here? Doom.'" The team agreed to pursue the Doom concept, and development began in November 1992. The initial development team was composed of five people: programmers John Carmack and John Romero, artists Adrian Carmack and Kevin Cloud, and designer Tom Hall. They moved offices to a dark office building, which they named "Suite 666", and drew inspiration from the noises coming from the dentist's office next door. They also cut ties with Apogee Software, who had given them the initial advance money for creating their first game, Commander Keen in Invasion of the Vorticons, and through which they had published the shareware versions of their games to date. While they had a good personal relationship with owner Scott Miller, they felt that they were outgrowing the publisher. Cloud, who was involved in id's business dealings, pushed for id to take over shareware publishing duties themselves after investigating and finding that Apogee was unable to reliably handle the volume of customers buying id's games through Apogee. He convinced the others that the increased sales revenue would make up for the problems of handling their own publishing. The two companies parted amicably, and Doom was set to be self-published. Development Early in development, rifts in the team began to appear. Hall, who despite having wanted to develop a different game remained the lead designer and creative director for the company, did not want Doom to have the same lack of plot as Wolfenstein 3D. At the end of November he delivered a design document, which he named the Doom Bible, that described the plot, backstory, and design goals for the project. His design was a science fiction horror concept wherein scientists on the Moon open a portal from which aliens emerge. Over a series of levels the player discovers that the aliens are demons; Hell also steadily infects the level design as the atmosphere becomes darker and more terrifying. While Romero initially liked the idea, John Carmack not only disliked it but dismissed the idea of having a story at all: "Story in a game is like story in a porn movie; it's expected to be there, but it's not that important." Rather than a deep story, John Carmack wanted to focus on the technological innovations, dropping the levels and episodes of Wolfenstein in favor of a fast, continuous world. Hall disliked the idea, but Romero sided with Carmack. Although John Carmack