It’s refreshing to see that in these times of spiralling budgets and lengthy development cycles that id Software still creates their own tech and bespoke engines. This is arguably the ‘secret sauce’ behind modern DOOM, in the way that it allows the long-established studio to create an engine suitable for the experience they want to deliver, and not something restricted to what an off-the-shelf engine is capable of. The result of id’s engine mastery are visuals a step above what the competition are delivering, accompanied by action moving at such a pace that can, appropriately enough, only be described as breakneck.
True to its subtitle, this third entry in the modern DOOM series features a medieval setting. Well, a cybernetically enhanced rendition thereof, allowing for distinctive sights and sounds. It’s a theme id are more than familiar with, having also created the currently sadly dormant Quake series. Indeed, it’s easy to wonder if The Dark Ages started out as a new entry in that franchise.
The plot sees The Slayer being treated as a weapon, deployed onto battlefields to tackle Prince Ahzrak’s demonic hordes before being transported back to an orbital base – very much like a dog on a leash, with King Novik holding the lead. Ahzrak is aided by a mysteriously veiled witch, and out to reclaim The Heart of Argent – an amulet said to contain the soul of a wraith, ergo the might to turn a mere mortal into a God. Ahzark’s path of destruction lays waste to medieval villages, castles, cathedrals and more, and it’s The Slayers role to take on the hordes almost single handily. Later, things take a more cosmic twist. Cut-scenes use in-game models and aren’t far off from CGI quality, while the voice acting is exemplary. The only downside to being more story focused is that the chapters become very boss-battle oriented when the time comes to wrap things up.
The fresh setting grants The Slayer an assortment of more primitive arsenal, almost to the point of being sadistic. Foremostly, they’re armed with a colossal shield. This isn’t a mere gimmick but a central mechanic that will likely see as much use as any weapon during a typical playthrough. In lieu of a dodge ability, it’ll absorb any incoming fire, in addition to parrying green-hued projectiles – with the difficulty level not just linked to damage taken, but also the parrying window. On the lower difficulties it’s tricky not to parry, giving ample time to raise the shield. The shield can also be thrown, Captain America style, to churn through weaker fodder-like foes. Slamming into enemies will weaken (apply heat) and shatter their armour, and during the game’s second half more puzzle elements are introduced, mostly based on manoeuvring large stone blocks with each requiring an almighty shoulder barge.
New weapons and shield upgrades are doled around one per stage, with the story spread across 22 stages, each lasting 30-40 minutes. This includes a trio of gradually introduced melee weapons, with The Slayer able to perform a three hit combo on a cooldown. It’s devastating when used proficiently, almost the equivalent of three close range shotgun blasts. Smacking weaker enemies around the head with a mace is oddly cathartic, especially when it doesn’t slow the pace to a significant degree. I would be lying if I didn’t miss ripping and tearing into the hordes though. This Slayer sticks to internal organ shifting punches and kicks.
The Slayer begins his assault on the hordes not with the shield, gauntlet or even a pistol, but rather with the raucous as ever Shotgun. It’s soon superseded by the Super Shotgun, blitzing through shell reserves. In replacement of a mini-gun we get the ferocious Ravager, which grinds skulls into bone shards. The first variant has a spread shot useful for crowds, while the second is more concentrated. The Impaler affixes foes to walls and can perform debilitating headshots, the two rapidly firing plasma weapons will drain enemy’s plasma shields, while the Chainshot – a propelled ball and chain – causes wince-inducing knockback. The Rocket/Grenade Launcher fill the purpose of ‘ye old faithful’ – something that can be relied on to cause a singular heavy hit. The only weapon that feels surplus is the Shredder, a slower and weaker version of the Impaler. Perhaps I overlooked its intended use, as everything else in The Slayer’s arsenal is useful at some point.
Every weapon class has two variants that can be swapped between by pushing ‘X’. The weapon mastery challenges have made a welcome return too. The upgraded shotgun bestows incendiary rounds, while the Impaler can be made even more lethal with barbed spikes, and so in many cases upgrades make a noticeable difference. You’ll have your work cutout finding the gold required to purchase upgrades though, as stashes are usually well hidden.
