After rising from the ashes of a long and tumultuous development (which at one point had to start over from the ground up), DOOM 2016 managed to surprise just about everyone with how high quality its final release was. Part sequel, part soft reboot, the game does a phenomenal job at bringing the core appeal of the original games into the modern age, while still carving out an identity unique to itself. While it does lack some polish and refinement in certain areas, the game overall is an excellent, adrenaline-fueled first person shooter with immensely satisfying combat and a hellish heavy metal aesthetic that is 1000% My Shit™.

In the far future, the Union Aerospace Corporation, directed by the cyborg Dr. Samuel Hayden, has discovered a new form of energy known as Argent Energy, which comes directly from Hell itself. From their facility on Mars, the corporation creates portals and sends teams into Hell to farm this power source and use it to solve humanity’s energy crisis. During one of their expeditions to Hell, they also discover a sarcophagus containing the series’ protagonist, the DOOM Slayer, who is the DOOM Marine from the original games. After Hayden’s protege, Dr. Olivia Pierce, falls victim to the seduction of power promised by the demons that occupy Hell, she converts staff members of the UAC into a demon worshiping cult, and opens a portal to Hell that allows an army of demons to invade the facility, brutally decimating just about every staff member in the process. Hayden awakens the DOOM Marine as his failsafe measure, and attempts to guide his actions, but the DOOM Marine pays him no heed, and sets out to put a stop to the invasion by doing what he does best: visceral demon slaughter.

Just by playing the game, it’s clear that the team behind 2016 had a huge love for the DOOM franchise. Behind the scenes, they were committed to making sure that above all else: this game felt like DOOM. In fact, they even canceled an entire initial concept of the game that lifted a lot of elements from other first person shooters that were popular at the time of its initial development (specifically Call of Duty), simply because they didn’t feel like that direction was suited for DOOM. After going back to the drawing board and making a dramatic effort to embrace their roots, they managed to really nail their goal, as 2016 definitely captures the core appeal of the original DOOM games. All of the elements that make DOOM what it is are here: the playful “popcorn horror” tone, the huge arsenal of weapons, (almost) all of the different types of demons, the fast paced combat that requires you to manage all of the different resources your weapons use, and the heavy metal-inspired music and imagery. It’s all here, and it’s all unabashedly DOOM. There’s a phenomenal documentary from the YouTube channel Noclip called DOOM Resurrected, which features interviews from many key members of the team that worked on the game. The documentary gives great insight into their creative processes over the entire course of the game’s development, including a small look at the original “Call of DOOM” concept phase. I highly recommend giving this documentary a watch, as you can see the clear love and passion that went into making the game, and it’s an all-around delightful watch, especially if you really enjoyed 2016.

The gameplay of the original DOOM games is translated rather faithfully, though 2016 has some slightly different takes on certain gameplay elements. You’re still exploring environments, searching for keys and eviscerating demons. However, navigating levels is more straightforward in comparison to the original games. The level designs aren’t quite as maze-like, and while you do need to examine your environment and look for unconventional ways forward in order to progress at times, you’ll almost always have an objective marker you follow that will take you to your target destination. However, there are still plenty of secrets to find if you opt to ignore the objective marker and explore levels as thoroughly as you can, including various collectables and plenty of fun throwbacks to the original games. My only issue with exploration is that there will sometimes be areas where you will be required to platform, and falling into a bottomless pit will instantly kill you and cause a game over, forcing you to sit through a loading screen that’s just a bit too long for my liking. This is more of a nitpick in all honesty, but it’s enough of an annoyance that this was changed in 2016’s sequel, DOOM Eternal, where instead of instantly dying, you just respawn while losing a chunk of health.

Combat is where 2016 differs the most from the originals. Over the course of a level, you will be locked into arenas heavily reminiscent of the multiplayer maps from DOOM’s sister franchise: Quake. These arenas are where a majority of combat encounters are held. You’ll have to survive an onslaught of demons whenever you enter these arenas, taking them out one by one until you’ve ripped and torn your way through them all, after which the arenas will open up and you’ll be able to progress further into a level. I absolutely love these combat arenas, as well as 2016’s approach to combat in general. Being locked into an arena with all of the demons, each of which have their own strengths and weaknesses, creates combat encounters that force you to constantly stay mobile, frantically switching between your different weapons depending on the situation and the demons you’re fighting in order to stay alive. Standing in one place is the fastest way to get you killed in 2016. You need to constantly be moving throughout these arenas, or you will easily get overwhelmed and pummeled or blasted to death by a Hell Knight or Revenant. The combat arenas themselves are also fantastic. They’re designed in a way that makes it easy to learn, memorize, and traverse their layouts.

Another unique addition to combat are the glory kills, which are cinematic finishing moves you can perform on an enemy after doing enough damage to them. While I have seen some mixed responses towards these, I personally love them, and find them to be a big part of why I adore modern DOOM’s combat so much. You can perform a variety of different glory kills based on the position of yourself and the demons, so you’re generally seeing a decent variety of glory kills depending on the situation you’re in during combat. Being able to perform glory kills at all of these different angles really adds to the immersion of combat in a big way as well, as they prevent the flow of combat from being broken. Glory kills are also generally rather short, they rarely take more than a second to perform, keeping them from being particularly intrusive. Though, larger enemies do get longer and more dramatic glory kills, which makes it even more satisfying when you manage to perform one on them. For me, glory kills add such an immense level of satisfaction to combat. Performing one on a particularly stubborn enemy or towards the end of an especially difficult combat arena provides me with unheard of levels of dopamine.

