As a devoted fan, I’m consistently blown away by DOOM, and it seems that DOOM: The Dark Ages won’t be an exception. Before its gameplay reveal in January, I was fortunate enough to sneak a peek at the first-person shooter’s Xbox Developer Direct presentation. Later, I had the opportunity to attend a Q&A with game director Hugo Martin and executive producer Marty Stratton, where they shared fascinating insights about the game.
From the evolving combat mechanics and increased focus on exploration, to their innovative approach to storytelling and beyond, they delved into numerous topics during the session. You can find the complete Q&A below.
From the beginning, we’ve decided to focus solely on our campaign. This way, we can devote all our efforts to crafting unique experiences such as Atlantis and the dragon adventure.
Why is there a change from DOOM’s usual blend of science fiction and journeys to both the future and the underworld, to a medieval setting instead?
As a passionate fan speaking: From day one, our goal was clear as I embarked on reimagining this iconic franchise. It’s like there’s a blueprint for creating successful intellectual properties, set by legendary works such as The Lord of the Rings and visionaries like George Lucas. This blueprint guides us to build an enticing world with a rich history, populated by characters who have compelling pasts. If we manage to captivate the fans with our efforts, we’ll be granted the opportunity to delve deeper into this universe, exploring its history – and that’s exactly what we’re doing. We’ve been given the chance to fully actualize the Slayer’s testament, and I couldn’t be more thrilled!
Are you curious about the concept I have for adjustable difficulty using sliders? Could you provide more details on the factors that could be adjusted, and the reasoning behind choosing this method instead of others?
Marty Stratton (Executive Producer): One aspect you can customize is the game’s speed, which can be increased or decreased to suit your preference. This is a great starting point. The key with these adjustable settings is that they can be lowered or raised, making the game either easier or more challenging, depending on your choice. It’s quite enjoyable to experiment by increasing the speed or narrowing the parry window for a more intense experience. You can also alter the damage you receive, providing several options for customization.
As a dedicated gamer, I can vouch for the versatility of this game. It caters to various playstyles, making it approachable for both casual and hardcore players. For instance, it offers the flexibility for us hardcore gamers to elevate the challenge and create our own over-the-top gaming experiences. On the flip side, it also enhances accessibility, catering to players with motor difficulties or those who prefer a tailored experience. After conducting extensive testing in this area, we’ve received overwhelmingly positive feedback from the gaming community regarding its inclusivity and adaptability.
Will DOOM: The Dark Ages feature any multiplayer modes?
Stratton explained that their focus is solely on the campaign for the game. They made this decision right from the start to allow them the freedom to develop unique features such as the Atlan, mech, and dragon experiences which are like mini-games within the main game. Since campaigns are a significant draw for DOOM fans, they chose to dedicate all their efforts towards crafting the biggest and best DOOM game ever produced.
In what particular manners does the combat in DOOM: The Dark Ages differ from the combat in DOOM Eternal, as every sequel typically responds to its predecessors’ gameplay mechanics?
We’re thrilled to be part of the creation of the third installment in the DOOM series, following both DOOM (2016) and DOOM Eternal. With each new game, we accumulate valuable lessons and experience, which we believe has culminated in crafting the finest DOOM game yet – a claim that’s not merely a marketing slogan but a genuine conviction. Our objective was to surpass our previous works, and we believe we’ve achieved that goal with this third entry.
As a gamer, I’ve learned a ton from our 2016 release of DOOM and observing others play. The most fascinating part is unwrapping the feedback, especially the constructive criticism. While many praised it, I found myself drawn to the naysayers, peeling back their reasons for dislike. In 2016, they said it was too repetitive; in Eternal, some felt it was overly challenging. Personally, I found it excessively complicated. I believe that intricacies in the control scheme added unnecessary hurdles. The goal is to battle the demons, the adversaries, not wrestle with the controls.
“The first thing I say about DOOM: The Dark Ages is it’s a grounded Slayer.”
In The Dev Direct, you’ll find an extensive exploration of the design evolution behind DOOM: The Dark Ages. All the points I make there are actually discussions I had with my team during development. These fundamental concepts have been our guiding principles since the initial greenlight, and they’re all covered in detail. I appreciate the analogy; a user-friendly control scheme, similar to having fewer strings on a guitar, was our primary objective. This way, when we challenge the player, they won’t struggle to find unfamiliar buttons.
Absolutely, we’ve gained a wealth of insights from observing people and their responses to Doom Eternal and 2016. It might seem like I’m being overly critical, but that’s part of our job – constructive criticism helps us improve. We find that negative feedback can often teach us more than the positive aspects, so we always pay close attention to it. Of course, pleasing everyone is impossible, but we strive for our best.