The revised, more primal, enemy designs renders many returning adversaries unrecognisable. Pinky is now a rideable mount that tears around the battlefields once their rider has been dealt with. Stone Imps explode after being barged, while the invisible Stalker Imps cannot be targeted whatsoever, requiring good ‘ol firepower to reveal. Speedier enemies such as the snake-like Whiplash and the flying Revenants can be temporarily held into place by lobbing the shield, which will bore into their flesh and cause minor damage while you fire. Many enemies also weld armour that must be broken, and just to help keep things fair and the pace fast, rows of enemies can be mowed down at once with a single shield throw in order to restore health.
Every onslaught is accompanied by a cacophony of clashing metals, raucous shotgun fire, and snarling beasts. Heavy rock metal commences the moment enemies spawn in, only to fade once the horde has been quelled. Some horde waves include ‘leaders’ that can only be harmed once the surrounding enemies have been dealt with, bestowing a health or ammo capacity upgrade after forcibly removing their still beating heart. It’s possible to summon additional waves too by destroying marked spawn pods, with a reward for your trouble.
Two distinctly different diversions help to break up the near relentless combat, each with varying results. One of the ‘big new additions’ is the presence of a cybernetically enhanced rideable dragon. There’s something cool about hearing the words “Ready The Slayer’s dragon” for the first time. While these stages look the part, and the design of the dragon itself is neat, these chapters feel like they’ve been yanked from a generic action game. This is most noticeable during any scene where projectiles must be dodged, automatically snapping the dragon to a safe distance before pressing a single direction to dodge incoming fire, not dissimilar to a motion-controlled game circa 2010. Flying through rings restores health, while tunnel chase sequences see the dragon merely bounce off walls should they collide.
The Dark Ages isn’t any worse for having dragon riding – the handful of dragon-focused chapters are sufficient diversions – but they don’t add all that much to the experience either. Instead of breathing fire onto the hordes below, we’re left to destroy gunship turrets ad nauseum. At least one chapter featuring air-to-ground combat would have helped diversify things further.
Then there’s the Atlan mech battles, which see The Slayer strapped into a suit of hulking armour to tackle colossal titans, paying no attention to saving the scenery around them. Bridges crumble and towers topple in their wake. These stages have a slight QTE feel to them, with The Slayer using his fists and sidestepping to dodge attacks before unleashing a final blow. The difficulty during these scenes is noticeably low, with all attacks and button prompts marked and clearly indicated. They serve well as spectacle pieces, and also propel the story along, but there’s still some untapped potential here; no side-missions, or the need to protect civilians, save key structures, or tackle ground troops. It’s just a case of The Slayer up against titans, taking on no more than three at once.
Everything comes together surprisingly well though, bonded by blood and sinew. The Dark Ages is nothing short of a thrill ride; one that captivates wholly for its 20 hour (approx.) duration due to its drip feed of new playthings, well-timed breaks from relentless carnage, gradually introduced puzzle elements, and its Halo-eqsue storyline. The lack of any multiplayer modes – not even a Horde Mode, or some kind of online scoring element – does make the £69.99 price tag hard to swallow but is also understandable when so many multiplayer focused live service shooters exist, all vying for people’s spare time. Arguably, the time and effort that could have been spent on a MP component has gone back into the campaign, resulting in well-designed stages that take a while to 100% – with each stage having a percentage-based progress tracker. Some hidden areas are pretty much in plain view, while others are deviously located. To upgrade each weapon fully will take a long time, far exceeding the 20 hours the campaign takes.
The Slayer’s medieval getaway feels like more than just a mere blip in the timeline, delivering a crucial part of DOOM lore. Polished and refined, it feels like something id Software has wanted to create for a long time, doubtlessly fuelled by many late-night brainstorming sessions. It’s laser focused on what it sets out to achieve, being a victim of only modern-day pricing structures. That, and perhaps the fact that out of Quake and DOOM, the former is the more marketable of the two brands. Eons apart, yet they still share the same melting pot of ideas, mercifully.
id Software’s DOOM: The Dark Ages is out now on PS5, Xbox Series and PC. Published by Bethesda Softworks.