Pseudo-3D in Games: 5 Facts About 2.5D in Doom

Contents:

• The First Voxel Shooter: The History of Maze War
• The Origins of Pseudo-3D Games
• How Planes Are Displayed in Wolfenstein 3D
• Creating 3D Illusions with Sprites
• Finding Innovative Solutions in the Gaming Industry
• Introduction to BSP and Its Role in Carmack's Technologies
• The Illusion of 3D Space in Doom: Technology and Innovation
• Build Engine: Innovations in the World Video Games
• The Evolution of Classic Game Engines
• The Relevance of Pseudo-3D in Modern Game Design

The First Voxel Shooter: The History of Maze War

In 1973, a group of students from the research center Ames, a division of NASA, developed a unique game prototype called Maze, also known as Maze War. Considered one of the first first-person shooters, Maze War was developed for the Imlac PDS-1 graphics system. Maze War not only laid the foundation for future shooters but also became a significant milestone in video game history, opening new horizons in interactive experiences and graphic design.

Maze War employed innovative methods to create a three-dimensional illusion in gameplay. Players navigated a maze represented as a simple cubic grid and engaged in battles with opponents, who were displayed as symbols with unique identifiers. Defeating opponents earned points, adding a competitive element to the game. The maze concept was developed by Steve Colley, who worked on a 3D object visualization application for the Imlac platform. Maze War was one of the first examples of the use of 3D graphics in video games, which had a significant impact on the further development of the gaming industry.

The secret of Maze War's three-dimensionality was its use of vector graphics, which set it apart from other minicomputers of its time. The maze was flat and consisted exclusively of cubes, and the player's movement was carried out in straight lines. The image was updated only once per turn, which gave the game a certain abstraction. Nevertheless, Maze War was the first action game to support multiplayer and simulate 3D space. This unique combination of graphics and gameplay made it an important milestone in the history of video games, opening new horizons for further developments in the genre.

The ideas behind Maze War had a significant influence on the development of video games. In 1974, the simulator Spasim used a similar vector graphics method, which was an important step in the evolution of gaming technology. In 1980, the game Battlezone, inspired by the concepts of Maze War, achieved immense popularity and became a catalyst for the creation of many arcade games. The use of vector graphics and innovative game mechanics in these projects opened new horizons for developers, setting the direction for future games.

The Origins of Pseudo-3D Games

In 1987, Xanth Software released MIDI Maze, a shooter that was the first of its kind thanks to its use of a pseudo-3D perspective. The minimalist game invited players to shoot between smiley faces surrounded by simple, monochrome walls under a bluish sky. This project was a real breakthrough for its time, especially thanks to the network mode, which allowed up to 16 players to play simultaneously. The concept of MIDI Maze was ahead of its time and paved the way for future shooters, such as Doom, setting new standards in the gaming industry.

The graphics for MIDI Maze were created by Michael Park, known for his tech demos for the Atari ST. The game gained popularity thanks to the release of ports called Faceball 2000, which significantly expanded its audience. MIDI Maze remains an important part of video game history thanks to its unique gameplay and visual style, which was highly praised by players and critics.

The pseudo-3D in MIDI Maze was achieved using raycasting, a rendering technique for visualizing planes. This approach made it possible to create complex scenes with varying distances between walls and the character, significantly improving the perception of the game space and immersion. Raycasting became an important element in game development at the time, providing the effect of depth and realism in 2D games.

• The level is represented as a static 2D grid;
• Rays are cast from the player's position, rendering the contents of the scene;
• The height of the walls is calculated by dividing the scale factor by the distance from the player to the wall.

The raycasting method became popular among users of weaker systems due to its ability to provide graphics rendering on PCs with limited resources. Although MIDI Maze offered faster movement than Maze War, its optimization was not perfect and required further refinement. Raycasting continues to find use in modern games, enabling the creation of visually appealing worlds even on low-end devices.

The problem of developing fast-paced first-person shooters was solved by John Carmack, who worked at id Software. He realized that existing technologies did not provide the necessary performance for creating such games. Researching available resources, Carmack used an analogy with Commander Keen, which allowed him to identify optimal solutions for improving game performance. His approach became the basis for revolutionary changes in the first-person shooter genre, opening new horizons in game design and development.

