I like heavy metals. I loved it since I was a kid. The best heavy metal albums all have this structure, the style is predictable and it is convincing. They start with the killer opening track – MASTODON's Blood and Thunder, Metallica's Battery, Aces High by Iron Maiden's Aces High -Aces – designed to set up the scene, build the mood, and install it on the scene. Then you get the second track; bigger, more harsh, longer, harder. Take the same album as an example, you have I am a puppet master and Ahab who is 2 minutes to midnight.
So far you've been hooked – and that's the same, as next is the midrange filler in the next few Duff pieces, making you constantly caress you until the clumsy stuff at the end of the track list.
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That was the doom of the Dark Ages. I feel that the developers of ID software brought the series' metal inspiration into the logical conclusion of the game, combining the Doom (2016) trilogy with a tribute performance similar to a classic metal album that you want to see its boxart on the shelves of the local independent record store.
Introduction to the track (sorry, “first level”) is the height of the Doom map. It throws you in without hesitation, and some nice thrilling riffs when you give your a shotgun, shield and desire for demonic meat. If you've played 2016 or Eternal, then you'll know the drill. Loop through all available tools, keep moving and improvising. Giving you a gun is to put down a striking improvisation, your movement is bass, its stimulating rhythm and shield… The shield is a drum, which is the foundation of the whole process.
The biggest head of the Dark Age is the shield. A heavy, satisfying bakler on your left wrist can ramm the enemy, close distances over distant threats, and then boomerang trapped in the feed demon for your thin herd and agricultural ammunition. It's a damn sight, more fun and more ductile than the flame rack in Doom Eternal. It's fun to use, and as the game opens, you can insert Satan runes into it to make it more powerful. Just like in real life.
It also opens up another incredible mechanic: Pari. The hell's swarms will be filled with green projectiles – missiles, floating shields, screaming skulls – if you click the Parry button at the right time, fly these dangers back to the sender. This will also be granted to enthusiasts; certain privileges will allow Parries to restock ammunition, add their own projectiles to the mixture, and put on armor.
parry, shoot, punch, run, slam, shoot again and parry again to summon me like feeling. It turns my brain into a sense of fluid dynamics that fascinates me, which conflicts with the cartoon-like super violence that happens on the screen. In the shield, the Dark Age of Doom found heavy feet.
However, the shield can only do a lot of things to add to the mixture. Just like your favorite 80s hair metal band adds a new guitarist to the list, 12 studio albums to add a little bit. You can hear them, wander through the mix, but it's actually the same and doesn't add a lot to the overall flavor.
The Dark Ages of Doom is great. very good. But reaching half of its 22 levels feels like you've seen and heard all the best licks. The enemy breeds start to slow down (focus on numbers rather than diversity, seemingly taking over in the middle of the fill), with the horizontal design from sublime to predictable. Doom and Doom Eternal have already hit hard on so much that the Dark Ages really need to do something incredible to stand out in the trilogy. Sadly, the medieval world that is so inclined in marketing feels more like a set dress than a character in its own right.
Fortunately, the core tenet of the NU-Doom series remains as much more attractive as ever. Actually, I think the Dark Ages determines the flow and integration of the battle better than any other game in the series. This is because the weapon is so variable and has upgrade paths and variations that actually feels enough to make it workable. Take the “Slider” prototype; you can bounce the very pleasant explosion of death balls and directly explode the death, or choose to use RPG to blow the Rocket Square to its chest.
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If you prefer pure, dazzling aggression, i.e. approaching and personalizing enough explosives to occupy a small country, good news! There is a perk that allows you to heal damage with rocket splash damage instead of eating it in a firefight. But you can only be entertained first. So you make the battle meet for you, trap the projectiles, and then whip yourself into a burning craze, laughing as you cannibalize all the poor hell f**ks, thinking it's a good idea.
While the mid-levels are a little uninspired and repetitive, I have always been in awe of the scale and wonder of the battle situation you are trapped in. Having a weird boss can make things a little slow (there are too many bad guys, equipped with mandatory shields that stay upright when you play a bullet-like hell footstep game with them), but for the most part, the marksmanship and traversal feel great. Figuring out how to melt a large asshole's armor while sparse the feed, avoiding incoming projectile hail, and toeing with the axe-wielding barbarian is FPS paradise. It's like trying to solve Sudoku in Moshpit.
But, by the end, it all goes together. The best albums will weave all the themes, styles, energy and creativity on the track list and focus it on the last song – a shocking, almost incredible summary of the band's personality in that time and time. This is the end of the Dark Age of Doom. Almost – Almost – Compensating for the shortcomings of the middle (middle) section and making up for the wall running of the bomb and balls, it feels like three games.
The Dark Age of Doom will increase your blood pressure. It will test your reflections, problem-solving skills, goals, and your ability to solve problems in real time. It may also test your patience a little when the middle, uninspiring fill section starts to become slightly thin. But when it does manage to attract adrenaline, you will add a bite shell to the shotgun, so that the prince of Hell itself is shaking on the boots.
