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Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture [Anglais] [Broché]

David Kushner
4.8 étoiles sur 5  Voir tous les commentaires (5 commentaires client)
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Descriptions du produit

Extrait

Chapter 1

The Rock Star

Eleven-year-old John Romero jumped onto his dirt bike, heading for trouble again. A scrawny kid with thick glasses, he pedaled past the modest homes of Rocklin, California, to the Roundtable Pizza Parlor. He knew he wasn’t supposed to be going there this summer afternoon in 1979, but he couldn’t help himself. That was where the games were.

Specifically, what was there was Asteroids, or, as Romero put it, “the coolest game planet Earth has ever seen!” There was nothing else like the feeling he got tapping the control buttons as the rocks hurled toward his triangular ship and the Jaws-style theme music blipped in suspense, dum dum dum dum dum dum; Romero mimicked these video game sounds the way other kids did celebrities. Fun like this was worth risking everything: the crush of the meteors, the theft of the paper route money, the wrath of his stepfather. Because no matter what Romero suffered, he could always escape back into the games.

At the moment, what he expected to suffer was a legendary whipping. His stepfather, John Schuneman—a former drill sergeant—had commanded Romero to steer clear of arcades. Arcades bred games. Games bred delinquents. Delinquency bred failure in school and in life. As his stepfather was fond of reminding him, his mother had enough problems trying to provide for Romero and his younger brother, Ralph, since her first husband left the family five years earlier. His stepfather was under stress of his own with a top-secret government job retrieving black boxes of classified information from downed U.S. spy planes across the world. “Hey, little man,” he had said just a few days before, “consider yourself warned.”

Romero did heed the warning—sort of. He usually played games at Timothy’s, a little pizza joint in town; this time he and his friends headed into a less traveled spot, the Roundtable. He still had his initials, AJR for his full name, Alfonso John Romero, next to the high score here, just like he did on all the Asteroids machines in town. He didn’t have only the number-one score, he owned the entire top ten. “Watch this,” Romero told his friends, as he slipped in the quarter and started to play.

The action didn’t last long. As he was about to complete a round, he felt a heavy palm grip his shoulder. “What the fuck, dude?” he said, assuming one of his friends was trying to spoil his game. Then his face smashed into the machines.

Romero’s stepfather dragged him past his friends to his pickup truck, throwing the dirt bike in the back. Romero had done a poor job of hiding his bike, and his stepfather had seen it while driving home from work. “You really screwed up this time, little man,” his stepfather said. He led Romero into the house, where Romero’s mother and his visiting grandmother stood in the kitchen. “Johnny was at the arcade again,” his stepfather said. “You know what that’s like? That’s like telling your mother ‘Fuck you.’ ”

He beat Romero until the boy had a fat lip and a black eye. Romero was grounded for two weeks. The next day he snuck back to the arcade.

Romero was born resilient, his mother, Ginny, said, a four-and-one-half-pound baby delivered on October 28, 1967, six weeks premature. His parents, married only a few months before, had been living long in hard times. Ginny, good-humored and easygoing, met Alfonso Antonio Romero when they were teenagers in Tucson, Arizona. Alfonso, a first-generation Mexican American, was a maintenance man at an air force base, spending his days fixing air conditioners and heating systems. After Alfonso and Ginny got married, they headed in a 1948 Chrysler with three hundred dollars to Colorado, hoping their interracial relationship would thrive in more tolerant surroundings.

Though the situation improved there, the couple returned to Tucson after Romero was born so his dad could take a job in the copper mines. The work was hard, the effect sour. Alfonso would frequently come home drunk if he came home at all. There was soon a second child, Ralph. John Romero savored the good times: the barbecues, the horsing around. Once his dad stumbled in at 10:00 p.m. and woke him. “Come on,” he slurred, “we’re going camping.” They drove into the hills of saguaro cacti to sleep under the stars. One afternoon his father left to pick up groceries. Romero wouldn’t see him again for two years.