To speed up the rendering process, the developers limited the player's field of view, displaying only visible surfaces. This approach significantly reduced the cost of drawing. Instead of using large graphics blocks, the concept of vertical stripes was implemented, ensuring faster graphics processing. This optimization method not only improved performance but also increased the overall efficiency of working with graphics resources, an important aspect in game development.

Carmack used sprites to integrate characters into 3D worlds, significantly simplifying visualization and improving player interaction with the environment. These innovations led to the release of Hovertank 3D by id Software in April 1991. Despite its name, the game continued to use raycasting, ensuring a high level of detail and dynamism in gameplay. Carmack's innovative approaches laid the foundation for the further development of 3D graphics in video games, having a significant impact on the industry.

The next stage of technological development in the gaming industry was introduced in Catacomb 3-D: The Descent, where id Software first implemented texture mapping. This innovation significantly improved the game's visuals and made it more engaging for players. Texture mapping technology was borrowed from Paul Neurath, the creator of Ultima Underworld, in which textures significantly increased the level of immersion in the game world. This approach became the basis for the further development of graphics in video games, opening up new horizons for designers and developers.

Although Catacomb 3-D appeared on the market earlier, Ultima Underworld attracted more attention due to the reputation of the Origin publisher. Both games were important milestones in the development of pseudo-3D graphics, demonstrating its significant potential. However, it was Wolfenstein 3D that became the game that fully revealed the possibilities of this graphical style, setting new standards for the shooter genre.

How planes are rendered in Wolfenstein 3D

Let's consider the first-person rendering engine used in the famous game Wolfenstein 3D. This approach is based on the principles outlined in the book ‘Game Engine Black Book Wolfenstein 3D’ by Fabien Sanglars. Wolfenstein 3D utilizes a unique rendering technique that creates three-dimensional spaces from two-dimensional maps. This is achieved through projection, where each pixel on the screen corresponds to a specific point in the game world.

The rendering system in Wolfenstein 3D utilizes algorithms that efficiently process textures and objects to ensure smooth movement and realistic visuals. It is also important to note that the game utilizes specific methods to optimize performance, allowing for a rich gaming experience even on the limited hardware of the time.

Studying these technologies not only helps us understand how classic games were created but also opens new horizons for the development of modern game engines. Wolfenstein 3D remains an important example illustrating the evolution of gaming technologies and rendering approaches.

Wolfenstein 3D pioneered the use of raycasting technology, which significantly changed the graphical approach in video games of its time. This game laid the foundation for the further development of 3D graphics and influenced the creation of many other games, setting new standards in visual perception. Raycasting used in Wolfenstein 3D allowed developers to create more realistic and dynamic game worlds, which in turn led to the evolution of the first-person shooter genre. Wolfenstein 3D's impact on the video game industry cannot be overstated, as it opened up new horizons for creativity and innovation in game design.

The in-game rendering process begins with clearing the framebuffer, which causes the floor and ceiling to appear on-screen in a single color. This initial stage prepares the scene for further rendering, ensuring a clean and crisp image. After clearing the framebuffer, all objects and textures are drawn, creating a fully functional game environment. Proper management of the rendering process is critical to achieving high performance and high-quality graphics in video games.

When a directional ray emanating from the player collides with the nearest wall, columns are drawn. The height of these columns is inversely proportional to the distance to the object: the farther the object, the lower the corresponding column will be. This creates the effect of depth and realism in the visualization of the game space.

During game development, sprites are drawn, including enemies, lamps, barrels, and the protagonist's weapons. This drawing is a key stage that determines the visual perception of the game world. Sprites help create atmosphere and interactions between characters and objects, which significantly impacts gameplay. Proper sprite design makes the game more appealing and engaging for players.

The final step in the process is switching frame buffers, where the new buffer is activated during the next vertical sync. This step is critical to ensuring smooth image rendering and optimizing graphics system performance. Proper frame buffer management minimizes lag and artifacts, improving the overall user experience.

To efficiently and accurately handle collisions in the game, the map is divided into an 8x8x8 grid of cells. Raycasting, the process of collision detection, begins the moment a ray intersects the edges of one of the cells. This technique allows us to significantly speed up calculations and improve the accuracy of object interactions in the game space.

