![]() But when Taylor met id’s charismatic designer and coder John Romero, he was shown their next project, whose name was partly inspired by a line from the movie Color of Money. Its most recent title, Wolfenstein 3D, was an edgy Nazi shooter with fast-paced action and rudimentary polygonal environments. ![]() ![]() This was Doom.īy the time Taylor joined the company that day, fresh from his electrical engineering degree, id had already hammered out a dozen small-scale games for the digital magazine publisher Softdisk and the shareware pioneer Apogee. But it was here that a team of five coders, artists and designers were working on arguably the most influential action video game ever made. The carpets, he discovered, were stained with spilled soda, the ceiling tiles yellowed by water leaks from above. Taylor’s new workplace was on the sixth floor in office 615. Game designer Sandy Petersen called it the Devil’s Rubik’s Cube. The building had a jet black glass exterior and sat utterly incongruent amid acres of car parks, single-storey industrial units and strip malls. ![]() In late August 1993, a young programmer named Dave Taylor walked into an office block on the Lyndon B Johnson freeway in Mesquite, Texas, to start a new job. ![]()
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