On this project, I believe I invested more hours playing classic DOOM than any other. To start, every project demands a good dive, and exploring why the original DOOM has endured for so long is fascinating. It’s one of the most accessible first-person shooters with a single-player campaign ever made, but that doesn’t mean it’s easy. An intuitive control scheme and combat system refined over time might make it simpler to start playing, but mastering it will still be challenging – which is exactly what we aim for in game design.
Even though classic DOOM is super easy to play, it’s still incredibly tough once you crank up the difficulty. You see, some aspects of the older versions didn’t hold up so well over time, making them less appealing for today’s gamers – and let me tell you, this isn’t everyone’s cup of tea. For instance, getting lost in those levels can be a real pain, thanks to the unclear signage. The exit of a level, or even just a door, often blends seamlessly with the rest of the wall texture, making it nearly impossible to spot. Modern gaming has definitely spoiled us with its navigation conveniences, and classic DOOM is sorely lacking in that department!
In terms of battle, it’s incredibly simplified yet remains entertaining even today. Here’s my take on DOOM: The Dark Ages – it’s a more grounded Slayer, with greater power and a focus away from the acrobatics seen in DOOM Eternal. When you play it, you’ll notice it’s a resemblance to its classic form. It feels like a return to the original DOOM, making it our most authentic game yet. It’s amazing to reflect on how, after ten years, we’re still discovering new aspects from that first game, but it’s not unexpected.
Stratton: After completing DOOM Eternal, there weren’t many directions left to explore. We couldn’t aim for greater heights or more verticality, especially post The Ancient Gods. When we embark on a new venture, it’s about asking, “what’s fresh, how can we create something unique that will set this game apart?” And these questions drove many of the changes we made.
Martin expressed that in 2016 [and Eterna], the team was completely invigorated by innovation rather than repeating the same formula. While a replica might satisfy some, they recognized that such games often lack longevity. The excitement wanes after the initial weeks as players move on. However, DOOM Eternal is still widely discussed because they opted for more than just DOOM (2016) version 2.0.
In our game development process, we strive to ensure that each game we create is unique and self-contained, avoiding repetition. While the core concept of aggression remains central, we aim to highlight different aspects of it. For instance, maneuvering between projectiles and obstacles was less emphasized in 2016 and Eternal, but it plays a significant role in The Dark Ages, much like it did in the original DOOM.
Essentially, our aim is for every game to be unique and distinct. For instance, if you were to purchase the modern DOOM series, you’d expect each game to offer a different experience. Therefore, our primary goal is to strive for originality in our creations.
When purchasing the contemporary DOOM trilogy, it’s crucial for each game to maintain its unique identity. That objective is immediately clear; our aim is to create something fresh and innovative.
You asked if the story from the Codex is moved to cutscenes, will there still be a place where I can find more in-depth lore details, such as the fine print or additional information?
Martin: Absolutely, there’ll indeed be a codex, but its importance has lessened compared to before. Our aim is to transition from the codex to the cutscenes for a smoother narrative experience. We believe that if the storyline is crafted skillfully, it can significantly improve the gameplay. However, reading every line of the codex won’t be essential anymore to follow the plot this time.
Can you talk enemy variety? How do they suit and adapt to the more heavy feel of the Slayer?
Martin: Essentially, the focus here is on the enemy’s projectiles and their movement patterns. In our case, we’re using chess pieces as an analogy, with some fresh additions. The game board, however, has been designed to be more spacious to facilitate a unique combat mechanism reminiscent of classic DOOM, where successful play demands significant movement. You see, in classic DOOM, the slow-moving projectiles necessitate a lot of movement to avoid them and deal damage to the demons.
If we slow down these projectiles even more, it creates a shooting game (Schmup) like pattern, moving through the space, and the player must dodge this pattern as they deliver their attacks. The range of our weapons has been adjusted to be medium-to-short range, motivating players to engage directly with the enemies, navigate through the barrage of projectiles, just like in classic DOOM, all while dodging the whizzing projectiles and landing that final blow with melee, shield, or guns. This design aims to create a fresh gameplay loop.
Is this an open world game, or does it just have open world elements?
Stratton: This isn’t an open-world game, but it boasts the largest worlds we’ve ever created. It transitions from the traditional linear DOOM style into larger sandbox arenas. The freedom to explore is significant, and there are numerous objectives that can be tackled in any sequence. When we talk about exploration, there’s a lot of it in this game, primarily for power-ups.
