I never spent much time playing boomer shooters prior to 2022, but I think you could say I'm pretty well initiated by now. Playing Duke Nukem 3D and PowerSlave nearly back-to-back will do that to you, though Doom - a game I played for the first time last December - has unsurprisingly become the criterion against which I judge other games in the genre. If you asked me a few months ago whether it would be possible for any other boomer shooter to top it, I would've said it was possible but very difficult. Even Doom II, while great, didn't manage to connect with me in the same way as the original, partly due to the uneven nature of its maps, which at times were too labyrinthine and confounding. Sometimes I see Sandy Petersen in my dreams, laughing at me, mocking me.
"Design better levels!" I shout.
"No," he cackles as I dissolve into thousands of cockroaches. I wake up drenched in sweat and tears.
Needless to say, I was not expecting my benchmark to change less than a year after playing Doom, but Doom 64 is good. It's really good.
The switch to fully-3D environments adds so much to the Doom formula. Maps have a greater sense of physicality and scale, and progression feels more complex without ever becoming so obtuse as to require a guide. The puzzle-centric approach of some of Doom II's levels is made more coherent in here, and the ways in which the structure of your surroundings change - whether by pistons beating the ground to open a new path, darts flinging from walls to keep you moving, or the ground dropping out to confine you to a tighter space during a combat encounter - results in levels that are more actively hostile, but never in a way that slaps of being clumsy or mean-spirited.
The rendered nature of these levels also allows for some interesting lighting choices. The desolate UAC facilities that open the game and even Hell itself is characterized by sickly fluorescents and gaudy bright neons, and while Doom 64's lighting effects are of course very rudimentary, it is such a look. The lack of a proper hard rock Doom-ass Doom soundtrack in favor of more ambient music, wails, and demonic groans is another strong choice that helps give Doom 64 a more unique identity. Flipping switches and picking up keys introduces new waves of demons to rooms you and your super shotgun previously made safe just like in the last two games, but the constant growl of demons just beyond your surroundings produces an atmosphere where you know there's always something else out there waiting to throw a fireball at your face.
This version also contains The Lost Levels, which thankfully does not involve replaying the same tight platforming sequences over and over until I scream and get Mad For Real on a voice call. Rather, it's a small set of additional maps that bridges the narrative gap between Doom 64 and 2016's DOOM. If you didn't tell me that and just tacked them onto the end of Doom 64, I probably wouldn't know any better. Their design is so authentic to that of the game they're built off of that it just feels seamless. Romero's bonus episode for the original Doom, Sigil, showed that he clearly still had "the touch" for designing maps, and the same is true of the team that worked on The Lost Levels.
I don't really have anything negative to say about Doom 64. The shotguns could maybe do with like, three or four extra frames of animation, I guess. That's it! This is such an easy 5/5, but at the same time I feel pretty strongly about liking this more than the original Doom, and that's also a 5/5. One way of looking at this is that Id put out some truly impressive games in the 90s. Another is that my entire rating system is fucked and must be thrown out and now I need to relog every single game I have ever played.
"Design better levels!" I shout.
"No," he cackles as I dissolve into thousands of cockroaches. I wake up drenched in sweat and tears.
Needless to say, I was not expecting my benchmark to change less than a year after playing Doom, but Doom 64 is good. It's really good.
The switch to fully-3D environments adds so much to the Doom formula. Maps have a greater sense of physicality and scale, and progression feels more complex without ever becoming so obtuse as to require a guide. The puzzle-centric approach of some of Doom II's levels is made more coherent in here, and the ways in which the structure of your surroundings change - whether by pistons beating the ground to open a new path, darts flinging from walls to keep you moving, or the ground dropping out to confine you to a tighter space during a combat encounter - results in levels that are more actively hostile, but never in a way that slaps of being clumsy or mean-spirited.
The rendered nature of these levels also allows for some interesting lighting choices. The desolate UAC facilities that open the game and even Hell itself is characterized by sickly fluorescents and gaudy bright neons, and while Doom 64's lighting effects are of course very rudimentary, it is such a look. The lack of a proper hard rock Doom-ass Doom soundtrack in favor of more ambient music, wails, and demonic groans is another strong choice that helps give Doom 64 a more unique identity. Flipping switches and picking up keys introduces new waves of demons to rooms you and your super shotgun previously made safe just like in the last two games, but the constant growl of demons just beyond your surroundings produces an atmosphere where you know there's always something else out there waiting to throw a fireball at your face.
This version also contains The Lost Levels, which thankfully does not involve replaying the same tight platforming sequences over and over until I scream and get Mad For Real on a voice call. Rather, it's a small set of additional maps that bridges the narrative gap between Doom 64 and 2016's DOOM. If you didn't tell me that and just tacked them onto the end of Doom 64, I probably wouldn't know any better. Their design is so authentic to that of the game they're built off of that it just feels seamless. Romero's bonus episode for the original Doom, Sigil, showed that he clearly still had "the touch" for designing maps, and the same is true of the team that worked on The Lost Levels.
I don't really have anything negative to say about Doom 64. The shotguns could maybe do with like, three or four extra frames of animation, I guess. That's it! This is such an easy 5/5, but at the same time I feel pretty strongly about liking this more than the original Doom, and that's also a 5/5. One way of looking at this is that Id put out some truly impressive games in the 90s. Another is that my entire rating system is fucked and must be thrown out and now I need to relog every single game I have ever played.
2 Comments
@cowboyjosh I expected I'd like it but was really blown away by just how much. Even five levels in I was thinking "damn this is more fun than Doom, and I love Doom," and that opinion did not change at all. Enjoyed this so much I kinda want to buy a cart of it despite the fact I can very easily just play it on the PS5.
cowboyjosh
8 months ago