DOOM Guy’s arsenal of weapons sees a rather large expansion in terms of their capabilities. You can tell that they were attempting to give each weapon in the game a dedicated purpose, but unfortunately the balancing of the weapons just doesn’t quite work out that way the farther you progress in the game. The Chainsaw has been changed so that instead of being a melee option, killing enemies with it will grant you additional ammo, at the cost of requiring fuel charges in order to use it. As long as you’re not burning your fuel, you’ll almost always have an opportunity to not only instantly remove an enemy from the battlefield, but replenish any ammo you spent as well. Since ammo management isn’t that big of a concern, once you get the Super Shotgun, the Rocket Launcher, the Gauss Cannon, and the BFG 9000, you’re pretty much set for the rest of the game, and your other weapons feel rather superfluous. The Super Shotgun in particular wound up being a little too overtuned in what I’m sure was an attempt to stay true to the strength of the original weapon in DOOM II: Hell on Earth. It has a wide spray, does a lot of damage and staggers enemies at closer ranges, making it the go-to weapon for almost every scenario. You could honestly get through the entire game with just the Super Shotgun and then using the Chainsaw on enemies to replenish your ammo for it, if you really wanted to.

There are also the new weapon modifiers, granting special abilities to your weapons, but these also are made redundant by the more powerful weapons in the game. This is my biggest issue with DOOM 2016. A lot of your weapons and their modifiers just feel like excess baggage by the halfway point of the game. They don’t serve too much of a purpose, nor do they feel especially satisfying to use. As a result, I find little reason to use pretty much half of your arsenal. Hell, I forgot this game even had throwable grenades until I replayed it, because you never need to use them for anything. Thankfully, DOOM Eternal goes above and beyond to address this issue, but I’ll definitely go into more detail regarding that once I review that game (and I gotta say, I’m hella looking forward to reviewing it).

There’s more of a focus on storytelling in comparison to the original games, in so much as there actually is an in-game narrative. iD’s approach to storytelling in 2016 is interesting. For the most part, it’s there if you want to experience it, but if not, you can ignore it and move on. However, there are still certain cutscenes and cinematic setpieces that you’re forced to experience and can’t really skip. If you are playing to experience the story as well as the gameplay, it’s no big deal, but I can’t imagine the folks that don’t care about the story are especially fond of these unskippable moments of the game. They also can make the game a bit of a pain to replay as a result as well. The story itself is one that suits DOOM. It’s not particularly detailed or complex. It’s simple, straightforward, and easy to digest. There is actually a lot more lore under the surface that’s explored in the game’s codex entries that’s an entertaining read if you take the time to look through them.

Since 2016 primarily takes place either on Mars or in Hell, you spend almost the entire game traversing through red or orange environments, and it can make the levels bleed together a bit in terms of their visual design. There are still elements that make these locations look distinct though, for example, the Mars facilities are a lot more science fiction inspired, whereas Hell more so resembles fantasy, with environments that look like they were ripped straight off of a Slayer album cover. The artstyle of the characters translates the old school designs of the DOOM Marine and the demons from the original games into a modern look very faithfully. The demons manage to look kinda scary, yet they still have that 90’s charm to them that keeps them from being super terrifying. I like the design of the new Praetor suit for the DOOM Marine as well. It’s not my favorite suit (I think Eternal’s blows it out of the water) but it’s not at all bad.

Mick Gordon’s soundtrack, which has received a lot of praise, is undeniably solid, but I don’t quite share the same enthusiasm for it as other people do. Despite Mick specializing in the genre, and despite the fact that heavy metal music has always been a core part of DOOM’s identity, in part three of the DOOM Resurrected documentary, Mick mentions that he was specifically told early on in development that the soundtrack should NOT be heavy metal focused. He only went back and started adding more heavy metal elements to the soundtrack after initial fan feedback. As a result, the soundtrack as a whole is mostly very atmospheric and electronic based, with a lot of extremely bass heavy synths with the occasional opera singing when in Hell. There are a couple of tracks that do utilize guitar, and in my opinion, these are the more standout songs of the soundtrack, specifically Mick’s rendition of At Doom’s Gate which plays as the level cleared theme, Rip and Tear, and of course, the iconic BFG Division, an anthem from this game that I honestly believe deserves to be held in the same regard as all of the other classic and memorable DOOM tracks. The soundtrack as a whole is great in the sense that it suits the environments that you explore very well, but it doesn’t have enough guitar for my tastes.

Revisiting DOOM 2016 for the first time in quite a few years was pretty fun. I’m not going to lie, I kind of really had to hold my tongue and keep myself from mentioning DOOM Eternal more than I already did throughout this entire review. All of the good things that 2016 does are improved upon tenfold in that game. As a matter of fact, Hugo Martin even at one point said during marketing for Eternal that once you play it, it’d be hard to go back to 2016, and in all honesty, he was right, but I digress. 2016 is still an accomplishment worthy of celebration. The team that worked on it went above and beyond their goal of translating the experience of the old DOOM games into something new and modern, while still retaining DOOM’s core identity. It’s exhilarating in all of the ways only a DOOM game can be.

As a shooter nu-DOOM is undoubtedly better than old DOOM, as a game though there's a lot missing. Sure old doom is a fast-paced game and there's a lot of vector-based physics to the gameplay, but equally important are it's level philosophies. Old Doom levels were expansive and sprawling, and even in some cases non-linear. Equally important to your shooting ability was your knowledge of the map, what routes to take and when, resource-management for the harder encounters, when to grab the secrets, etc. 2016Doom has none of this, and most maps are combat tunnel to combat tunnel to combat arena to combat tunnel. 2016Doom is a strong enough shooter that this isn't a big problem enough to really tarnish the game, but it does limit it's potential by quite a bit. You don't have to ape the old doom 1:1, and I appreciate id is trying something different with the franchise, but the maps feels like a step-back in an important regard without anything equally good to replace it.

It's not just the trademark ripping and tearing -- it's the viscerality of even the quieter moments: shoving a severed head into an eye-scanner, prying a weapon from the cold dead fingers of a corpse, stomping carefully engineered relics of scientific ingenuity into dust, locking and twisting a beefy gun mod into place, brute-force heaving a hydraulic door open... These things are character development.

