I talked to John Romero, and scoured the Usenet forum (filter: from: 1993 to: 1996). To consider the rise of this practice, it is impossible not to recognise the role and influence of iD Software’s Doom: speedrunning and early online collaborative documentation of gameplay are inextricably linked to the franchise. The video of a world record time which knocks an hours-long campaign into minutes can be jaw-dropping. They’re a dizzying show of hard won skill and palpable effort. And speedrunners? We really don’t care about it.’ To a speedrunner, it’s all map textures, skips, glitches, cyan doors and turkey dinners.Ī good speedrun is hypnotising to watch – this goes for ones showcased at GDQ, or the ones which get circulated around the internet for their insane jumps or cutscene skips or lightning fast movement. As the game tries to give him a slice of plot early on in his 51 minute playtime, he laughs: ‘So, now we’re getting some of the story, which, if you’ve played Doom, you know no one cares about. He inches along invisible walls, leaps from railings to jump impossible heights, and uses explosive enemy deaths to launch him through closed doorways. He is personable, and more importantly, he is fast. The runner, who goes by the handle ‘blood thunder,’ jokes to the audience as he plays. This year, GDQ raised over $2,000,000 for Doctors Without Borders, and it’s where the 2016 release of iD’s Doom (the great-great-great-grandchild of the 1993 release of the same name) was completed in just under an hour. The event has helped to skyrocket speedruns into well documented internet ubiquity. At GDQ, there were live any% speedruns, multiplayer races, and blindfolded runs. There are any number of categories for any number of games: ‘any%’ challenges the player to finish the game doing whatever they can, and it is the most popular category on the speedrunning scene today. Speedrunning, as its name might suggest, is the practice of playing a game to its authored conclusion as speedily as possible, and often by any means necessary. Twice a year at the charity event Games Done Quick (helpfully preceded by ‘Awesome’ in winter and ‘Summer’ in summer to mark the seasons), hundreds of thousands of people now gather around computer screens and in conference halls to watch speedrunners blitz through beloved games under an hour, half an hour, twenty minutes. My recollections of these iD Software titles – lacking in plot, but rich in colour – seem to hold up fine against the test of time. I’d stare at the box art for the game, as punchy and pulpy as any Johanna Lindsey novel on my mother’s bookshelf. Wolfenstein 3D was a collection of inputs and responses: collecting turkey dinners and gliding through cyan doors. It wasn’t a game to win in the traditional sense of the word. I remember shooting Nazis in the face, I remember William Joseph ‘B.J.’ Blazkowicz’s eyes and jaw moving back and forth in the HUD, and the way his face got bloodied as his health trickled down to zero. I’m not going to pretend I remember the specs of her computer, or even exactly what year it was. My memories of gaming in my early childhood are always accompanied by the sound of a whirring fan. The fan would turn its head disapprovingly back and forth as I logged on to play videogames during summer break. More importantly, her office housed a modem, and the small mechanical fan next to her desk was always on to keep her computer setup cool in those damp, muggy, Virginia summers. There was Minesweeper of course, which I never got the hang of, and Solitaire, which I managed to beat once or twice before the age of 10. There was also Billy the Kid up there, and Commander Keen in Aliens Ate My Babysitter. It was an otherwise cramped room: stacked with papers and behavioural therapy workbooks from her private practice, all nestled next to romance novels and the DSM-IV. My mother’s big beige block PC in her upstairs office had it installed. Of all the iD Software games from the early ’90s, I only hazily remember Wolfenstein 3D at best.
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