Within that time his mother remarried. John Schuneman, fourteen years her senior, tried to befriend him. One afternoon he found the six-year-old boy sketching a Lamborghini sports car at the kitchen table. The drawing was so good that his stepfather assumed it had been traced. As a test, he put a Hot Wheels toy car on the table and watched as Romero drew. This sketch too was perfect. Schuneman asked Johnny what he wanted to be when he grew up. The boy said, “A rich bachelor.”

For a while, this relationship flourished. Recognizing Romero’s love of arcade games, his stepfather would drive him to local competitions—all of which Romero won. Romero was so good at Pac-Man that he could maneuver the round yellow character through a maze of fruit and dots with his eyes shut. But soon his stepfather noticed that Romero’s hobby was taking a more obsessive turn.

It started one summer day in 1979, when Romero’s brother, Ralph, and a friend came rushing through the front door. They had just biked up to Sierra College, they told him, and made a discovery. “There are games up there!” they said. “Games that you don’t have to pay for!” Games that some sympathetic students let them play. Games on these strange big computers.

Romero grabbed his bike and raced with them to the college’s computer lab. There was no problem for them to hang out at the lab. This was not uncommon at the time. The computer underground did not discriminate by age; a geek was a geek was a geek. And since the students often held the keys to the labs, there weren’t professors to tell the kids to scram. Romero had never seen anything like what he found inside. Cold air gushed from the air-conditioning vents as students milled around computer terminals. Everyone was playing a game that consisted only of words on the terminal screen: “You are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building towards a gully. In the distance there is a gleaming white tower.”

This was Colossal Cave Adventure, the hottest thing going. Romero knew why: it was like a computer-game version of Dungeons and Dragons. D&D, as it was commonly known, was a pen-and-paper role-playing game that cast players in a Lord of the Rings–like adventure of imagination. Many adults lazily dismissed it as geekish escapism. But to understand a boy like Romero, an avid D&D player, was to understand the game.

Created in 1972 by Gary Gygax and Dave Arneson, two friends in their early twenties, Dungeons and Dragons was an underground phenomenon, particularly on college campuses, thanks to word of mouth and controversy. It achieved urban legend status when a student named James Dallas Egbert III disappeared in the steam tunnels underneath Michigan State University while reportedly reenacting the game; a Tom Hanks movie called Mazes and Monsters was loosely based on the event. D&D would grow into an international cottage industry, accounting for $25 million in annual sales from novels, games, T-shirts, and rule books.

The appeal was primal. “In Dungeons and Dragons,” Gygax said, “the average person gets a call to glory and becomes a hero and undergoes change. In the real world, children, especially, have no power; they must answer to everyone, they don’t direct their own lives, but in this game, they become super powerful and affect everything.” In D&D, there was no winning in the traditional sense. It was more akin to interactive fiction. The participants consisted of at least two or three players and a Dungeon Master, the person who would invent and direct the adventures. All they needed was the D&D rule book, some special polyhedral dice, and a pencil and paper. To begin, players chose and developed characters they would become in the game, from dwarves to elves, gnomes to humans.

Gathered around a table, they would listen as the Dungeon Master cracked open the D&D rule book—which contained descriptions of monsters, magic, and characters—and fabricated a scene: down by a river, perhaps, a castle shrouded in mist, the distant growl of a beast. Which way shall you go? If the players chose to pursue the screams, the Dungeon Master would select just what ogre or chimera they would face. His roll of the die determined how they fared; no matter how wild the imaginings, a random burst of data ruled one’s fate. It was not surprising that computer programmers liked the game or that one of the first games they created, Colossal Cave Adventure, was inspired by D&D.

The object of Colossal Cave was to fight battles while trying to retrieve treasures within a magical cave. By typing in a direction, say “north” or “south,” or a command, “hit” or “attack,” Romero could explore what felt like a novel in which he was the protagonist. As he chose his actions, he’d go deeper into the woods until the walls of the lab seemed to become trees, the air-conditioning flow a river. It was another world. Imbued with his imagination, it was real.