One of the key aspects that stands out is self-improvement, which you’ve gotten a glimpse of during the Dev Direct. This involves acquiring resources and upgrading various aspects such as your weapons, shield, and melee combat skills. It’s not just about discovering hidden items or toys; it’s essentially an adventure for power.
Exploring the dragon is also an exciting part, and I’m sure we’ll discuss that further. However, what’s truly remarkable is that we’ve created our largest worlds yet. When you step onto these battlefields, you genuinely feel like you’re in a real battlefield. It’s quite awe-inspiring.
Martin: It appears that the layout of the levels has an intriguing maze-like quality, as I retrace my steps to the starting point but this time with the key, which opens up areas in creative ways. A lot of the game involves going back to previously visited spaces and discovering advancement items hidden within them. There are secrets scattered throughout, and as Marty mentioned, these secrets are closely tied to the player’s progression, providing a strong incentive. Essentially, you’re still collecting toys and such, but the main emphasis is on finding items that drive progression.
In this updated version of the game, we’ve simplified both the economic structure and the types of currency. This is a lesson we took from DOOM Eternal, where having too many currencies and skill trees can leave players feeling overwhelmed. We’ve made it easier to navigate this time around by reducing the number of currencies and making them more intuitive. Now, you’ll find gold throughout the game, which is straightforward – it opens up new possibilities.
Indeed, we’re incredibly pleased with the remarkable job our level designers have accomplished. We believe it ranks among the finest work produced by our team up until now.
Stratton: Another point that will leave people astonished, without revealing too many specifics, but the locales and realms featured in this game are unlike anything we’ve ever created for a DOOM game before. It might sound like an exaggeration when we say it’s unprecedented, but trust us, there are places where you’ll just stop and gape in disbelief, thinking, “This is incredible!
Martin: To create a stronger single-player game, we chose to forego multiplayer. This decision allowed us to concentrate our resources on elements like the dragon, Atlan, and other aspects, which wouldn’t have been feasible if we were dividing our team’s efforts among various game components. Consequently, our focus has been solely on the single-player aspect, and I believe this is evident in the gaming experience we’ve crafted. We’re thrilled to unveil it to everyone, and you might have noticed it during the Dev Direct. It offers a comprehensive look at the game, delving into its design story. The design pillars we use daily in our office are what make up the true tale of The Dark Ages. We’re not keeping any secrets; it’s all out in the open for everyone to see.
This time, while there will still be a codex, its importance has been reduced. The main objective now seems to be transitioning from the codex to the cutscenes instead.
I’m really interested in learning about the reasoning behind designing The Dark Ages with a heavier, tank-like Slayer character, instead of the jump-and-shoot style from Eternal.
As a devoted fan, I’m yearning for something fresh yet quintessentially DOOM. The thrill of playing the same game again isn’t what I crave, especially when it comes to a title I adore. I’m longing for a DOOM experience, but not one that strays too far from its roots. I seek that adrenaline rush, the speed, and the freedom to explore. Yet, I’m open to you reinventing the power fantasy, as long as it brings us closer to the original DOOM’s essence. In fact, I wholeheartedly welcome such innovations. That’s the spirit – innovation is the heart of the game, it has to be. After all, we’re vying for gamers’ attention, and standing out is key.
This fictional realm is a product of our collective imagination. Therefore, we’re delving into the fantasy genre, albeit with a unique twist – it blends the medieval era with futuristic elements. In this narrative, you’ll find yourself piloting an iron tank, engaged in a medieval conflict against the infernal forces. It’s a thrilling concept that I find appealing and would love to bring to life.
As a devoted fan, I can’t help but feel a sense of fulfillment knowing that the prequel setting was always part of the grand plan. It slots perfectly into the prequel timeline, taking us back to the era of the Sentinels and other intriguing lore. When we initially began crafting those Slayer testaments years ago, it almost feels as if the story was destined to return to this very point, and it all comes together so seamlessly.
Is this the biggest Doom adventure yet?
Stratton: Absolutely! To put it another way, I’d say there’s a significant difference. Particularly when you consider the concept of adventure. In truth, we haven’t associated the word ‘adventure’ with DOOM games in the past, but this time, it really fits. The Slayer embarks on an extraordinary journey, from exploring diverse worlds to piloting an Atlan and commanding a mecha-dragon. It’s unlike anything players have experienced in a game before.
Is there a hint of the original concept and influence of Quake 1 visible in the game’s environment and emphasis on close combat?
