The atmosphere of DOOM 2016 and what’s wrong with DOOM Eternal.

In the first blog article, I outlined the elements that are parts of the concept of “Atmosphere”.

In this article I have changed the structure to focus on the defining things.

Chapter 1. Introduction

For the author, DOOM 1993 and subsequent sequels were never a big deal, even though it was a landmark product. The acquaintance was very short, just a couple of gaming sessions lasting no more than an hour. The third game in the series generally passed by — partly from a superficial acquaintance with the series, partly from the absence of this game in the surrounding information background.

It was possible to thoroughly join the series only with the release of DOOM 2016. The author started the session with little understanding of the essence of the game: we will shoot evil spirits. But the game made it clear in a very short time what it is. Literally from the first minutes it became clear: shooting evil spirits would be terribly fun. Not “pleasant”, “interesting”, “fascinating”, but “Fun”.

Initially, in this article the author intended to describe only the formation of the atmosphere of the first part of DOOM, but in the process it became clear that the article would not be complete without comparing the seemingly very similar, but fundamentally different DOOM and DOOM Eternal. And in this article the author will tell you not only about the atmosphere, but also about the difference between these games. In the following text, DOOM will be referred to as the “original”, and DOOM Eternal as the “sequel”.

Chapter 2. Dive.

The original has one interesting property — immersing the player in the process. The best way to describe this is the epithet, which the author first encountered precisely in the context of the description of the original.

Why is the word “Fun” used to describe the gameplay?? The answer is obvious — because it’s really fun!

The fact is that in this game it is fortunate (or intentionally?) all the parameters characterizing this system have been formed. All components were fitted together with surgical precision to create a monolithic structure. A similar approach can be found in Miyazaki’s games — all animations are adjusted to the frame, and hitboxes are adjusted to the pixel.

It’s the same here: music, visuals and animations are made in such a way that if they do not complement each other, then at least they do not conflict with each other.

Learn more about each component.

This time the author https://lowdeposit-casinos.co.uk/review/prive-casino/ wants to start with music. Mick Gordon didn’t just write compositions that create an acceptable atmosphere, he created a metronome.

Just as a metronome, ticking at a certain frequency, sets the rhythm of the music, so Mick Gordon’s compositions set the mood for what is happening on the monitor. Without this music, shooting demons is bland, but still works. But when BFG Division is turned on, this process takes on new colors.

The music here sets the motive, mood and position of the player relative to the world. And in the case of the original, the motive is best described in one famous phrase.

An excellent decision by the developers was to introduce finishing animations that take into account the player’s position relative to the enemy. But by the middle of the game, their overall small number is striking. It is also striking because this tool must be used very often, since finishing moves are sometimes the only way to restore health.

BONK NO HORNY (DOOM Eternal)

The original is a pleasure to shoot. Each weapon (except the Plasma Rifle) feels like a unique, very special tool of extermination. But, alas, the balance was upset. Some copies and modifications are at least dubious. For example, the author was never able to find a use for a pistol, heavy fire and a plasma gun.

As a result, these three parts connect and together turn into a black hole, which (metaphorically) shifts the focus from the brain activity, responsible for thinking, to the spinal cord, responsible for reflexes. She sucks your attention, she doesn’t let you get distracted. This black hole is the same monolith that allows the player to associate himself with the Slayer of Doom. You are the Executioner of Doom, who came to destroy enemies without doubt and regret, inexorably and cruelly.

Against all the fiends from the depths of the underworld… Against all the wicked of the human race… We will put up against the legions… You alone..

The dynamics of what is happening does not allow time to think, the decision is made in a split second. While the overloaded guitar is playing, you must gallop around the arena, juggling your arsenal, and only when the last enemy has fallen can you exhale. But during the process not a single thought will arise in your head.

The game tells the story of a killing machine and immediately confirms it not only at the level of gameplay, but also at the level of sensations. By the way, about history.

Chapter 3. Worth mentioning.

Let’s be honest — who cared about the plot of the original?? A portal to hell has opened? So we’ll close it now, it’s business. We’ll just gut another army of demons and definitely close it. The story truly captivates in two moments — at the beginning and at the end. At the beginning, when we leave the coffin and find our armor, and at the end, when SPOILER SPOILER Hayden takes the sword from the Executioner.

The rest of the time she makes attempts to captivate, but due to what is happening around her, these attempts turn out to be very unconvincing. The author did not care at all about the story, because it plays a secondary role here.

The same is true with visuals. As mentioned earlier, it does not disturb the atmosphere, but there are not enough stars from the sky — similar stations on Mars and hell can be seen in a dozen other works.

Chapter 4. What’s wrong with the sequel?.

There was an interesting story with the sequel. In the sequel, the entire atmosphere was disrupted due to a change in one of the key components, namely the gameplay. A fountain of ammo, armor and health obviously turned out to be not the best solution.

The original was about positioning, the sequel was about resource management.

The main problem with the gameplay of the sequel is the mandatory use of everything that is available to you. The original allowed the player to select two or three favorite instruments and switch between them as needed.

The sequel forces the player to use a full arsenal, as a result it turns into a piano game where you need to press a different button every second. Another bad decision was the amount of ammunition carried, which was cut too much.

The music also indirectly influenced the atmosphere. Due to the conflict between Bethesda and Mick Gordon, the music turned out to be an order of magnitude worse than in the first part. Music no longer envelops, does not set the rhythm. In the sequel, the music turned into background and nothing more.

There’s nothing to say about the sections with platforming — this innovation was criticized by everyone who could.

Thus, the original was a spyglass with powerful optics, and the sequel turned out to be a kaleidoscope — bright and colorful, but completely useless.

The developers made a number of wrong decisions, revised the gameplay, shifted the emphasis on variety — and as a result, the whole atmosphere is falling apart before our eyes. Now you are not the executioner of doom, you are a bloodhound, wondering where to find some more cartridges for the shotgun.

After completing the sequel, the author began to doubt whether the original was exactly the same? Just as chaotic, crumpled and inexpressive?

Doubts were cleared after the first thirty minutes of playing the original. The sequel was definitely spoiled.