought of a cool technique, spent the cash on the digitizer and found it could only be used for the weapons?

Well...shit...now I really want to know.

From what I remember, the only models that Adrian Carmack created for the original Doom were the Baron of Hell and the Cyberdemon. The other monsters were hand drawn.

For Doom 2, I think they outsourced all of the modeling to the son of the guy who did the box art. He posted pictures of the Mancubis model to some Doom site a while back. I seem to remember him mentioning that he did stuff for Hollywood movies, Robocop in particular.

Digitization takes the guesswork out of perspective drawing, so I could see why Carmack would want to do it that way. Having a model to pose would also make animation easier. In the context of 1992, I could see how an artist who learned his craft using physical media would be more comfortable working that way.