"Sluggo: So, having made so many games with the Quake 3 engine, what adjustments did you have to make on the art side to do a game like Quake 4 with the DOOM 3 engine?

Kevin Long: Number one: we had to hire some high-poly modelers, because we never had to model anything as high-poly as some of the textures and weapons and creatures that you've got in this game. So we brought three really talented guys in -- all they do is high-poly models for us, and of course making the low-poly versions.

But it's just kind of a new way of working compared to the engines of the past, using a normal map technology. So it was a new way of learning how to paint again. All of our artists now know how to model, where in the past, a 2D guy may not have modeled. That's about the biggest changees we've had in the art department, having high poly modelers on the team now, and also just learning a new way of painting.

Eric Biessman: I think Tim and id went through the same thing when they started working on DOOM. It's so fundamentally different that it was exciting. You get so used to working on the same things and then all of the sudden you kind of have free reign. In the beginning, we went overboard -- now, as we're playing through, as we went along, we realized what we could or couldn't do. It was really a breath of fresh air to start working on this technology and this title.

It was definitely harder than Quake 3 -- we kind of got lazy because we knew what we were doing and we could get things done really quick. We're finally getting to the point again where we can nail the technology right away now, and it's a good feeling."