Twenty-six years ago, id Software rejuvenated PC gaming and sent the FPS genre skyrocketing with the seminal DOOM. The very next year, its sequel refined the formula of ripping and tearing demonic nasties to crimson ribbons with expert precision. And then, silence. A decade passed with only the admittedly excellent DOOM 64 to satiate fans in between releases. And when DOOM 3 finally saw the light of day, it was met with a polarised response from fans, many of which derided it for its drastic departure from the franchise’s roots. But, now that Bethesda has just blessed us with shiny new ports of each of these classic titles, making them available on every major platform, how do they hold up in a contemporary context? And furthermore, what can the upcoming DOOM Eternal learn from its badass forefathers? I’d wager a fair amount.
DOOM
What can I even say at this point about this titan of the genre? After id invented the FPS genre the previous year, DOOM was their opportunity to refine every aspect introduced in Wolfenstein 3D. More complex weapon and enemy models, larger, more intertwining level designs, and an absolute jam of a soundtrack solidified DOOM as the true king of the shooter. Even in 2019, DOOM serves to demonstrate how shiny graphics and lavishly detailed scripted sequences can’t hold a candle to the elegant simplicity of circle-strafing around a horde of varied demons, putting each one down in a strategic dance of selection and brutal execution. And yeah, that does sound like a load of pretentious wank, but if a game from 1993 can still force me to think on my toes and treat each combat encounter like a little, ultra-violent puzzle, then I think it deserves some major props.
Also compounding the puzzle game nature of DOOM are the maze-like levels which you’ll need to scour in order to find the exit and grant yourself access to it. And while this can lead to occasional frustration for a baby-brained dingus such as myself, it’s nonetheless a wonderful relief to reach that final door.
This labyrinthine level design also adds to the game’s rather short playtime. While a new player may take around an hour to finish each of the game’s four ‘episodes’ respectively, those who wish to find every hidden room and kill every last demon will find themselves thoroughly exploring each stage for at least six hours or so (A figure which Call of Duty still hasn’t been able to outdo).
But, with a game as old as this, it’s expected to falter in some areas which were untrod ground until the genre had seen more releases and iterations. For example, if you die, which you probably will many times unless you pick a low difficulty, you’ll lose all of your weapons, armour, and ammunition when you respawn at the beginning of the stage. This is the single most irritating quirk of the game and is far more prominent on consoles where quicksaves are hardly a simple process.
Another way in which playing on the frankly incorrect platform puts a damper on the fun is with weapon switching, which is clunky and inefficient on anything other than the PC.
Speaking of weapons, an issue which has plagued almost every game in the venerable series began here, with weapons that become utterly redundant as the game progresses. Sure, the pistol is essential in the game’s first couple of stages, but its viability dissipates when the player acquires the rapid-firing chaingun. Thankfully, ammo isn’t as common as in later entries, meaning you still have to be selective with which weapons you’re using for standard encounters.
And one final critique which I feel somewhat harsh leveling against the game considering it was one of the first of its genre is he aiming. Like many of its contemporaries, DOOM only allows for horizontal aiming, meaning enemies who are situated above the player can still be taken down with your magical elevating bullets, but doing so can be very cumbersome in more cramped and complicated environments.
But, other than these fairly minor complaints, DOOM remains a hallmark of the genre in 2019, with genuinely gratifying weapons, clever level design and one metallic bop after another filling the player’s grateful earholes. And since the game isn’t as atmospheric as I’m sure it once was with its pixel-coated textures
DOOM 2: Hell on Earth
DOOM 2 is a tricky game to talk about independently in that it serves more as an extension of the original DOOM, rather than offering any kind of substantial innovation. Although, that’s not to say there aren’t any notable upgrades which make it a worthy successor. For example, the variety in locations is greatly expanded, with the ‘Hell on Earth’ segments towards the game’s conclusion serving as a nice change of scenery. Granted, the colour scheme can become rather drab at points, but the game certainly feels more expansive than the OG title.