This approach effectively reduced the number of coordinates required to determine ray collisions with walls, which contributed to the creation of minimalist level designs. Maps consisted primarily of rectangular rooms and labyrinths, ensuring fast and accurate visualization of game spaces. This design style not only simplified implementation but also improved performance, which is especially important for creating dynamic and engaging gameplay.

Doors in Wolfenstein 3D, despite their ability to open and close, were treated as standard planes. During raycasting, door planes were assigned a value corresponding to the distance the ray traveled. This solution allowed the ray to pass unimpeded through open doors, significantly impacting gameplay and player interaction with the environment. This approach to door treatment has become an important element defining the unique gameplay and atmosphere of Wolfenstein 3D, bringing dynamics and the possibility of tactical maneuvering to the game.

Secret walls, activated by the player, contain a unique mark in the code. This allows the ray coordinates to be changed and the plane's movement to be visualized. The use of such mechanisms significantly improves the gameplay, adding elements of interactivity and mystery. Optimizing the code for these features can improve game performance and enhance the user experience.

Environment sprites, including enemies, were 64x64 pixels in size, matching the size of the walls. Thanks to the transparent layer, they visually appeared lower than the walls, creating a harmonious perspective in the game space. This technique allowed for greater immersion in the game and improved the perception of the three-dimensionality of the environment.

The collision system in Wolfenstein 3D was implemented at a fairly simple level. All game tiles had two states: passable and impassable. Doors in the game changed their properties depending on whether the process of opening or closing them was completed. This mechanic allowed players to interact with the environment, creating a simple but effective gameplay dynamic.

Creating 3D Illusions with Sprites

In 1992, simultaneously with the release of the cult Wolfenstein 3D, the Japanese company Taito introduced the arcade shooter Gun Buster. This game stood out for its innovative approach to creating three-dimensional space, using sprite scaling. Every element, including walls, enemies, and the environment, was represented by a sprite. By dynamically changing flat images depending on the player's distance and viewing angle, the developers achieved a stunning immersive experience. Gun Buster not only became an iconic example of its genre, but also paved the way for future arcade shooters, demonstrating the capabilities of 3D graphics in video games.

Unlike arcade systems with their significant resources, creating similar effects on personal computers became a serious task. The high cost of RAM and limited PC performance limited the use of dynamic graphic elements, which complicated the development process and increased its requirements. These factors significantly impacted the quality and realism of graphics in games, which required developers to find innovative solutions and optimize the code to achieve acceptable results.

Finding Innovative Solutions in the Gaming Industry

Following the successful release of Wolfenstein 3D and its expansion Spear of Destiny, John Carmack continued to refine the concept of pseudo-3D. During the development of Shadowcaster, a game created by Raven Software with the support of id Software, he implemented several key changes that significantly increased the visual depth of scenes. These innovations include the use of fading lighting and texture mapping on floors and ceilings, which created a more realistic and immersive gaming space. These technologies became important stages in the evolution of graphics in video games and influenced further developments in the industry.

In Wolfenstein, the initial lighting in each room was too bright, preventing the gameplay from fully capturing its atmosphere. As John Carmack emphasizes, "light is what makes a picture come alive." His goal was to create a richer and more immersive game world, where light and shadow play a key role in creating a unique atmosphere. Improving the lighting in Wolfenstein not only enhances the visual appeal, but also contributes to a deeper player immersion in the story and gameplay.

To improve the game's immersion, Carmack applied texture mapping to various surfaces and designed walls with varying heights. Although the gameplay was roughly half that of Wolfenstein, Shadowcaster's measured, exploration-focused pace created a harmonious feel. One key innovation was the inclines in the floor, which allowed the player to feel as if they were moving up or down a slope. These elements opened new horizons for future projects at id Software, furthering the genre and enhancing player interaction with the game world.

David Kushner's Masters of Doom explores important themes regarding the impact of video games on society and culture. He delves deeply into the history of one of the most iconic games and its impact on a generation of gamers. Kushner shows how games can shape not only leisure time but also worldviews, raising questions of ethics, technology, and human interaction. This work will be a must-read for anyone interested in the development of the gaming industry and its cultural significance. Kushner masterfully captures the atmosphere of the time when video games were just beginning to conquer the world and analyzes the implications of this process for the future.