Even more impressively, it was an alternate reality that he could create. Since the seventies, the electronic gaming industry had been dominated by arcade machines like Asteroids and home consoles like the Atari 2600. Writing software for these platforms required expensive development systems and corpor...

Revue de presse

"To my taste, the greatest American myth of cosmogenesis features the maladjusted, antisocial, genius teenage boy who, in the insular laboratory of his own bedroom, invents the universe from scratch. Masters of Doom is a particularly inspired rendition. Dave Kushner chronicles the saga of video game virtuosi Carmack and Romero with terrific brio. This is a page-turning, mythopoeic cyber-soap opera about two glamorous geek geniuses - and it should be read while scarfing down pepperoni pizza and swilling Diet Coke, with Queens of the Stone Age cranked up all the way."
Mark Leyner, author of I Smell Esther Williams

"Masters of Doom is an excellent archetypal tale of hard work and genius being corrupted by fame too young and fortune too fast. I rooted for these guys, was inspired by them, then was disturbed by them, and was fascinated from beginning to end."
Po Bronson, author of The Nudist on the Late Shift

"Like Hackers, David Kushner's Masters of Doom paints a fascinating portrait of visionary coders transforming a previously marginal hobby into a kind of 21st-century art form -- and enraging an entire generation of parents along the way. Kushner tells the story with intelligence and a great sense of pacing. Masters of Doom is as riveting as the games themselves."
Steven Johnson, author of Emergence

"Masters of Doom tells the compelling story of the decade-long showdown between gaming's own real-life dynamic duo, played high above the corridors of Doom in the meta-game of industry and innovation. With the narrative passion of a true aficionado, Kushner reminds us that the Internet was not created to manage stock portfolios but to serve as the ultimate networked entertainment platform. It's all just a game."
Douglas Rushkoff, author of Coercion, Ecstasy Club, and Nothing Sacred

"Are you brainy? Gifted? Deeply alienated? Ever wanted to be a multimillionaire who transformed a major industry? Then Masters of Doom is the book for you!"
Bruce Sterling, author of Tomorrow Now

“Kushner’s mesmerizing tale of the Two Johns moves at a rapid clip . . . describing the twists and turns of fate that led them to team up in creating the most powerful video games of their generation. . . . An exciting combination of biography and technology.”
—USA Today

“Meticulously researched . . . as a ticktock of the creative process and as insight into a powerful medium too often dismissed as kids’ stuff, Masters of Doom blasts its way to a high score.”
—Entertainment Weekly

“[An] extraordinary journey . . . an exhilarating time capsule of a moment in time where anything could happen—and often did. Kushner’s take on this geek uprising is like a breakneck-paced comic book that you can’t put down.”
Newsday

“Kushner’s portrait of Carmack is lustrous and gripping. . . . An impressive and adroit social history.”
—The New York Times Book Review

“Terrifically told . . . The storytelling is so fluid, so addictive, that your twitching thumbs keep working the pages.”
—The Washington Post Book World


Détails sur le produit

  • Broché: 368 pages
  • Editeur : Random House Trade Paperbacks; Édition : Reprint (11 mai 2004)
  • Langue : Anglais
  • ISBN-10: 0812972155
  • ISBN-13: 978-0812972153
  • Dimensions du produit: 20,4 x 13,2 x 2 cm
  • Moyenne des commentaires client : 4.8 étoiles sur 5  Voir tous les commentaires (5 commentaires client)
  • Classement des meilleures ventes d'Amazon: 7.204 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Eleven-year-old John Romero jumped onto his dirt bike, heading for trouble again. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Index
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4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Génial 7 janvier 2011
Format:Broché
J'étais déjà un grand fan de John Carmack (quel programmeur ne l'est pas) avant d'acheter ce livre, et je le suis maintenant encore plus.
Son histoire et celle de John Romero est un vrai road movie, une success story que je ne pouvais imager qu'au cinéma.
Les pizzas, le diet coke, coder des jeux nuit et jour avec les PC "empruntés" au boulot, inventer les technologies du futur, jouer à D&D sur plusieurs années, le pied que ça a du être.
La personnalité des "acteurs" est très bien décrite, on a l'impression de bien mieux les cerner, de les connaître intimement.
On découvre au passage des épisodes de vie d'autres personnalités du monde du jeu vidéo qu'ils ont croisés sur leur route, le livre ne tourne pas 100% autour des deux John.