I missed these little touches SO BAD in Doom Eternal back when it came out, and wondered recently if it had colored my opinion of the gameplay too much. So, before revisiting it, I decided to complete my fourth playthrough of this, its predecessor, on the normal difficulty mode. (I did one Ultra-Violence clear back in 2018 and liked it, but to me the game really sings not when you feel vulnerable, but rather--more in accordance with the narrative--when you feel like a fucking unstoppable God).

I can barely think of one other game of this length that I've completed that many times. It's a little confounding even to me why I keep getting drawn back to it... the confidence of its simple story and world are a marvel to me, its buttery-smooth performance is a rapture, its design is ratcheted down so tight that even the tiniest flaws (one-too-many stupid Mancubi in a particular enemy hive, or the fact that you inevitably have to hunt down one stray imp to end every battle) couldn't be more glaring... but none of those qualities, or even their combination, is unique to DOOM.

What is unique to DOOM is its array of curious dichotomies. Its music blends metal seamlessly with hard techno; its world depicts the folkloric fires of hell against the frigid corridors of scientific and capitalist bloat and overreach; its game mechanics mix a surprising amount of platforming, of all things, in with the shooting (next to Respawn's endeavors, it's the best platforming in an FPS)...

And, it could not be more linear, yet it feels more open with gameplay possibility than many "Open World" games; each room a killing-puzzle that could be conquered countless satisfying ways with countless different dopamine-drenching weapon combos, pathway choices and tactics.

A violent reverie.

perhaps the finest ever example of Committing To The Bit.

doom 4 strikes a surprisingly effortless balance between grounded realism and the over-the-top Metal(tm) that doom is known for, and doesn't ever lean into it too hard that it feels like it's a parody of itself. all the insane shit you know doom for is canon and actually happened within the confines of this serious, gritty sci-fi world - the doomguy is just that bitch.

makes me mourn how eternal completely nixed any attempts at making the world feel like a living, breathing place and went all in on making it into a playground for speedrunners and the Boomer Shooter crowd, which wasn't quite as coherent and defined of a community during this game's release as it is nowadays. doom 4 is the missing link between three different generations of first-person shooter all at once.

Not in a million years is this the shooter revolution that so many people stated, but it's still a fast-paced shooter with killer soundtrack and good (not great) movement and placement. The second time around it felt easier even.

The original is almost twice as fast with much more intricate levels. It doesn't have the eeriness and surreal nature of the original, only the rage. I could also do with more silliness and mean-spirit (pushing a button and HAHA you're two floors down and in a room full of enemies in the dark, sucker!)

🎮 Platform: PC with M+B (the only way to play this game :))
⌚ Time to finish - 12h story
🏆Trophy completion - Not sure. I didn't want to ruin my experience so i went from one bad ass arena to another. I did not want ANY slowdown in this.
🤬Difficulty - As expected - I did not play ultra hard thought I have enough experience with FPS that I probably could have. I played the hurt me plenty and it was a perfect balance.
🌄Graphics – Was nice but I am not a huge fan of metallic things. But its exactly what we expect in doom game.
🌦 Atmosphere/Music – AMAZING sound track!!!!!! Reminds me of the good ol days where i use to deatmach on quake and doom for hours on end.
📚 Main Story / Characters – Whatever.... i didn't pay much attention to it and honestly not much there except for an excuse for you to kill bunch of creatures from hell. Who cares its doom!
🤺 Combat – AWESOMEEEEEEEEE! Apart from the end when it was wave after wave, I loved the combat. Part of it is nostalgia. It reminded me of my carefree younger days where i death-matched with my friends. I played quake 3 competitively at my uni, so i used all the weapons, zipping around and blowing up stuff. I loved it!
🧭 Side Activities / Exploration – Didn't do any. I didnt want to ruin my experience looking for collectibles.
🚗 Movement/Physics – Excellent. This is one of the MOST important things about FPS and doom gets it right. I am mixed on whether i am happy with the execution (kick in face) mechanism. I think it forces people to be IN the action, but i feel for someone as experienced as me, i do not need to be forced to be in action. I will go in and out as i need.
📣 Voice acting – Excellent.
🥇 Best thing about the game - DEATMATCH AND MUSIC!!!!! YEAAA!
👎 Worst thing about the game - none
💡Final Thoughts:

I loved this game. It brought me back to my younger days. The speed of the game, the waves of enemies, the music, everything was a banger. I don't understand how people are playing this with controller. I was switching guns fast, doing 180 turns, twitch rail gun shots as if i was still in my 20s :) I cannot do this that fluidly with a controller. Amazing game and cant wait to play doom eternal.

some time ago as in probably years ago a friend told me you should play doom because youre ADHD and it probably will give you so much mental stimulation that you wont have a single thought coming for the entirety of the game and i am now here to tell you that my ADHD was indeed absolutely obliterated istg the amount of stimuli in this game is incredible between the heavy metal soundtrack banging in my timpani the gameplay that didnt leave me even 1 second without doing fucking something be it exploring killing demons jumping around upgrading stuff and the outstanding visuals i had literally no time to think about anything apart from the game itself and i think nothing else will ever reach this level of nirvana forreals

as you probably will understand for the fucking title of the game this is a reboot of the masterpiece genre defining monumental videogame of 1993 doom ok so that introduction was kinda based on the legacy of this game instead of the game itself i am in fact one of those people that played doom and didnt like it that much im sorry people