During the development of Doom, John Carmack and John Romero sought to add more variety and realism to the game world, abandoning traditional cubic architecture. They introduced walls of varying heights, which opened up the possibility of creating more complex and engaging levels. However, this approach also presented a number of performance issues, posing a significant challenge for the development team. As a result, they had to find a balance between graphical variety and stable gameplay, which ultimately fueled innovations in level design and gameplay technology.

While adapting Wolfenstein for the Super Nintendo console, John Carmack encountered the concept of binary space partitioning (BSP), developed by Bruce Naylor of Bell Labs. This method significantly accelerated the rendering of 3D models by breaking them into larger sections. Inspired by this idea, Carmack applied BSP to the development of an entire virtual world, a breakthrough in the gaming industry. The use of binary space partitioning improved performance and graphics quality, laying the foundation for further innovations in 3D graphics and game design.

In his book, Lords of Doom, David Kushner illuminates key moments related to the development of the gaming industry and the cultural impact of video games. On page 229, he touches on important aspects that have shaped the public perception of games and their place in modern society. Kushner analyzes not only the technology but also the social phenomena that have arisen around gaming, emphasizing how games have become an integral part of our culture. Importantly, his work helps readers gain a deeper understanding of how video games influence our perception of reality and shape new forms of human interaction. Kushner explores how the history of gaming reflects broader changes in society and what lessons can be learned from this evolution.

Wolfenstein 3D for the SNES introduced innovative BSP technology, which, combined with a resolution of 112x96 (increased to 224x192 in 7x mode), significantly improved the game's visuals. This combination of technologies ensured a stable frame rate, a key factor in high-quality gameplay. Such technical advances made Wolfenstein 3D one of the most impressive titles of its time on the SNES platform.

As a result of Nintendo's strict requirements, the game's visual style underwent significant changes. For example, enemies did not die but fell, and Nazi symbolism was replaced with more neutral elements. This decision highlighted the importance of adhering to norms and standards when developing games for consoles, which is a critical aspect for creating a safe and acceptable gaming environment.

Introduction to BSP and its Role in Carmack's Technologies

Binary Space Partitioning (BSP) is an important tool for developing 3D environments in video games. The history of this method began in 1969, when it was first used to generate digital images in flight simulators designed to train US Air Force pilots. Over time, Bruce Naylor improved this approach, developing a more formalized method, which later formed the basis for the work of John Carmack. The use of BSP in modern games allows for the efficient organization and processing of 3D spaces, which significantly improves performance and visual quality.

Binary Space Partitioning (BSP) is a recursion-based method for partitioning virtual space, creating the illusion of a three-dimensional environment filled with multiple planes. The key element of this technique is the BSP tree, a data structure for organizing visual objects. Using a BSP tree, objects can be efficiently sorted by their distance from the player, allowing for optimized scene rendering and precise detection of plane intersections. This makes BSP an important tool in 3D graphics and game development, ensuring high performance and realistic rendering.

The BSP (Binary Space Partitioning) method is an important tool in game development, especially in the context of 3D graphics and rendering. For a visual understanding of this method, consider the example of a map from the famous game Doom, described in detail in Fabien Sanglars' book "Game Engine Black Book: Doom". This book provides valuable insights into how BSP helps effectively organize game world space by dividing it into more manageable chunks. This approach not only simplifies collision handling and object rendering but also significantly improves game performance. Studying the application of the BSP method on the example of Doom allows us to gain a deeper understanding of its advantages and capabilities, which is useful for developers looking to optimize their projects.

This diagram depicts a map consisting of eight vertices. Four of these vertices form a room surrounded by lines A, B, C, and D. Within this room is a column formed by lines E, F, G, and H. Each line has a clear direction and only one side, emphasizing the structure and organization of the space.

The architecture of the room may seem simple, but rendering pseudo-3D space in video games is a complex task. This is because the order in which objects are drawn changes depending on the player's position. To create a realistic sense of depth and space, developers use various rendering techniques that take into account perspective and the interaction of objects in the scene.

To form a BSP tree based on the map, a straight line must be drawn along the plane, which will divide the map into two parts. The main goal is to continue subdividing the sectors until each sector is convex, that is, contains only one face without any concave areas. This process can be visualized as a space covered with a rubber band, where each new line helps to clarify the structure and simplifies further data processing. Creating a BSP tree allows for the efficient organization of geometric information and improves rendering performance in 3D applications.

