Welcome to hell: Art from the world of Doom

When the new version of Doom lands on May 13, it'll be 23 years since the first game. iD Software's first-person shooter rapidly became one of the most influential titles ever. Here are some of the artists who worked on the new game and their takes on its versions of the classic game's environments.

Resource Operations, or Res Ops, is an early level in the game and needed an industrial style for its architecture and lighting.

Jon Lane says his take on Res Ops was inspired by modern oil rigs. It gives a sense of the scale of the game's massive mining operations on Mars.

Because of the sheer size and detail of some of the sci-fi environments, a huge amount of design work was required. "Concept art was made for nearly every room and hallway in the game," Lane says.

At look at the desolate planetscape that surrounds the UAC labs on Mars.

An early look at the exterior of the building that would become the infamous Lazarus Labs.

More of Lazarus Labs -- this is a control room for the facility.

Of course, Lazarus Labs had to have, well, labs. Another early take on one of the rooms where players could see evidence of the experimentation being done at the base.

Lazarus Labs is a literal meeting point between science and the powers of hell.

The Argent Tower is where the Union Aerospace Corporation (UAC) experiments with argent energy, the mysterious and seemingly infinite resource found on Mars. Experimenting with hitherto unknown matter has never gone wrong for any fictional research group. Ever.

"It was challenging to come up with a giant portal design that did not look like every other interdimensional giant portal in pop culture," says artist Emerson Tung. "But I think we ended up with one that felt pretty fresh."

A moodier look at the game's version of hell, with a sulphurous tone and brooding feel.

A more classical colour palette for a modern version of hell. Artist Ryan Watkins says he wanted a "fractured world where pieces of other worlds and dimensions are torn apart to have their energy and souls absorbed, leaving behind only a hollow shell of a once great civilisation."

Precarious walkways wend through the cavernous ruin of the Necropolis. Artist Emerson Tung says: "I added a giant demon skull as the centrepiece as a throwback to the Icon of Sin and it stuck all the way to the end of production."

Doom II's final boss has been reinvigorated for the new game.

For the new look Bloodkeep, Palma was told to keep the vibe "oppressive". Odd angles and looming architecture combine with visceral walls and floors.

"The goal for this was to create a tomb- or temple-inspired environment," says Palma. "With the red atmosphere and oppressive round pillars, it made this part of the level very recognisable."