WHAT I MEAN THOUGH BEFORE PEOPLE DOXXES ME AND ASSASSINATES ME doom is a really interesting game and for the 1990s its still super fucking fresh the fact that it entwines fps and exploration elements just like that its absolutely incredible BUT for a modern gamer it is kind of underwhelming but still amazing how perfectly playable it is for contemporary standards . i loved my time with it please dont kill me please pleek pleek

doom (2016) was a definitive experience for me i didnt even know i could love a game this much im still now actually shivering because i want to make another campaign or the arcade version or something its like a drug i feel very much like a junkie during withdrawal rn for some reasons

lets just get the unimportant stuff out of the way theres a story here and im pretty sure its interesting and all but what it feels like its that it is a background for mutilating demons around mars or whatever like im 100% sure the lore in this is worth 20+ microsoft word pages but this aint it for me so

the gameplay people what the actual fucking fuck FUCK OH MY FOCIFJDBSAFHFOBEGWOIGFEWIJOWEG THIS GAMEPLAY IM GONNA TEAR MY HAIR OUT so you got a gameplay loop that is definitely one of the slickest elements of this game theres a lot of stuff to do here and its fantastic

this is an fps in origin so thats basically what you have to do get out your overpowered super aggressive multitude of guns and go round and round to kill whatever stands in your way to destroying everything present on mars and thats UGHHHHH you got a lot of different weapons that you can use and even though i ended up using a couple ones more than others and thats mainly because i got accustomed to them BUT battlefields gonna drain your ammo pretty fast so youre gonna use every ace in your deck its UGH great so theres a lot of guns and a lot of personalization to them too you got different mods per guns for a great variety of play style then you got some bombs then if thats not enough for you you can punch the fuck out of the demons when theyre almost dying and that gave me the same amount of serotonin as kicking zombies in the face in resident evil 4 which is also an elite time

THEN you can upgrade basically everything and you get upgrading points by doing absolutely anything BUT in particular fighting demons its like this game absolutely revolves around combat in every single aspect it just motivates you to get in the groove and decimating monsters everywhere you can upgrade weapons you can upgrade the suit you can become stronger and kill more demons and upgrade more stuff PLUS theres also an incredible exploration system where theres some dead soldiers that you can get upgrades from or floating robots with weapon upgrades or secrets here and there or little missions to complete by doing particular stuff its incredible theres so much of this game that i dont understand why i waited so much to play this game

i am also absolutely in love with the art design the demons all look incredibly distinct so you understand soon enough which kind of weapon youre up against and have a great design that makes them stand out from one another the map is incredibly useful and has a great UI and i love the use of color in this game like every single thing in this game as a particular color scheme like armor is green health is blue ammo is white and this is also an environmental part of the game like green parts of the world are places you can usually climb up to IM SO IN LOVE WITH THIS THE MAIN MENU DESIGN OH GOOOOOOOOOOOOOOOOOOOOOOOD

then you got the ost which is a masterpiece and i wont say anything about this because it would be too unnecessarily long and i dont want to make you stay here for more than its due but im gonna leave my fav song here hi

so. Great stuff i think you should give this game to drug addicts and the rate of drug usage would drop to 0% worldwide

almost a good game, held back by memes and insecurity

doom (1993) is a game entirely focused on level design. you are 'exploring the level' at all times. combat encounters are part of the exploration. weapon pickups are part of the exploration. secret hunting is part of the exploration. every single action you take, sans the minutiae of combat (projectile dodging, bfg trickery, etc), is you engaging with the design of the level. you can beat every map in the game launched directly, with just the starting pistol and health. this is not an accident. levels are not scenes in a movie, or episodes in a show, but songs in an album. in this sense it (and doom 2, and quake) is much like an early mario, or sonic, or dungeon crawler. that hint of dungeon crawl is extremely important to doom; many spaces are designed to mess with you. you need to master the spaces to even finish the level. they're called "maps" for a reason!

doom 2016 is a game about systems. encounter design, weapon pickups, and secret hunting are all constrained based on how they want you to engage with the combat and progression systems. levels get cleaved into two modes: "looking around for stuff to unlock" and "boxed off combat." let me explain.

this game is structured around upgrades. in order to fully kit out doomslayer, you need to find all of the:
-weapons
-points to unlock weapon mods (hot-swappable altfire modes, two per weapon)
-points to upgrade weapon mods (2-3 per weapon mod)
-"mastery" upgrades for fully upgraded weapon mods
-points to upgrade the praetor suit
-second type of points for second type of praetor suit upgrade
-runes (think CoD perk system, or old LoL runepages), unlocked for doing specific instanced challenges
-slots for runes, unlocked for doing an amount of instanced challenges
-"mastery" upgrades for runes

that's nine different types of unlock. nine. for reference, the only one of these systems in the original games is "finding the weapons."

these upgrades aren't tiny, either. there's no Path of Exile "+1.3% Shock damage to Undead type enemies (Melee only)" here. instead you're unlocking things like "weapon switch speed." "immunity to explosive barrels." "bullet penetration." "reload speed for your altfire." "maximum health." these aren't minor things, they are the fundamentals of the actual combat system, the sort of thing you argue about in a competitive game. and because the game is entirely focused on its combat system, this means you only get to start playing The Actual Game - juggling weapons with the actual swap speed, using the various types of weapon mod, being able to double-jump with proper air control, or do glory kills from full range - once you find the right number of these upgrades. it's maddening.

note i am saying "find." not "get," but "find." because, yes, the obsession with upgrade systems infected the secrets too. the upgrades , or the challenges you have to do to get the upgrades, are scattered around the levels in random dead ends, or vents, at the end of "platforming" segments, or occasionally in actually optional chunks of level. you are often given three paths, two which lead to objectives (sometimes the same objective) and one slightly hidden one which leads you to the body of an Elite Guard with a Praetor Token, or an Argent Cell, or a portal to a Rune Trial, or one of 48 collectible Funko Pops, or some other nonsense. i think this is done to make secrets "Feel Rewarding," compared to the original Doom, where you'd usually just be given full health and armor, or maybe a temporary powerup. but really, it does the opposite. you have to find secrets, or else you are going to be behind on upgrades, and the secrets can't be too secret or else people won't be able to find them. the automap marks them on the map screen before you even find them, because they know you are going to need them. so, you are not engaging with the design of the level. there is no feeling of solving a puzzle, or "getting the joke," or just finding something interesting. you are just checking things off a list in the corner of the map screen.

