Still holds up. Amazingly, there's a certain space DOOM and its first sequel occupy that can never be replaced, no matter how many DOOM clones have been released since.
DOOM is one of the most quintessential video games, and quaint as it might seem in the face of how FPSes have grown from it, there's a reason why you'd want to try running DOOM on everything. There's just something intrinsically satisfying to its high-octane action, mowing down the legions of the damned with a trusty shotgun. DOOM's one of those few games where I basically expect anyone would have a good time playing it (assuming you don't take issue with the gore and demons, naturally).
I go back and forth on whether I prefer the first or second game. I generally side with the first, more symbolically to represent what DOOM was and is as a cultural phenomenon. But there are other reasons to prefer the first game, too. There's a stronger sense of pacing here, since DOOM still wants you to work for your power trip. It says a lot that the BFG 9000 - maybe the most likely thing you'd know about DOOM if you haven't played it - is tucked away in 'Inferno', the base game's final campaign. Levels are generally more atmospheric and based on settings, which gives more of a sense of place - it's fun to see the environment shift from clear sci-fi trappings on the Phobos base to the nightmarish Hell, decorated in skin and bones. This is all helped with the intermission screens; it's very video game-y, but I always love tracking progress on overworld maps. And for as much fun as the levels get in DOOM II, nothing hits as hard as the 'Tower of Babel' and your first run-in with the terrible Cyberdemon.
I don't love the Spider Mastermind, admittedly. She always feels like a step down from the Cyberdemon. In a way I think it's even cooler that the Cyberdemon is Vader to the Spider Mastermind's Palpatine, but I dunno - dodging projectile rockets feels like more of a test of player skill than dodging hitscan chainguns.
Since this review is about Ultimate DOOM, specifically, I should comment on 'Thy Flesh Consumed'. It's okay; you can tell this was made after DOOM II, since the high-concept levels feel more in line with the sequel than with this game. I think reusing the Cyberdemon here dilutes the effect of it in 'Tower of Babel', particularly the jumpscare Cyberdemon in 'Perfect Hatred'. Speaking of - and I recongize this is more on me than anyone else, but it bears mention - 'Perfect Hatred' was when I learned you could run in DOOM, since that skill had never been required to that point. Sort of a frustrating moment. But heck, I'll never say no to more DOOM.
DOOM is one of the most quintessential video games, and quaint as it might seem in the face of how FPSes have grown from it, there's a reason why you'd want to try running DOOM on everything. There's just something intrinsically satisfying to its high-octane action, mowing down the legions of the damned with a trusty shotgun. DOOM's one of those few games where I basically expect anyone would have a good time playing it (assuming you don't take issue with the gore and demons, naturally).
I go back and forth on whether I prefer the first or second game. I generally side with the first, more symbolically to represent what DOOM was and is as a cultural phenomenon. But there are other reasons to prefer the first game, too. There's a stronger sense of pacing here, since DOOM still wants you to work for your power trip. It says a lot that the BFG 9000 - maybe the most likely thing you'd know about DOOM if you haven't played it - is tucked away in 'Inferno', the base game's final campaign. Levels are generally more atmospheric and based on settings, which gives more of a sense of place - it's fun to see the environment shift from clear sci-fi trappings on the Phobos base to the nightmarish Hell, decorated in skin and bones. This is all helped with the intermission screens; it's very video game-y, but I always love tracking progress on overworld maps. And for as much fun as the levels get in DOOM II, nothing hits as hard as the 'Tower of Babel' and your first run-in with the terrible Cyberdemon.
I don't love the Spider Mastermind, admittedly. She always feels like a step down from the Cyberdemon. In a way I think it's even cooler that the Cyberdemon is Vader to the Spider Mastermind's Palpatine, but I dunno - dodging projectile rockets feels like more of a test of player skill than dodging hitscan chainguns.
Since this review is about Ultimate DOOM, specifically, I should comment on 'Thy Flesh Consumed'. It's okay; you can tell this was made after DOOM II, since the high-concept levels feel more in line with the sequel than with this game. I think reusing the Cyberdemon here dilutes the effect of it in 'Tower of Babel', particularly the jumpscare Cyberdemon in 'Perfect Hatred'. Speaking of - and I recongize this is more on me than anyone else, but it bears mention - 'Perfect Hatred' was when I learned you could run in DOOM, since that skill had never been required to that point. Sort of a frustrating moment. But heck, I'll never say no to more DOOM.