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(2) The game avoids the predictable and overused “twist”, where the character helping you throughout the game turns out to be a villain that you have to fight in the end. Three things I liked: (1) There is no overload of pointless NPCs, whose only purpose seems to be to scream in terror and die a horrible death (a la Doom 3). The last one is particularly important as it provides important background to the Doom Marine (now – Doom Slayer ™), previously seen as just some random dude, and also explains his tremendous prowess against the forces of Hell.Ī Hologram of Samuel Hayden at the Slayer’s Tomb
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There is a bunch of standard clichés, such as Being-A-Slave-In-Our-Corporation-Is-The-Meaning-Of-Your-Life, Lets-Suck-Energy-From-Evil-Dimension-What-Could-Go-Wrong, Chief-Scientist-Becomes-Corrupted-Establishes-Cult, and Protagonist-Turns-Out-To-Be-An-Ancient-Chosen-Warrior. UAC is on Mars, something triggers Hell invasion, and a lone warrior has to stop it all. If the choice of name didn’t convince you that Doom (2016) is a “reboot” and not a sequel, then the fact that it essentially tells the same story for the 3rd time (after DOOM and Doom 3) should make it clear. Each of the Classic Maps plays whatever track was originally assigned to it in DOOM / DOOM II, faithful to the original. Overall, I felt it was well done and really fit the game. The music style matches the style of the levels, with considerable differences between the high-tech UAC bases and the caverns of Hell. Doom (2016) takes a different approach: every level has an ambient track that plays during exploration moments, while different, much more upbeat tracks kick in during the large-scale arena fights, or during boss battles. Doom 3 for instance, has no background music, only ambient sounds (which goes well with the entire horror theme). Not every FPS has background music at all times. The Ultimate Weapon in BFG Prime Labs Music The ones that do are usually those you want to be most aware of ( Pinkies, Summoners). Compared to DOOM / DOOM II, there are fewer distinct monsters voices, and most of them do not have obvious roaming sounds. Exceptions are the former humans, who are a bit too loud and irritating as hell. Weapon sounds are satisfying, monsters’ screams and growls are ominous without being annoying. The visuals are realistic yet cartoonish at the same time, so folks sensitive to graphical violence should be able to stomach it. Items you pick up along the way are bright and have clear visual cues: health items are highlighted in blue, armor in green and ammo in yellow power-ups are glowing orbs (not unlike the classic games). Every monster is distinct and easily recognizable. The environments and actors (monsters, mostly) are very well drawn. Not much to say about them they are very good. Let’s get the technical stuff out of the way first. I may draw some parallels to original DOOM games, as well as Doom 3 less to other first person shooters, since I really have not played many of them (especially modern ones). This review attempts to capture my personal experience, while the memories are still fresh.
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With some encouragement from the COVID-19 lockdown, I dedicated a few weeks (playing for an hour or two here and there, as I usually do) to finish the campaign. Only when Doom Eternal was released, I remembered that I had completely forgotten about Doom (2016). I’m not very good at playing the latest titles as soon as they come out.