i can imagine some rebuttals to this. "you can just not get the upgrade points," etc. sure. they can also "just" not make me unlock half of the mechanics in the game. this is one of the oldest complaints about Devil May Cry (a game these designers are clearly enamored with), or God of War, or any other Action-First Action Game w/ this sort of system - "the game doesn't start until you unlock a bunch of moves," "why can't you just start with Enemy Step," etc. I am not really fond of DMC in the first place, but it does eventually become a very good game once you get over that hump. i do not understand why idsoft decided to triple down on this, instead. and either way, these "you control the buttons you press" type responses ignore the actual incentives set by the progression systems, which the designers were clearly quite excited about having come up with, what with it dictating every part of the game. nobody would make a complaint like this if they hadn't built the game in this way!

anyways, while you're scrounging for upgrade points, you will eventually find yourself in a Combat Zone. these are (either functionally or actually) boxed off areas where enemies spawn, repeatedly, for a certain amount of time, much like DMC, or Serious Sam, or Painkiller, or other games I don't really enjoy specifically because of this "boxes connected by hallways" format. but at least the actual combat you do in here is pretty good. ultraviolence difficulty forces you to do a lot of weapon swapping, a la Quake 3 rocket/clan arena mode, with the positioning dances of Quake 1 or a Halo. the glory kill system is cool and gives fights a nice ebb and flow. it's pretty fun! at least, once you unlock the fun version of the game, where you're able to do the weapon swapping and do glory kills from full range and take more than 150 damage before dying and and and...

actually, no, let's talk about the combat. it's the only thing this game has going for it, so i have to give it more than two sentences. i want to compare it, again, to doom 93, because its the only way to explain the differences between the two.

the combat in the original doom is extremely similar to arcade scrolling shooters - gradius, xevious, eXceed 3rd Jade Penetrate Black Package, etc etc. you can strafe, you can fire hitscan weapons, you can fire projectile weapons, you can fire slower projectile weapons that explode on impact. some enemies shoot hitscan, others shoot projectiles, others do melee stuff. the game mostly boils down to dodging projectiles, circle strafing, and occasional cover peeking. this is not a problem. it's simple, it's fun to handle, and given good level and encounter design, it can be incredibly fun and interesting. your ammo economy decisions happen across the entire level: "i won't use this weapon in this fight because i want to have ammo for it in the next fight, which has these enemies," etc. this is, again, a strategic decision that can be fun, or interesting, or stressful, or whathaveyou, in the hands of the right designer. in this way, Doom is closer to an older dungeon crawler than a modern first-person shooter. remember that the original inspiration for the id FPS games was Carmack seeing a demo of Ultima Underworld at a trade show, and going "I could do that, but faster!" Ultima Underworld is a very slow, simulationist game about having to survive in a locked dungeon. It was a direct response to Dungeon Master, which itself was a real-time, semi-simulationist take on the Wizardry/Bard's Tale/Might&Magic style of first-person party-based grid-movement dungeon crawler (if you've played Legend of Grimrock, you've basically played Dungeon Master). With this info, we can start to understand these early id games as a type of dungeon crawler. The first of the "real" FPS games they made, Catacomb 3D (Hovertank is a tech demo shut up), lifted heavily from Gauntlet, an early arcade Action RPG. Wolf3D is faster, more refined Catacomb. Doom is faster, more refined Wolf3D. Quake is... etc. This is why the level design is like that. This is why the item economy is like that, why Wolf3D had "meaningless" rooms where you pick up treasure, why you were meant to get lost. Even the "bumping into walls trying to find the last secret in the map" bullshit is lifted directly from Wizardry.

unfortunately, while making their weird arcade-action dungeon crawler, they also decided to give it a gory, hypermasculine speed metal aesthetic to complement its Blazing Fast Graphics. this opened them up to controversy, reinterpretation, and controversy-fueled reinterpretation. Doom, a game where you stumble your way through weird pitch black corridors filled with nonsense monsters, became something you played to prove you were a Real, Hardened Man of a 17 year old. (yes, it always had the chainsaw, the rampage powerup, the gore sprites - i've played it dozens of times, I know). this feedback loop brings us to the doom comic.

in 1996, which I want to remind you was four years after doom came out, Marvel released a one-off Doom promotional comic. it cold opens with Doomguy punching a bunch of demons while dropping bad one-liners. "I'm a 12.0 on the 10.0 scale of badness!" "Knock knock, who's there? ME!" etc. on page 3, Methguy finds himself a cyberdemon. he exclaims, "You are huge! That means you have huge guts! Rip and tear! Rip and tear your guts!" And then he, well, who cares. Nobody cared at the time, at least. Only a few more people cared after Lowtax (eugh) dug it up for a Planetquake article 5 years later. But eventually, through the power of memetics, the phrase "Rip And Tear Your Guts," a dumb one-liner from a comic nobody had ever read, became the soul of Doom, to a certain kind of person. When the mod "Brutal Doom" came out in 2010, and added fancier gore, headshot mechanics, Mortal Kombat fatalities, and a bunch of other superfluous dumb shit, that impression of Doom went well beyond the Doomworld shitposters and landed straight in people's Youtube recommendations. That, I'm fairly sure, is how Doom 2016 ended up more inspired by a line from an ad than the actual game it's actually meant to "reboot."

The opening cutscene of 2016 ends with the line "rip and tear until it is done." The glory kill, the game's Clever Mechanic, is a "rip and tear" button. That's not to say it's not fun. Being able to turn enemies into health is cool, and keeps the game from feeling as bland as other "boxes in a row" shooters. But it serves that meme revisionism just as much as it serves the game design. This game is not in conversation with Doom. It is not building on what id was doing with Doom. It does not "bring Doom forward to a new generation." It is an adaptation of one single panel from a shitty advertisement comic book the creators had no hand in, by way of mechanics from "Character Action" games and the worst Eurotrash shooters of the mid 2000s. This frustrated me in 2016, and it frustrates me now, years after the initial disappointment wore off.

so. the level design sucks. the cutscenes suck. (have i mentioned this game has unskippable cutscenes? they're bad!). the sections where you have to stand around and listen to someone tell you that someone is trying to access someone's secret files through the Vega terminus in the ruins of the Archon reprocessor core or whatever before you can start playing the level, suck. they even do that Whedon thing where the protagonist, in world, gets mad that someone would have the gall to make him sit through an exposition dump in a Doom game, in the first five minutes of the game, and then they keep fucking doing it! the platforming, something they stuck in here even having eighteen years to take a semicritical look at Half-Life, also kinda sucks, until halfway thru the game when you find the challenge to unlock tier 1 of the perk that gives you vaguely Quake air-control instead of Halo floatiness. really, every part of the game, outside the boxes where you're doing combat, is either bland, or annoying, or Actively Bad. and the combat's only good once you've spent a few hours dealing with the upgrade system, which also sucks. the most fun I've had is cranking the difficulty in arcade mode, which lets you skip most of that fluff. not all, just most. i dunno, man!