In his book, Fabien Sanglard uses the term "segments" to denote the dividing lines, and calls the areas formed by them "subsectors". Other terms such as "dividing lines" and "subplanes" can also be found in the literature. However, in the context of the BSP structure, these elements are always referred to as nodes (breaking lines) and leaves (fragments within a face). This clarification is important for properly understanding and analyzing the BSP structure.

Optimizing space utilization is a key goal in interior design. In this example, the H-line is chosen as a basis, which divides the room almost evenly, allowing for a more efficient organization of its functional zones.

After splitting along line H, we have two subsectors. One of them, consisting of elements A, B1, H, and D1, is convex and does not require further partitioning. Meanwhile, the other subsector, including E, F, G, D2, C, and B2, requires simplification to improve the efficiency of the analysis. Simplifying this subsector will help improve the structure and optimize processes, which is important for achieving high-quality results in working with data.

To simplify the space between lines B2, C2, F, and E, an additional line should be drawn along line F. This will improve visual perception and structure the data more effectively. This approach will help create clearer boundaries and facilitate the analysis of information in this area.

The map now displays 12 vertices and 12 lines, which will allow you to effectively collect data for selecting visual elements from different viewpoints. This will significantly improve the process of analysis and perception of information, providing a deeper understanding of spatial relationships.

It should be noted that this is not the only method for dividing subsectors. For example, constructing a BSP tree in alphabetical order can significantly increase the structure. Using different approaches to data organization allows for performance optimization and improved data processing efficiency. Proper subsectoring is key in developing high-performance systems, and it is important to experiment with different algorithms to achieve the best results.

The advantage of BSP trees is their ability to provide a stable amount of computation, regardless of the player's position in the game world. Now that we've covered the basics of creating a BSP structure, we can move on to a deeper analysis of the pseudo-3D graphics of the id Tech 1 game engine, using the classic game Doom as an example. This will allow us to better understand how BSP trees affect performance and visuals in games, as well as how they optimize scene processing for smooth gameplay.

The Illusion of 3D Space in Doom: Technology and Innovation

Recognized as one of the most influential video games in history, Doom implemented a unique technology that allowed for the creation of pseudo-3D space. Level designers used DoomEd, a specialized editor that allowed for the design of maps resembling architectural plans. This tool allowed for the setting of textures, the height of sectors, and the placement of objects, including sprites and monster spawn points. Thanks to this approach, Doom not only changed the perception of gaming worlds, but also became the basis for the further development of the first-person shooter genre.

After the map is mapped, it is processed using the doombsp tool, which optimizes spatial partitioning. This process emphasizes convex subsectors, which minimizes the number of nodes in the tree and significantly increases computational efficiency. Using doombsp is a key step in improving map performance, ensuring faster and better gameplay.

The initial map layout significantly accelerated the debugging and testing process. Although such calculations were often time-consuming, John Carmack used a powerful NeXTstation Turbo computer, which allowed him to reduce the calculation time for the binary partitioning of the E1M1 map to just eight seconds. All 30 maps of the first Doom were processed in just 11 minutes. This achievement highlights the effectiveness of modern technologies in game development and demonstrates a high level of process optimization in software development.

Each game map included multiple subsectors with unique parameters, such as height and texture. This multi-level structure efficiently distributed the load on the processor, which contributed to improved performance during gameplay.

Carmack created the blockmap data structure to efficiently manage collisions in games. This structure is based on a 128x128 grid of cells, where each cell contains information about the lines located within its boundaries. This approach allows for fast indexing and collision checking, significantly improving the performance of game engines. Using a blockmap optimizes collision handling and improves overall system performance.

Rendering in Doom was performed using a projection technique, which allows scenes to be drawn based on the player's position. The basic principles of rendering include several key steps. First, the player's position in the game space is calculated. Then, based on this information, the system determines which objects and surfaces should be visible. Using algorithms such as the Bresenham line and the Z-buffer, Doom efficiently displays a 3D environment on a 2D screen. This projection technique created a unique atmosphere and dynamic interaction with the surrounding world, which was one of the reasons for the game's success.

• Rendering the sector in which the character is located.
• Rearranging the vertices of the space around the character.
• Pinning vertices perpendicular to the player's viewing angle.
• Determining the X-coordinate of the wall corner in screen space.
• Interpolating the wall height from the first to the second vertex on the screen using the depth value.

