I played Doom: The Dark Ages and appreciate that it won’t be a safe sequel

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In another perspective, The Dark Ages transports you to familiar battlefields marked by swift skirmishes. Here, triumph relies on tactical maneuvering across the combat zone and wisely apportioning ammunition to each monster based on its unique requirements. While the combat rules have evolved slightly, along with the player’s abilities and the tactics of the monsters, you can undeniably sense that you’re immersed in a game reminiscent of Doom, or perhaps a close replica.

Captain America: Gore Edition

In the upcoming game titled “The Dark Ages“, it seems that the most significant novelty lies in the introduction of an item called the “shield”. Given the nature of games like “Doom“, where the Slayer wields powerful weapons for offense, it makes sense to start by examining this defensive piece. What sets this shield apart is that it’s not just a protective device; it’s also a circular power saw that hums pleasantly. The saw embedded within this shield offers an intriguing opportunity to challenge and redefine our understanding of what a “buzz saw” essentially represents.

In this game, the shield significantly alters the nature of battles against demons. It has the ability to intercept some incoming attacks, even when they’re coming thick and fast, more so than in the game Eternal. At times, it felt like I was right in the middle of a first-person shooter chaos. Of course, we can’t just rely on hiding behind the shield all the time; after all, it only blocks attacks that we encounter directly. But when under heavy fire, we don’t just have the option to move forward, but there are instances where it’s advantageous to do so. Additionally, certain green-colored bullets can be deflected by the shield, so if used at the right time, these lasers, plasmas, or other harmful projectiles will be sent back to their originators instead.

As a gamer, I’ve noticed that the way we acquire armor from enemies has been tweaked a bit. Now, instead of just looting them, we can now superheat enemy armors and metal shields with our advanced fire control system. A quick toss of my saw shield then triggers a heat explosion, taking out the main target and any nearby foes. The best part? The armor from the fallen enemies gets recycled for us to use! Plus, this efficient throw can even slice through minor opponents like they’re made of cotton candy, effectively breaking through energy barriers too.

Nevertheless, it doesn’t conclude here. The second form of toss has the ability to make the target temporarily immobilized, granting us a better opportunity to strike its vulnerable spots or handle other demons more easily.

Another method available involves a swift charging mechanism that essentially allows the hero to hurl the shield concurrently. This tactic not only inflicts more pain on demons but also offers a strategic means of traversing the battlefield, as mobility is crucial for staying alive.

The shield immediately becomes our key defensive-offensive tool, but that’s not all!

Doom sandbox

When I was having a blast, I stumbled upon some environmental conundrums where our defensive device proved handy yet again. Much like Kratos’ Leviathan, it allows us to engage with various game objects:

* Breaking specific walls (replacing the gauntlets from Eternal)
* Destroying heated metal components
* Serving as a cogwheel to activate mechanisms
* Acting as an anchor, pulling us towards it from a distance.

I have conflicting feelings about these solutions because while they provide temporary pauses to catch my breath, the puzzle elements were somewhat unclear to me. To be honest (and supported by the narrative of this and previous games), Doom Slayer appears to be more of a brute force kind of guy who would prefer tearing the gate apart with his bare hands than searching for hidden mechanisms and hopping around like a bunny.

Although the importance of the puzzles remains unclear (as they seemed essential during the demo), their mandatory nature and distribution throughout the game levels could significantly impact the experience, compared to the pressured and time-bound demo version. At this stage, I can’t make any definitive judgments about it.

As a gamer, I’m equally excited and cautiously intrigued by the concept of transforming multiple zones into small sandboxes. In The Dark Ages, the design of intricate labyrinths with hidden nooks filled with loot is back, which is fantastic, but occasionally, we get to traverse expansive, non-linear maps. And yes, they’ve used the term “sandbox,” but thankfully, it doesn’t mean spending hours collecting pigeon feathers or completing quests. Instead, it feels more like the open environments we could freely explore in games like Uncharted 4 or Modern Warfare 2.

We still encounter grotesque spectacles at every turn, but now, we have the liberty to choose the sequence and pace of tackling objectives. We can decide which optional confrontations and discoveries to prioritize, offering a more immersive gaming experience. I recently had a chance to delve into one of these sandbox zones for a while, and despite my initial reservations about blending “Doom” with the concept of a sandbox, it didn’t seem to detract from the gameplay. Classic Doom levels always required meticulous wall-hugging in search of secrets and breaking through to the next arena. The only change here is that we have more control over the order in which we traverse specific locations.

At times during this tiny play area, I found the backtracking to be somewhat repetitive, and neither running nor fighting minor demon swarms provided much variety in the overall experience. This issue might grow tiresome throughout the entire game, particularly if we’re looking for items that can significantly and long-term enhance our character. However, it’s too soon to make a definitive judgement. Instead, this is just another aspect of the game’s pacing that leaves me somewhat puzzled.