I am sure the people who were peeing their pants over this game in 2016 were doing so sincerely. but i find myself wondering how many of them had played the original game, or how long it had been since they'd done so, and what they would say they liked about it if asked, because absolutely none of what's kept that game fun, interesting good for thirty years is present here. just download some mods for that instead.

I'm not normally interested in the 'PC Master Race' debate but I can't deny that this feels so much better to play on mouse & keyboard.
I actually dropped this game on PS4 a few years ago, but after playing Doomy Turtle via gamepass on my PC, I figured there was no way that game was so good and this one not worth finishing.

Playing through it from the start on PC, it was better almost immediately. Eternal takes what I like about this and turns it all up to 11, it's still a noticeable step down coming back to this one, but it just feels cool when you get in a groove and the soundtrack is kicking ass right with you.

Biggest complaint by far is the platforming and some levels designs are lacking and slow down an otherwise awesome momentum. Overall, really glad I gave it another go. Great reboot to a badass franchise with one of the most likeable silent protags in gaming

If you were to ask Doom fans what the least successful entry in the franchise is, the answer would probably be Doom 3. Its excessively dark environments have been endlessly mocked, the lack of fast-paced gun battling has been criticized, and the rerelease made significant changes to correct these supposed errors. However, the popular recollection of it being a failure is far from the truth. At the time, Doom 3 was iD Software’s most successful release, not only in selling a record number of copies, but in setting a new standard for visual atmosphere. What I find interesting about Doom 2016 is that the developers were able to look past the knee-jerk reactions and improve the template in a measured way. They may have lampooned the third game’s frontloaded talkiness in the intro, but the rest of Doom 3's narrative presentation was left essentially unchanged. There’s still a strong focus on atmosphere and environmental storytelling, with logs and lore entries that players can access whenever they want without disrupting flow. The encounter pacing is almost identical, with distinct sections between combat arenas where enemies are minimal and players are expected to explore for upgrades and secrets. The humor is also more like 3 than the originals, being in the tucked-away details rather than direct absurdity. What ended up making this same structure work in 2016 was by balancing these elements with appropriately high peaks in excitement, bolstered by more energetic enemies, higher intensity fights, and universally improved weapon designs. Where 3 may have gone too far in the direction of atmosphere and minimal combat, Doom doesn’t overcorrect by focusing entirely on combat, but by balancing its priorities. The downside to that approach is that some people would genuinely appreciate twelve hours of almost nonstop fighting (as evidenced by Doom Eternal’s positive reception) and some will wish that the atmospheric exploration aspect wasn’t so streamlined. Balancing diametrically opposed priorities is a difficult task, and only a small percentage of players will feel fully served. Even so, the game’s rejuvenation of the franchise speaks to how well it was handled overall, and how compromise isn’t always a bad word.

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This is a much-deserved re-evaluation. When I first played this, I was high off beating Doom Eternal. I was not impressed; I didn't like a lot of the ways it was different from Eternal and having not yet finished Doom 3 or 64 I didn't have the context to understand where the game fit in the series.

This is mostly a positive review but first I have to say something about the game's stability. This was far and away the buggiest Doom I've played, and one of the buggiest games in my Xbox library across the board. Falling through the floor, warping around in weird ways, enemy AI snafus like pathing into walls and just endless crashes. I mean endless.

This was a progression run and I died a LOT. And there were some checkpoints that would just consistently crash the game after a handful of respawns. The final checkpoint at the start of the last boss fight was the worst. I was lucky if the game would survive past 3 or 4 deaths. In a tough fight where I was trying to experiment with different tactics against a baddie that could kill me in literally half of a second, this was really frustrating. The bugs were a major hindrance to my enjoyment of the game and as a longtime id software fan I was very disappointed with this.

I also want to clarify that I'll be referring to this game as 2016 here and everywhere. Doom is one of the most successful, influential and important video games ever made. Can you imagine painting a picture of a woman and just calling it Mona Lisa and expecting everyone to take you seriously? Aside from the inconvenience to game enthusiasts and databases everywhere, how huge of an arrogant, stupid asshole does it take to full on pinch a household name like that? Turns out, a super nice guy and brilliant game designer named Hugo.

My own experience with artistic collaborations has made me pretty cynical toward anyone who stands in front of a team effort and claims the work as their own. Some charismatic man (it's almost always a man) fancies himself the visionary of the endeavor and, usually through some kind of emotional manipulation, squirms his way into a position where he gets to take the credit.

Informed by this, I don't normally like to talk about individual game designers. I don't believe in auteurs and I think art should stand on its own without conflating it with its creators. AAA games in particular are very much a team effort and I'm just not impressed with someone whose job is to sit in a chair and tell other people to make it good, even if his name is at the top of the credits.

But just this once I have to talk about Hugo Martin. I like Hugo; he comes off as a fun guy to hang out with and he's constantly bigging up his team members and the great work they do.

I was already thinking about giving 2016 another try anyway, but it was watching interviews with him that made me want to do it on Nightmare. He said straight up that's the difficulty the game was designed to be played on. I've been an Ultra-violence guy since the old days and I thought hey, if I'm going to give this game another chance I should meet it on its own terms.