When rendering vertical planes, raycasting is used to draw from near to far objects. This method renders only those planes within the player's field of view, significantly improving performance and graphical quality in the game. This approach optimizes the rendering process and improves the user experience, as the player sees only relevant elements of the environment.

Originally, Doom lacked the ability to look up or down, limiting the player's perception of the game world. However, later projects, such as Heretic and Hexen, introduced the innovative y-shearing technique. This method allows the horizon to change depending on the viewing angle, significantly improving visual perception and making gameplay more dynamic and immersive. Thus, the transition from a static view to a more open field of view was an important step in the development of 3D graphics in video games.

Rendering horizontal planes, known as visplanes, The rendering was performed row by row, as opposed to vertical rendering, which was performed column by column. To create the sky effect, a separate texture was used, ignoring height and lighting. This approach optimizes the rendering process and improves visual perception, ensuring a smoother and more realistic transition between elements.

Dynamic lighting is used to enhance the realism of images. When a light source is destroyed, the texture of the nearest wall becomes darker, creating a shadowing effect. This helps achieve a deeper perception of space and improves the overall atmosphere of the scene. Dynamic lighting plays a key role in creating immersive experiences in video games and visual applications.

Thanks to modern rendering methods, Doom became a true revolution in the shooter genre, offering a unique architecture of the game world. However, the BSP structure used in Doom also had its drawbacks. Among the main problems were the need for pre-calculations, as well as limited modification options, which did not allow changing the positions of walls without completely recreating the BSP tree. These limitations influenced the further development of video game rendering technologies.

After the release of Doom, interest in pseudo-3D technologies increased significantly. In 1994, Apogee Software released Rise of the Triad: Dark War, which used a modified Wolfenstein 3D engine. This game offered players more varied levels and introduced dynamic lighting elements, making the gameplay more immersive and visually appealing. Rise of the Triad was a major step in the development of video games, demonstrating the potential of pseudo-3D graphics and expanding the horizons for future projects in this field.

Build Engine: Innovations in the World of Video Games

In 1993, programmer Ken Silverman developed the Build Engine, a game engine that played a vital role in the evolution of pseudo-3D graphics. Inspired by the success of Wolfenstein 3D, Silverman set out to create technology that could immerse players in detailed 3D worlds. Build Engine became the basis for many iconic games, expanding the horizons of gaming possibilities and setting new standards in the video game industry.

Silverman's first project, Ken's Labyrinth, attracted the attention of Apogee Software, which later became known as 3D Realms. A month before starting college, he received a job offer that allowed him to combine his studies and game development. This experience marked a significant milestone in his career and contributed to his further development in the video game industry.

Build Engine created a stunning illusion of 3D graphics, enabling it to compete not only with id Tech 1 but also with more modern versions that formed the basis for Quake. Key features that made Build Engine unique included support for parallax textures, the ability to create complex levels, and dynamic lighting. These features allowed developers to create more realistic and engaging game worlds. Thanks to these innovations, Build Engine became a significant step in the evolution of gaming technology, as evidenced by its influence on subsequent game engines and projects.

Build Engine used a method of dividing maps into sectors, which ensured that information about the height of floors and ceilings was preserved. This allowed for the creation of a variety of architectural solutions, despite the fact that the walls remained at a 90-degree angle. Sectors could change their shape and height in real time, which opened up new possibilities for developers and contributed to the creation of more exciting and dynamic game spaces. This approach significantly enriched the gameplay and improved player interaction with the environment.

This technology contributed to the creation of destructible environments in games such as Duke Nukem 3D and Blood. The ability to rotate sectors allowed for the implementation of horizontal elevators, significantly increasing the dynamics of gameplay. Innovative mechanics of destruction and interaction with the environment made these games more exciting and realistic, attracting the attention of players and setting new standards in video game development.

Portals in Build Engine are key elements that enable the display of map sections from different sections. They significantly speed up the rendering process and allow for the creation of larger maps, which in turn improves graphical performance. The use of portals helps optimize gameplay and create a more immersive gaming experience.

Room-over-room technology opened up new horizons in the creation of multi-level game structures, which significantly increased the depth of gameplay. Players were able to navigate stairs and use elevators, which added elements of exploration and interaction with the environment. This innovation enriched the gaming experience, allowing players to better immerse themselves in virtual worlds and explore their diverse layers.