Martin: To be honest, the inspiration came mainly from Batman: Year One comic book series, which influenced our storytelling for DOOM 2016. I’m quite fond of comics, although there are certainly more dedicated fans out there. My favorite concept was that of Slayer: Year One. As we developed the Slayer’s backstory and the lore surrounding him, internally we referred to it as Slayer: Year One. At one point, it was even called Slayer: Year One, a name I still think sounds pretty awesome. Initially, I was concerned that Slayer: Year One might be too obscure. However, The Dark Ages title is quite fitting and cool.
Specifically, our main source of inspiration was establishing a medieval theme, and a significant influence in this regard was the scene of Leonidas exiting the Hot Gates in 300. The striking scene, with its sweeping shot following Leonidas as he swiftly dispatches enemies first with a spear, then a Spartan sword, and shield, is particularly noteworthy. Time seems to slow and speed up in this scene, creating a sense of intensity. We even created a meme featuring a shotgun instead of the Spartan sword, which I think captures our team’s spirit. I must commend the team for their exceptional work in bringing this vision to life. They truly outdid themselves.
A significant influence in that period was not solely Quake, but rather Frank Miller’s Dark Knight. His portrayal of an older, stronger, bulkier Batman resonated deeply with me, as I was captivated by the comic book. I often found myself pondering, “What if, instead of a sleek sports car like a Ferrari, it were more like a monstrous truck?” That’s an idea I shared, and it became our project. We’ve been discussing this concept for years. It’s not just idle talk; it genuinely reflects our inspiration. Those powerful scenes from the comic, such as when he battled in the mud pit against a towering opponent, left a lasting impression. His Batmobile was massive, and everything about him exuded weightiness. This approach seemed intriguing to us as a way to reimagine the Slayer character.
How does the game dictate which of the three melee weapons to use when the button is pressed?
Martin: Essentially, you get to choose your melee weapon beforehand. There are three options available within the game, as previously mentioned. This is similar to exchanging gear items in Eternal. During gameplay, you can switch to any preferred melee weapon from your dossier. Each one has unique advantages and disadvantages, and as you advance through the level, you’ll unlock them all, not starting with all three. Initially, you’ll begin with a gauntlet, which is the faster, lighter option among the group. I still find myself using it even in the endgame. And yes, just like blood punches in DOOM Eternal, you can power these up.
In Eternal and The Dark Ages, you’ll definitely find a fusion of influences from 2016 and the Middle Ages. The gameplay in Eternal is particularly engaging, offering a similar level of interaction that can be found in The Dark Ages as well.
As a gamer, I’m embarking on an extraordinary journey, traversing realms unknown, mastering the Atlan for flight, and commandeering a mechanized dragon. What an incredible ride!
In the context of roaming vast, open landscapes, do you have the ability to summon your Atlan or dragon, or are they available for use only at specific locations?
Stratton: Absolutely, those are set checkpoints. As an Atlan, you’ll progress through various levels. The dragon experience is somewhat unique; it’s like navigating your dragon through diverse environments with a good deal of exploration and multiple destinations. For instance, in one level showcased during the Dev Direct, there’s a floating city where you control your dragon, engage and destroy hellgallions, dismantle their defenses, then board them. You fight within, eliminating them from the inside, and then leap off. There are landing spots in the city where you can touch down.
You’ll find various tasks to complete in the game, and it doesn’t matter their sequence since there are colossal titans causing chaos in the city. It’s a bit unique because there are substantial levels that you control Allen, followed by levels where you switch to the dragon role, interchangeably. These sections serve as pauses in the action, strategically placed throughout the game. They may not be as complex as the Slayer mode, but they offer quick fun and multiple chances to play them. Each section has its own bosses, AI enemies, and unique mechanics. Fortunately, they are easy to grasp and entertaining when you master them.
Are we moving forward with another game similar to the non-linear design of Eternal, or are we returning to the more sequential structure seen in 2016?
Martin: In 2016, we’re working on a blend of two styles – the timeless aesthetic of Eternal and the cinematic, gritty feel of 2016. We’ve incorporated gameplay elements from Eternal, but made them smoother. A significant part of our development process has been designing an intuitive control scheme that is easy to use. This has been one of our main priorities.
How much side content is there, and how long do you expect a thorough playthrough to be?
Martin: Essentially, we aim to keep things concise. To clarify, we don’t want our content to become overly lengthy. That’s crucial because no one wants a single stage to outlast its charm. Observing Brad Shoemaker play DOOM Eternal: The Ancient Gods, I noticed that, while it was entertaining and educational in terms of design for us, it did seem rather prolonged. To be specific, it ran approximately an hour and 45 minutes. In my opinion, such length might not be suitable for a standard DOOM level. However, I believe it could potentially work for DLC.