It'd been a while since I finished The Ancient Gods, which was the last time I really had to push myself and sweat through an FPS. 2016 is kind of a creeper in this regard; it's not until several chapters in when the harder monsters start seeing play that the difficulty ramps up. By the last few chapters, I was retrying most checkpoints many times, in a few cases it was like several dozen. That's the kind of challenge I don't mind when I'm fully engaged; it's the same kind of stubbornness I get when playing Souls games.

That level of intensity meant that I was skin to skin with the mechanics much more this time, and it didn't take me long to realize what Hugo meant about Nightmare being the intended experience. It's like the difference between a walk through the forest and crawling through it on your belly; there's so much texture and variance that you miss when you're just sailing through it.

There's a lot of detail here to stop and appreciate, too. Plenty of environment details straight out of Doom, but painstakingly reproduced in 3-D. You can really see the love for the source material here. Where Doom 3 felt like they were trying to leave the past behind, 2016 feels much more like a loving homage. Like Doom 3, there are a lot of places with tons of environmental detail. However this felt inconsistently-applied; it seems like the farther you get into the game the more abstract and arcade-y the levels become.

In the context of bridging the gulf between the highly-naturalistic Doom 3 and the completely arcade-y Doom Eternal, 2016 threads the needle pretty much perfectly. As a game and cohesive experience, I sometimes found it lacking though.

Mars here is depicted as just red rocks with red dust, even a red filter is applied at some point. The interiors are much more interesting. The naturalism looks great, but doesn't always mesh well with the gameplay; you spend an adrenaline-pumping 10 minutes ducking and weaving and blasting demons, then 20 minutes poring over every inch of a level for a keycard that's literally a tiny little card hanging off some corpse's neck (and to make things worse, you don't pick it up automatically; you have to point the camera directly down at it and press an action button. Boooo!)

I think the most ill-advised vestige carried over from Doom 3 is the duck button. Duck makes sense in a horror game. But in a power fantasy where survival is only achieved by constantly moving toward the next kill, it makes no sense at all. As a combat mechanic, it's used in a single fight and is otherwise a dead button.

I would have unbound the duck action entirely and used the button for something else except that you have to duck to get into some of the secrets. Boy does this game have some diabolical secrets. The ones where you have to find a tiny, nondescript lever amid an entire massive level's worth of clutter gave me huge anxiety. Most levels are strictly linear, and often employ surprise gates that close behind you. I assume this was to aid in navigation, but it made secret-hunting an ulcer-inducing experience.

Once the naturalism gets left behind and we're firmly in Doom Eternal's lock-you-in-a-room-and-throw-waves-at-you-based combat loop, and the keycards are ditched for Hell's brightly colored skulls on pedestals, the gameplay really picks up. This is where it feels the most optimized, but also the most rote.

One of Doom Eternal's boldest design choices is the predictability of its arena-based encounter schema. You know that once the DMC walls goes up that you're now firmly in the combat part of the game, which will be followed by a more slow-paced platforming section for you to catch your breath, followed by another combat arena, over and over until the game ends. It never bothered me in Eternal--indeed, I found it to be a strength--because the combat in that game is so dynamic and tightly-tuned.

2016's combat just has a lot less going on with it. There's no sprint, dash or grappling hook so your mobility options are limited to environmental stuff like jump pads, which are pretty underutilized in the levels. Several of the weapons have pretty limited utility and the chainsaw isn't really part of your rotation. The super shotgun is appropriately overpowered, but even with reload canceling there's hardly any incentive to switch weapons. I think I played 90% of the last half of the game with the super shotgun + missile launcher. I feel like if you're going to strip your game down to its barest essentials, those essentials need to really stand out.

All that said, it did get my heart going every time that combat music kicked in. And then when it starts that riff that means "Ok, now the REAL nasties are coming" there were times when it was damn near euphoric. The monsters all look incredible and blasting and tearing them to pieces never stopped being satisfying.

My favorite by far is the lowly imp; he has so many incredible animations that interact so smoothly with the environment. Like you're trying to chase one down and the little bastard will be chucking fireballs over his shoulder while he dodges and weaves to get away, then as soon as you lose track of him he'll find some column to climb up and blast you from off camera with a charged shot. He's in basically every fight and he never gets old.

You know what does get old? Unskippable cutscenes. One of the selling points Hugo extolls, that I've heard echoed by many fans, is the first scene when one of the Plot People starts monologuing at you and your character knocks the video screen away. This is a great start, and in my opinion holds up as one of the strongest video game title cards of all time. Unfortunately this promise is almost immediately broken, as nearly every level has a spot where you're locked in a room with a Plot Person and aren't allowed to shoot anything while they sit there and flap their gums at you about god knows what.

I really wanted the full Hugo-brand experience with this playthrough so I read every codex entry and tried to pay attention any time someone was talking to me. It's just too much though; these things need to be skippable or simply entirely absent. I expect a giant pile of proper nouns if I'm playing a Dragon Age or whatever, but I don't come to a Doom game for its exposition.

My first review of this game was terse and dismissive: "A competent modernization of the classic." Ironically, after chewing through this thing on Nightmare and this whole reappraisal I still agree with that assessment. At the time I meant it negatively: they made a modern shooter, gave it some Doom flavor and called it a day. Now, though, I see it as a positive: warts and all; they did a good Doom! Simply meeting that standard is a feat in itself, and for all its missteps I think 2016 does a lot to move the series forward. It's obviously a labor of love, and it's so great to see that even 30 years later with a whole new crop of big brains, id is still making great Dooms.