Mirrors in video games using the engine used a method of creating an empty sector to reflect the environment. The advent of voxel graphics opened up new possibilities for visual effects, which was especially evident in the game Blood. Voxel technology has made it possible to achieve a more realistic display of objects and light, which significantly improves the overall atmosphere and immersion in the gameplay.

Pseudo-3D games based on the Build Engine became popular due to their low system requirements and accessibility. These games could run on most PCs, which contributed to their widespread distribution and audience attraction. The ease of installation and launch of such games made them a favorite among players, which in turn contributed to the development of the genre and the creation of many cult projects.

While id Tech 1 is a well-known game engine, the number of games created using the Build Engine significantly exceeds it. This is due to the more affordable license for the Build Engine, which allowed many independent developers to realize their ideas and launch their own projects. Lower licensing costs contributed to a greater diversity of games and expanded opportunities for creative creators.

Monolith Studios chose the Build Engine for Blood because the Doom license proved too expensive.

By the late 1990s, 3D graphics technology had rapidly advanced, but the Build Engine continued to have a significant impact on the video game industry. Games like Duke Nukem 3D and Shadow Warrior set new standards in development, introducing humor and creative approaches to gameplay. These projects not only demonstrated the capabilities of the engine, but also became icons of their time, inspiring many developers to create unique and memorable game worlds.

The Build Engine holds a vital place in the history of video games, and its influence continues to be felt in game design today. The engine has powered countless iconic games, and its unique capabilities continue to inspire players and developers alike. Exploring the Build Engine's features opens up new horizons in game development and provides insight into how its technology has shaped the industry.

The Evolution of Classic Game Engines

On December 23, 1997, John Carmack revolutionized the gaming industry by releasing the open source code for the iconic game Doom. This move opened up new horizons for developers worldwide, allowing them to use the game engine to create their own projects. In 1999, Doom's license was updated to free software status, further contributing to its distribution and popularity. As a result, Doom became the basis for numerous indie games and projects, contributing to the development of the game development community and the introduction of new technologies into the gaming industry.

In 2000, the source code for the Build Engine, developed by Ken Silverman, was released. This engine became available to a wider audience, which contributed to the creation of numerous user modifications and even complete games. Subsequently, an updated version of the engine, optimized for modern operating systems, was released, maintaining its relevance and expanding the possibilities for game developers.

These events inspired many fans of classic shooters who yearned for the unique "pseudo-3D" style. Numerous projects appeared on specialized platforms, many of which became not just Doom modifications but full-fledged games with original stories, graphics, and music. These new releases are captivating players, offering a fresh take on a familiar genre and demonstrating that old styles can still be relevant and engaging.

The Build Engine continues to linger in gamers' minds and has made a comeback in the gaming industry. In 2019, Ion Fury, developed using a modified version of this engine, was released. It retained the game's recognizable pseudo-3D graphics while incorporating modern technologies such as high frame rates and improved resolutions. This combination of classic style and modern capabilities made Ion Fury attractive to both long-time fans and new players.

The Relevance of Pseudo-3D in Modern Game Design

The "pseudo-3D" style in games continues to generate interest and maintain its popularity. Previously, this technology was considered the only available option for creating 3D graphics, but today it has become a distinctive artistic direction. Developers use pseudo-3D to create an atmosphere of nostalgia and attract the attention of fans of classic shooters. This direction allows not only to evoke warm memories in players but also to experiment with visual style, which makes it relevant and in demand in modern game design.

With the rapid development of computer graphics, the emphasis on maximum realism has become less relevant. Instead, projects with retro aesthetics, such as the recent expansion for Ion Fury, are finding their audience in the gaming market. These games not only bring variety but also originality, allowing players to experience a unique style and atmosphere that harkens back to the roots of video games. Retro titles are becoming increasingly popular, emphasizing the value of creativity and artistic expression in the modern gaming context. Pseudo-3D is becoming a significant cultural phenomenon, uniting different generations of gamers. Developers deliberately choose this style to evoke nostalgic emotions and memories of classic video games. This trend not only remains relevant but is actively evolving, offering innovative mechanics and visual solutions. Pseudo-3D continues to attract attention thanks to its ability to combine old traditions with modern technology, making it appealing to both industry veterans and new players.