Symphony of Destruction

1. The team ensured that the audio design was not only engaging but also calming, featuring soft electric guitar tones, rhythmic war drums, melodious bass lines, and ethereal sounds of crumpling metal tissue.

2. While I didn’t notice a significant visual upgrade from Eternals, the contrast between the heavily futuristic elements and the typical dark ages setting is striking in this instance. You’ll find plenty of spikes, ironwork, Gothic architecture, and armored characters (even those with spikes) here. To keep Doom Slayer warm, he has a furry back. Again, the weapon designs are commendable; I particularly admire the grinder that assaults enemies at close range with a shower of shards from a perpetually crushed skull.

3. The new Doom is visually stimulating, but once I got into the rhythm of combat, I had no trouble discerning distinct visual cues.

4. My preferred weapon design might just be the grinder that unleashes a storm of shards on enemies from a continuously fragmented skull.

5. In essence, The Dark Ages can still be aesthetically pleasing, and although there wasn’t a clear graphical evolution between Eternals, the stark contrast between futuristic elements and the archetypal dark ages is noticeable here, with an abundance of spikes, iron, Gothic architecture, plate armors (even those with spikes), and Doom Slayer sporting a warm fur on his back to stay cozy. The weapon models once more deserve special recognition; my favorite design is arguably the grinder that pummels enemies with a hail of shards from a consistently smashed skull. The new Doom is an impressive spectacle, but when I got into the groove of combat, I had no difficulty perceiving individual visual cues.

It appears that we’ll find ourselves pausing occasionally to appreciate the intricate graphics, as it’s said that The Dark Ages will offer a more extensive plot than expected. The developers have described this as a shift from the codex (where we gathered most of our world knowledge in previous games) to the game itself. I’ll reserve my opinion until I’ve experienced the entire story, as I approach plots in Doom like the protagonist in the prologue of the 2016 game, not waiting for the elevator audio to finish. We both have no time for such delays. However, I must admit that setting the action in a period preceding the previous installments has allowed for the exploration of an unusual universe where gods maintain their status due to significant technological superiority, and Doom Slayer is a destructive weapon kept under control by these very gods. Even those he often indirectly protects fear him.

Waiter, there’s Jaeger floating in my Doom!

Alongside the standard, sequential, and expansive game modes, developers also discussed two captivating innovations intended to enrich the gaming experience. Initially, players can command a functional Atlan, a massive mech reminiscent of what we encountered in Doom Eternal. While this concept sounds extraordinary, the thrill of this interaction fizzled out for me rather swiftly. What’s more, engaging in combat with Titans on equal terms felt monotonous to me, and the rapid movements of these colossal mechs were hard for my mind to accept as controlling a Doom-like Jaeger from Pacific Rim. Essentially, we’re sparring against towering demons, but I found the gameplay to be too repetitive, and the quick dodges used to boost the gun’s fire rate seemed more fitting for an agile Doom Guy than his skyscraper counterpart. The environmental destruction, crucial in conveying the sense of controlling a powerful and hefty entity, was symbolic and heavily scripted: a bridge filled with comical ant-sized individuals and their tanks disintegrates whether we smash into it at full speed or with a gentle tap.

Regrettably, the second gameplay element failed to excite me as well, which is quite an accomplishment given its description – soaring on a jet dragon with cybernetic wings and machine guns. On paper, it seems exhilarating. Gliding through narrow passages did indeed provide a thrilling, arcade-style sensation of speed; I felt like I was at the helm of a medieval fighter in an offshoot of the Ace Combat or H.A.W.X series (given my age). However, during combat with ground targets, the dragon would hover above and engage in an uncomfortable-looking exchange of fire, requiring me to dodge incoming bullets and, after a well-timed evasion, deplete the enemy’s health bar. In my opinion, this static combat sequence detracted from the joy of piloting such a bizarre flying beast, as it lacked any sense of style or excitement.

The attempt was made

In a different take:

The new version of Doom didn’t resonate with me in all aspects, as it may still require some polishing. However, one point that can’t be criticized as being from the Dark Ages is its refusal to be just another safe sequel, which we see far too much of nowadays. Within the confines of its genre, Doom aspires to break new ground once more, and this boldness to innovate makes it a game worth paying attention to during its May release.

Even though not all of the innovations may meet the developers’ expectations (much like the platforming elements in Eternal that still spark debates), Doom will undoubtedly retain its distinct character. I am eagerly anticipating how the game performs upon release, but I’m glad that id Software is willing to keep pushing boundaries.

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2025-04-02 15:33