O grande reavivamento da franquia é também uma enorme ruptura com os clássicos - tão grande ou maior até mesmo que a de Doom 3. Por baixo de sua estética demoníaca e metaleira noventista, é possível ver que as inspirações do reboot são eminentemente modernas. O level design de Half-Life, as armas e movimentação de Quake, os sistemas de upgrade e habilidades onipresentes em games atuais: dá para repartir cada elemento do game e compará-los diretamente com outros jogos, mas comparações diretas com Doom 1&2 são mais difíceis de achar. Em nenhum momento essa ruptura fica mais evidente que nos mapas clássicos. Tanto a movimentação mais cadente do Doomslayer quanto o comportamento dos novos inimigos parecem realmente "deslocados" dentro daqueles níveis pixelados dos anos 1990. Doom 2016 não atualiza as mecânicas de seus antecessores para uma audiência moderna; ele se comunica com ela usando sua linguagem contemporânea.

O que torna o game tão bem-sucedido e querido tanto por novatos quanto veteranos é como e para quê ele usa essa linguagem familiar. Ele consegue ser uma negação aos shooters modernos usando as mesmas ferramentas que eles. Se em sua forma observamos uma ruptura, em seu conteúdo há um resgate. Doom 1&2 eram mais do que uma inovação tecnológica ou mecânica. Eles eram uma experiência sentimental, uma explícita explosão de violência e visceralidade. É esse sentimento que o reboot resgata de maneira triunfal. Cada mecânica nova, cada upgrade nas armas, cada segredo, estão lá com o solene objetivo de fazer você, o jogador, ter somente uma preocupação: matar demônios.

Sabe aquela sorrisinho malicioso que o Doom Guy fazia nos clássicos sempre que pegava uma BFG, como se ele estivesse dizendo "agora sim eu vou !@#!@@## esses monstros!"? Ele vai estampar a sua cara toda vez que você fizer um glory kill ou sobreviver a um grande tiroteio.

Rip and tear, until it's done.

Run and gun in it's purest form.

I played on Ultra nightmare and whoa it made me sweaty both in a good way and in a bad way because I can certainly say it was an unbalanced campaign.

You have lots of weapons and alternate fires, lots of enemies and optional unlockables as well!

But for some reason difficulty rise is unbalanced. The middle point level Argent Tower managed to kill me too many times to count(also it's platforming part at the top sucked hard) But after that it was a smooth sailing to the point too easy until the finale mission for some reason.

Also checkpoints sucks. Why not do checkpoints at the start of a fight rather than before entrance door? I really don't get it. It just results dead time with watching the same door opening animation again and again...

Not just that if you decide to explore and die with falling down, enjoy watching the same door/lever/cutscene animations again and again. Checkpoints sucks so hard that I can't give you it's feeling enough.

But like I said it's combat adrenaline rush is really addicting as well! Not just that optional rooms to find and collect upgrades makes exploration fun as well! So I am conflicted.

I guess I will cautiously recommend this, because while the combat is pretty good, combat loop starts repeating a lot in the last quarter because game stops introducing new things and reuse a lot, also it's movement feels a bit limiting, you move not that fast and at times makes you wish for a dash move. Also like I said it's unbalanced nature and aggravating checkpoints unfortunately made the game old for me.

Btw it's grenades hecking glitchy as well. If you throw them and then use your pistol, your gun gets stuck and unable to fire for some reason. This bug happened to me two times and both of them in major areas and I needed to reload to solve that, so this problem really soured my enjoyment at times.

So this is my verdict. It's a good beginning but needs to fix it's small issues because even if you think I am nitpicking, in this full combat focused game they bother me more than a open world game could when you just want to live the adrenaline to the fullest. So that's why It wasn't perfect for me.

Bem-vindos a "Doom"! Se você sempre sonhou em ser um pacifista e resolver conflitos com abraços, bem, esse não é o seu lugar!

Imagine-se no papel do "Doomguy" (Ou Doomslayer), o cara mais durão do universo dos jogos, cuja única missão é fazer um belo estrago nos demônios do inferno. E quando eu digo estrago, quero dizer uma quantidade insana de carnificina!

Esqueça as frescuras dos jogos modernos de FPS, como recarregar ou se preocupar com quantas balas você tem. Aqui, você tem munição de sobra! É como se as balas brotassem do chão só de você olhar para elas. E se você acha que vai ficar escondido atrás de uma parede esperando a saúde regenerar, bem, pense de novo! Nada disso aqui, cowboy! É uma maratona de violência sem fim!

Falando em violência, você vai encontrar todos os seus velhos amigos demônios e algumas adições bem interessantes.

O arsenal também traz de volta todas as armas conhecidas na franquia, não faltando nossa querida BFG (Big Fucking Gun para os íntimos), com certeza você está armado até os dentes e pronto para fazer picadinho dos demônios.

Nada de XP ou pontuação por aqui! Você quer melhorar? Então você vai ter que sair explorando. Porque por mais incrível que pareça "Doom" não é só sobre atirar, é também sobre exploração e caça aos segredos escondidos, seja lá o que eles forem: runas místicas, upgrades para suas armas ou até mesmo aquelas adoráveis miniaturas.

Portanto, É claro que a pontuação final não poderia ser outra senão Doom/10.

O reboot perfeito que a série precisava. Nunca me diverti tanto, de longe o jogo mais caótico e braindead que eu já joguei.

Literalmente entregou tudo o que eu espero de um jogo da série Doom, um jogo agressivo, brutal, frenético e caótico a todo instante, não te deixando nenhum segundo pra pensar e respirar direito. Achei muito engraçado que os desenvolvedores não se deram nem ao trabalho de fazer uma história direito ou dar um background para o Doom Guy e outros personagens, já que todo mundo sabe que não é isso que vai te prender no jogo, e sim seu combate, que é perfeito, a variedade de armas, a agressividade, violência e brutalidade exageradas, as execuções, os inimigos, a trilha sonora, tudo se encaixa perfeitamente com o pacing do jogo em si. Mesmo assim o jogo não deixa de ser desafiador em algumas partes, com hordas gigantes de inimigos e chefes. A única coisa que não gostei tanto foi dos desafios das runas, algumas delas eram ridiculamente difíceis, além de que o jogo se passa em apenas dois lugares, o que acaba tornando de certa forma repetitivos os cenários.