Un livre qui se boit, une biographie qui pourrait être un roman. Juste génial, et qui montre qu'avec de la passion et beaucoup de détermination et de travail on peut devenir le maître du monde.
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5.0 étoiles sur 5 Doom 3 septembre 2014
Par Olivier
Format:Broché|Achat vérifié
Toute l'histoire de l'équipe à l'origine de Doom. Un jeu qui proposera un nouveau, aujourd'hui vendu à toutes les sauces.
Les points intéressants: les personnalités des protagonistes, le début de la mise en place des la technologie, les choix parfois audacieux pour l'époque, l'amitié vs professionnel.

[...]
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5.0 étoiles sur 5 Excellent read 23 décembre 2013
Format:Broché|Achat vérifié
Excellent read for any gamer. Discovering the history of the industry will make you even more addicted to it : a real adventure to play and make.
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4.0 étoiles sur 5 Interessant et passionnant 28 septembre 2012
Format:Broché
Ce livre raconte - principalement - les vies et oeuvres de John Carmack et John Romero, c'est à dire, pour les ignares en jeux-vidéos, les créateurs de Doom, un jeu très important dans l'évolution vidéo-ludique.
On part de leur enfance, pour s'arrêter à l'époque de Quake et Daikatana.

Le livre est centré sur les deux John, mais quelques autres personnes importantes sont présentées : Tom Hall, Adrian Carmack..

Le ton biographique n'est ni exagérément flatteuse, ni destructrice pour les deux Johns : ce sont juste deux individus, avec leur brillances et leurs tares. J'en suis ressorti avec plus de respect pour Romero que l'image que je m'en étais construit dans la grande période 1995-2000. Mais je vous parle la d'un temps que les moins de 20 ans ne peuvent pas connaitre, comme disait je ne sais plus qui...

Au final, même si deux mois après la lecture, il m'en reste peu de souvenir immédiat, une lecture agréable sur des gens qui ont contribué largement à mon plaisir vidéoludique.

A noter que le livre existe en français, et que si le titre est nul : "Les Maîtres du jeu vidéo", il semblerait que le reste de la traduction soit plutôt correcte, et notamment les notes de bas de pages de la traductrice.
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5.0 étoiles sur 5 Design VS Technology 18 mai 2012
Par mtarzaim
Format:Format Kindle|Achat vérifié
More than a double biography, it's a journey from the dawn of video games to the advent of 3D gaming.
A little romanced (of course), but still fresh and relevant.

This book is about the rising of FPS, how and why it touched so many people (especially north-americans), and the men behind it. The fact that the author followed the two main protagonists for several years, especially when they finally splitted from each other, is important to the relevance of the whole story. We really have two points of view on the events, even more when the other members get their share of limelight.

It's also about two approaches about game design : the constraints (Camarck) and the possibilities (Romero).
Either you build the technology then try to use it to its best, or you design the best/fun uses then build the technology to implement them. Through the two johns, we see the good and the bad of those opposed philosophies, and how they work the best when reunited.

We are also treated with the inner cycle of game creation, where several no-life guys sit in front of a computer for months day and night, the internal/external complexities of business and, of course, the human factor. Quite frightening, considering it was before the rise of AAA games, at a time games weren't as complex and demanding as they are today.

The only real flaw of the book is its age.
The story told here stops a little after Quake 3 Arena. 2003 is quite old in the video game world, and lots of thing have changed since. While still in the business, Carmack has pursued his new obsession with space travel, winning the X-prize. Romero continue to explore game designing in the mobile market. In that regard, an updated epilogue would have been a nice addition.
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