The mov-only DOOM renders approximately one frame every 7 hours, so playing this version requires somewhat increased patience.







Man that reminds me I bought Noom and I really need to play it


With the recently released tools by GEC, I have ported the famed and iconic NUTS.WAD to the PlayStation port of Doom so that it may grace a whole new console generation. However, I also had to make a number of technical changes in order to accommodate the PlayStation’s hardware limitations, hence the abundance of Revenants and Nightmare Cyberdemons. The music and colored lighting weren’t technical necessities, though. I just like them.

GEC PlayStation tools:

The original NUTS.WAD:

If for some reason you want to play this map port, here’s the PlayStation BIN/CUE, but to be honest, this video shows everything there is to see: (only works in ePSXe)


The Blade of Grendel

Far above the ground and beyond the wispy clouds roaming the skies is the home of the giants, characters born from legends and portrayed in the twinkling of the stars. Their lives mapped out for all to see and sing about, as their followers rejoice in their benevolence.

It was a cold winter night and a storm was brewing over the coastline. The clouds were swirling and churning into a large dark mass while the occasional lightning strike was torching the driftwood on the beaches. As the winds grew stronger and the howling peaked, the sound of crashing metal and roaring giants could be heard in the distance.

As the storm picked up speed and moved inland, the lightning grew with vigor and intensity as a trail of destruction was being left in its wake. People were running scared from their homes as the lightning flashed with such strength that the night sky momentarily became day.

The swirling storm clouds bulged and burst in the middle, revealing a tunnel up to the stars above. With one gigantic flash of lightning, an enormous blade of metal with glowing hot mystical runes tore through the eye of the storm. The blade pierced the ground and ruptured the molten lava below as burning boulders were thrown far and wide.

The zealots believing this was a sign from the stars, commanded that the blade was a holy site worthy of a temple to be built for the giants. People came from far and wide to appease the star giant Grendel with this architectural folly and try to gain his favour.

At the base of the temple was a lake of bubbling lava, burning the tip of the blade causing the runes to glow brightly. Small fragments of the blade had fallen into the lava and for some reason would not melt. When anyone got close to the metal shards, they would glow with a faint blue light and were consumed with madness and rage.

The great craftsman and ancient map maker Matthias Quad found a way to shape the blade fragments into weapons that could be used to unleash the power of the blade. The surrounding six cites of the temple decided that these weapons could not be kept together or controlled by one city and it was decided to split up the weapons to secure peace.

Over the years the cities bickered and fought for control of the weapons and each assumed they were the true followers of the giant. The temple priests had other plans and turned the site into an impregnable fortress instead. They declared they were waiting for the rightful one to return with all the fragments and unite the blade, revealing its true purpose!

The Bringer of Quads

Six Quads to find them all,
Six Quads to break them,
Six Quads to blind them all,
and with blue light take them!


been enjoying this for the past few days


This would rule over one of the fancy PrBoom engines with particle effects and lighting and all that nonsense


Yeah this is real good, done many a blast fest with it.





It’s plain to see Carmack’s design goals were to create complex programming that required the most cutting-edge technology on the market to run—but “cutting edge” technology meant something very different in 1993 than it does today. id’s staff at the time still included men like Tom Hall, John Romero, and Sandy Petersen—all of them avid lovers of tabletop “role-playing” games, Petersen himself having come to id with an already impressive resume in writing several games, including the original rulebook for Call of Cthulhu. DOOM‘s code had to run as simple as possible, which made it easy to reverse-engineer its code and create level editing tools that also had to run as simple as possible, which made it easy for anyone who played DOOM who wanted to make more stuff like it for herself to play to do so, if she had the desire to try; and through their shared interest in tabletop wargaming the entire staff of id Software at the time were avid participants in a scene that encouraged every player to reconfigure the games she liked with specific house rules, modified playstyles, and custom modules, only some of which were officially licensed releases from the original source publisher.

Petersen, in particular, built his spaces with an eye inflected by his decades of hand-drawing maps on which to play Dungeons & Dragons: Petersen’s maps, beginning with his collaboration with Tom Hall on DOOM’s E1M8 level, are expansive, trap-infested, but simply adorned spaces. Their textures are applied with no interest in harmony and every interest in provoking a sense of Lovecraftian catastrophe as the player struggles to play the odds in such a way that she can crawl from one deathtrap to another with her health intact. More players are familiar with John Romero’s empowerment-fantasy approach to DOOM level architecture and its flattery of a player’s capacity for reflex and pattern recognition, concentrated as his contributions are in the shareware release, but even limiting the number of spaces the player encounters with his name on them only to those levels whose spaces were constructed and whose actors were placed within it by Petersen alone, the definitive architectural fingerprint on DOOM as a full game is Petersen’s—a spatial sensibility that is easy to recognize, simple to learn, and difficult to master, and built to express its architect’s certainty that a good game is one that inspires its player to make more games like it, not merely refine her skills at playing ones she already has.

This is the scaffolding—not the engine—that id erected around the carnie splatterhouse that comprises the principal draw of DOOM, to this day. This is the nature of the catastrophe facing id Software, still the trademark-holders of DOOM‘s brand: legally, they own the rights to the name, and to anything sold officially using that name, but the nature of the original DOOM‘s production is such that its source code is legally available to any player curious enough to go looking for it, where she’ll find alongside it a variety of editors, equally accessible, available to encourage her to make more games like it, in turn. It’s so easy to do that the modding community this inspired has not stopped making more DOOM since those first editors were released—unofficially, but legally—on CompuServe in 1994. Anyone who wants to play more DOOM games can visit websites like the /idgames archive or the Doomworld and ZDoom messageboard forums and have instant access to more DOOM games than a single human being is capable of playing in her lifetime—for free. Only id Software or those willing to pay it for the licensed privilege+ can legally use the DOOM brand name to make a profit. But calling the company that made DOOM in 1993 and the company that made DOOM in 2016 both “id Software” confers a continuity of material origin that isn’t meaningfully there.


It’s secret No. 4 on Map 15 (Industrial Zone). Now, the area in question has been known, seen and accessed by other means (usually a noclip cheat code). Getting to it without a cheat appears to be deliberately impossible, according to Doom co-creator John Romero.

What this means is, Zero Master is the first player to get 100 percent secrets discovered on level 15, using the game as it was originally coded. (Later ports ended up fixing this “bug,” but the original MS-DOS version does not). As user mcc111 put it on r/speedrun, it also means that Zero Master “has the first legit Doom 2 100% save file on earth, after 24 years.”


This post right after the last one really says everything doesn’t it



Ooh, Smooth DooM is pretty tasteful


that beloved instrument, the dithery-doom