Moreover, I would sign a marriage certificate for the super shotgun in a heartbeat. This God-tier boomstick. But what about some new chumps to use it on? Well, DOOM 2‘s biggest upgrade, in my opinion, was its addition of a bevy of new enemy types, all of whom (aside from the chaingun dudes) are great fun to fight and tear to pieces. The Mancubus, Arachnotron, Archvile, Revenant, and Pain Elemental have all become series staples and got their start in this game. However, there are instances where DOOM 2 just throws you in a pit with dozens of the fuckers, meaning even my darling super shotgun struggles to keep the player standing.
Another distinguishing feature of DOOM 2 when comparing it to the first game is structure. DOOM 2 abandons the episodic format adopted by the first game and instead presents the player with thirty-two missions chocked full of secrets, enemies and unique gimmicks. All of this adds up to make DOOM 2 almost double the length of its predecessor, though this doesn’t mean all of the content on offer is as well thought out and paced as the first game. Still, DOOM 2 makes for an excellent combat challenge and is absolutely worthy of the name, and the more mellow, atmospheric beats make for another legendary soundtrack that is wholly distinct.
DOOM 3
One benefit of the series taking so damn long to release a third entry is that id was able to skip the awkward transition shooters saw while moving into the era of 3D graphics. Rather than presenting us with the signature flat lighting, boxy models and muddy textures of the early 2000s, id instead delivered a starkly beautiful game lathered in dynamic lights and crisp texture-work, thus giving the game a thick, pervasive atmosphere. The PS4 Pro port of the game, while far from a current-gen game visually, holds up remarkably well to close scrutiny. I’d recommend Digital Foundry’s meticulous analysis if you’re interested in the game’s impressive visual feature set.
But enough with all that pansy shit, what’s this one like to play with the benefit of hindsight? Well, unsurprisingly id‘s penchant for crunchy, punchy weapons is present and correct, even if things have slowed down considerably. The shotgun, in particular, has a great sense of feedback and remains my go-to for any close encounters. The plasma rifle is another highlight, demonstrating the game’s advanced lighting engine as it paints the corridors in cool blue flashes.
However, where DOOM 3 disappointed most fans was its low movement speed and generally sluggish pacing. Where the previous games saw the player fulfill the role of a pissed off quarterback charging through hordes of hellspawn, DOOM 3 is a more methodical game where ammo management and cautious exploration take precedent. But while this may have aggravated players in 2004, the slow pace of DOOM 3 is now more refreshing than anything, with every other entry in the franchise (including the current reboot series) being ludicrously fast in both narrative delivery and gameplay pacing.
DOOM Eternal
To sum things up, the upcoming DOOM Eternal can learn a couple of things from each of its ancestors. Firstly, DOOM 2 taught us that combat loses its rhythm when the player is simply chucked in with endless hordes of demons. Instead, a healthy number of foes should be placed carefully not to overwhelm the player, but to keep them thinking.
DOOM 3 is emblematic of something I’ve noticed in some of the trailers for Eternal and of which I’m an advocate. Varying the pacing is essential in order to keep the player from becoming numb to the constant barrage of combat. While absolutely no one wants DOOM Eternal to be bogged down with lengthy cutscenes or dialogue segments, the odd break from ripping and/ or tearing may just be what the witch doctor ordered when it comes to keeping a healthy balance of narrative and gameplay. DOOM 3 may have gone too far the other way in a few instances, but it undeniably establishes a more fleshed out world than the first two games, which is something the 2016 DOOM began to set up brilliantly.
Ultimately, the original DOOM trilogy holds up phenomenally in the current year, despite a few wrinkles holding the first two games back from perfection. And while DOOM 3 may be less effective as a technological showcase these days, it’s still worth a playthrough just to turn its gruesome menagerie of demons into a thick red paste. Thus, I’m giving the DOOM trilogy a collective four stars.
The Wandering NPCs 