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DIY Gaming
last chapter in a discussion of DOOM's direct descendent Quake, the open system methodology DOOM introduced and Quake embraced had a tremendous impact on both the design and culture of games to follow. The link we're making between punk rock and DOOM is not an aesthetic one; DOOM's horror-movie pulp kitsch is quite different than punk's noisy anti-aesthetic style. Instead, the similarity between the two is an aggressive embrace of a do-it-yourself (or "DIY") mentality. In punk, DIY was manifest in a belief that control of the tools of production could be wrested from the dominant culture and used to create an alternate version of reality. Playing in a punk band meant picking up a guitar and making noise; making a 'zine simply required access to scissors, ink, and a photocopy machine. Years later this spirit was carried forward into the design of DOOM,where the DIY attitude was embodied in the way players were given access to the game's development tools. DOOM shared punk's desire to remove distinctions between player and producer, between historically rigid categories drawn along participatory lines. Thus, the "free play" of DOOM's source code, still undergoing manipulation by players today (more than ten years after its release), made a breach in long-held assumptions about how one could, and should, interact with a game. Additionally, the hacker culture and open source methodologies embraced by DOOM find a close parallel in punk's willful annihilation of economic and social hierarchies. Encouraging amateur programmers to come up with their own spin on the ground-breaking first-person shooter had the dual effect of dramatically increasing DOOM's longevity (people played play-er-designed levels long after they had tired of the original set) and dramatically increasing sales (people had a reason to buy the game long after it would otherwise have been considered unthinkably ancient).[2] A strong DIY mentality has, in one form or another, been an important part of digital gaming's development ever since. [1]Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Cambridge: Harvard University Press, 1989), p. 3.
[2]"Brave New Worlds: A Special Issue on Video Games, " Feed Magazine.
