The review highlights the innovative and engaging combat system in Doom: The Dark Ages. The diverse arsenal of weapons, each with distinct purposes and utility, is lauded. The reviewer particularly enjoys the Slayer's shield, which allows for both offensive and defensive maneuvers, creating a fluid and satisfying combat experience. While enemy variety is limited, the reviewer argues that the depth of the combat mechanics more than compensates.
Surprisingly for a Doom game, the story receives significant praise. The reviewer emphasizes the Slayer's unexpected tenderness and depth of character, contrasting his brutal efficiency with moments of unexpected care, particularly his interaction with a dragon. The narrative is described as unexpectedly engaging and emotionally resonant.
The review identifies some drawbacks. Gameplay sections involving a mecha and a dragon are criticized for their repetitive and less engaging combat compared to the core gameplay. Despite the novelty of controlling these massive units, their mechanics are deemed simplistic and underwhelming.
Overall, Doom: The Dark Ages receives a highly positive assessment. The reviewer emphasizes the unexpected depth of the narrative and the highly enjoyable combat experience as the game's strongest points. While some sections fall short, the unique and satisfying gameplay mechanics ultimately make the game a success.
If youâve spent any time on the internet, you may have seen the âwhat I expected vs. what I gotâ memes. If I could make one for Doom: The Dark Ages, in my expected column Iâd reference the earlier Doom games â Eternal and the 2016 soft reboot of the franchise. But for the âwhat I got columnâ thereâd be an unexpected mix. Those earlier Doom games would still be there as in most respects The Dark Ages is very much like its predecessors. But Iâd also throw in Band of Brothers, Pirates of the Carribean, Pacific Rim, The Necronomicon, and a collection of the best bodice ripper romance books literature can provide.
For The Dark Ages, id Software takes the story way back to the early days, to a time before the demons invade Mars and Earth. The Doomguy, known as The Slayer, is a supersoldier enhanced by aliens who have styled themselves as humanityâs gods. When those gods and their human collaborators are besieged by the legions of Hell, the Slayer gets to doing what he does best: ripping and tearing until it is done.
The Slayer has an arsenal of weapons to aid him in his quest. The seriesâ time-honored favorites, like the super shotgun, make an appearance. But in this old time-y prequel of sorts, the Slayer has all new weapons to get medieval on demon asses. Iâm actually really surprised at how much I enjoyed using every weapon in this game. Typically for games that give you a varied arsenal of guns, only one or two are worth using as thereâs only so many ways a thing you shoot people with is materially different from another thing you shoot people with.
But each gun in The Dark Ages was designed with a distinct purpose with enough utility to still get the job done outside that purpose. The accelerator breaks energy shields and with upgrades can paralyze enemies. The impaler works as both a semi-automatic pistol to mow down swarms of fodder but can also transition into a sniper rifle that shoots bullets the length of railroad spikes. But though I love every gun equally, itâs the Slayerâs shield that makes combat so dang entertaining.
Using the Slayerâs shield is the most fun Iâve had playing a shooting-focused game because now, instead of shooting bullets, I am the bullet. Using the shieldâs charge ability, I can shoot across the battlefield ramming into enemies and turning them into paste. When that abilityâs on cooldown, I can also use the shield to parry attacks, reflecting them back where they came for massive damage. Parryingâs useful to break enemy armor and protect yourself and, unlike in Clair Obscur: Expedition 33, it doesnât take an advanced degree in theoretical physics to figure out the timing.
Between the shield, the Slayerâs melee attack, and all the guns, combat in The Dark Ages feels like entering mini flow states. Every action fits together like a ballet of carnage. Shoot the metal armor to weaken it, throw the shield to destroy it, then, by the time itâs returned to my hand, the enemy has unleashed a blast I deflect back to kill it. And because combat is so much more involved than point and shoot, I can bear the fact that thereâs not a lot of enemy variety or unique boss encounters.
Another conflict between the âwhat I expectedâ and the âwhat I gotâ column is how strangely peaceful and zenlike playing The Dark Ages is. The levels are large, filled with secrets and collectibles that I enjoy searching for. Completing a level 100 percent doesnât feel like an exercise in tedium but rather a reward for perseverance and clever puzzle solving, especially for someone like me who is very much not a completionist.
In addition to the ripping and the tearing there are other special sections of The Dark Ages in which the Slayer pilots either a big ass Doomecha fighting enemies Rock âem Sock âem Robots style, or a big ass dragon with flying sections. These moments were a miss for me. Despite the ârule of coolâ novelty of the mecha and the dragon, without the variety of the Slayerâs weapons, combat in these sections is boring as â forgive me â hell. All you do in the mecha is walk and punch. All you do with the dragon is fly (poorly) and shoot a canon (also poorly). Theyâre certainly cool to look at in cutscenes but mechanically, Iâd rather be back on the ground.
But my favorite part of this entire game is the story. I know thatâs not something youâre supposed to say about Doom. Itâs Doom: the story is superfluous to all the demon killing. But thinking about the narrative id laid out, I start giggling and kicking my feet like a blushing schoolgirl because this Slayer is a lover!
Just like in the other games, this man cannot be bargained with and he has no moral ambiguity. If you are a demon, you die. If you enable demons, no matter how âgoodâ or ânobleâ your reasoning is, you die. And he is just so stylish at killing things, inflaming my competency kink.
But more than that, despite the fact that in previous games the Slayer doesnât speak outside of pained grunts and his face is covered for most of the game, the way this man emotes implies so much depth. Thereâs a moment, in the middle of one of the dragon sections where just before he hops back on his loyal steed, he takes a beat to place his hand tenderly on the creatureâs neck.
But my favorite Slayer moment comes early in the game. Heâs being held in stasis by his alien masters as they donât want to deploy him and thereby draw Hellâs attention. Heâs forced to watch as his human allies are overrun and he is so overcome with rage that heâs able to briefly break the chains that bind him. You could be forgiven for believing the Slayer is driven by the desire to vanquish Hell, but thatâs only partly true. In The Dark Ages, he is just as much a lover as he is a fighter, and the hottest thing a man can do is rip and care. The Dark Ages is so good because it brings out the kid in me. Describing it to other people makes me sound like a child trying to explain something that sounds nothing like what youâd expect from a Doom game as I ramble off events with no regard for shaping a coherent story. âAnd then, a big mancubus appeared, and I parried its blast with my shield and then a bolt of lightning came down from the sky and it killed a bunch of demons. And it was awesome.â
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