It seems like the ideal duration lies around an hour, not exceeding it. Currently, our focus is on fine-tuning this, ensuring we maintain this time frame. However, let’s make no mistake – this project is indeed extensive.
Stratton: Well, really, it depends on your playstyle, similar to any other game. However, this is our largest game and campaign yet, significantly bigger than anything we’ve done before. If you’re delving into the levels, there are countless chances for discovery.
Martin: It seems like the main focus will be on uncovering hidden things. If you enjoy discovering secrets and strive for completeness, then you’ll definitely have a more extensive adventure.
Apart from the works I’m currently engaged with, what other tales, playthings, literature, films, or television shows do you find that spark your imagination and contribute to the development of your grand worlds, narratives, personalities, and inventions?
Martin: My family thinks it’s excessive, but it’s part of the job. It’s a challenging role, but someone has to take it on. [Laughs.] It’s enjoyable. So, it’s like Batman and a smidgen of everything else. 300 had a significant impact, and yes, an abundance of various factors. Mythology, legends, other games, our game. I can’t stress it enough, playing the original DOOM is crucial for anyone aspiring to be a developer or game director. I often tell the parents of my son’s friends who express interest in development, “Contrary to popular belief, you can’t play too many video games; you need to play them to succeed in this field.
It seems we’ve strived to ensure that our combat, exploration, and narrative stand out as original rather than imitative. I believe people will appreciate this fresh take on things.
Stratton is saying that the world they’ve created is entirely original and doesn’t exist anywhere else. You can’t just search online for a mecha-dragon, for instance. Instead, it takes imagination and the ability to convey that vision to others who are skilled in refining ideas to create something as impressive as a dragon or Atlantis, among other creations influenced by similar sources. Hugo often has engaging discussions with everyone involved, which leads to fresh ideas being introduced, making it enjoyable to collaborate with these people for extended periods of time. Everyone seems to be thinking along the same lines, which makes their work harmonious.
What sorts of difficulties might a player encounter as they strive to fully grasp the game’s core mechanics over an extended period of time?
Martin: Absolutely! Let me break it down for you. You’ve got your standard, your extreme, and a new twist on extra life mode this time around, promising a bit more challenge. Plus, if you dare, you can take an ultra nightmare run with the settings cranked up – that should be quite the rollercoaster ride! In other words, it’s going to be quite intense or even wild.
Stratton: Absolutely! Game speed is one of the features we’ve never offered access to before. You can adjust the game speed, increase the challenge level by shortening the parry windows, which are crucial in The Dark Ages. Also, you can alter the damage inflicted upon you, creating a truly demanding gaming experience.
You heard that this game serves as an excellent starting point for beginners. In your opinion, what aspects of the game would likely attract these novice players the most?
Martin: In my opinion, the combative aspect of our creation is intended for all. I don’t believe it’s feasible to segregate two groups of audience. Attempting to do so might lead to complications. I believe any excellent experience is crafted in such a way. For instance, an iPhone isn’t only designed for certain individuals, or Elden Ring, The Matrix, and even DOOM itself – they are meant for everyone. So, I hope that people will appreciate the fighting, the exploration, and the narrative. It’s crucial to remember that this might be someone’s first DOOM experience.
It’s not unusual to suggest playing the series in order starting with The Dark Ages, followed by 2016, and then Eternal. In fact, doing so might make for an engaging experience. Therefore, I believe that the fundamental aspects of the game should resonate with both old and new fans.
How did the final boss in Eternal receive a significant amount of negative feedback? When creating bosses for The Dark Ages, what insights did we gain from this criticism?
Martin seems to be suggesting that the challenge in the question might be more about improving skills rather than having an inherent problem with it. He’s jokingly stating that one possible solution is to simply become better at it, followed by a laugh.
As a player enthusiast, I’ve discovered that finding the right balance for a player is crucial, and overly complex control mechanisms aren’t the solution. Streamlining controls allows for a more engaging experience, as it enables the player to handle more challenges effectively. In my opinion, watching extended gameplay footage on the Hurt Me Plenty difficulty level gives a clear picture of this. The token system is kept manageable in this mode, which becomes essential as higher difficulties introduce increasingly active enemies. For demonstration purposes, we often play on Hurt Me Plenty or even easier settings.
In combat situations, every attack an enemy launches is a choice you need to react to swiftly. Each projectile requires careful thought regarding the enemy’s position. To heighten the pressure, a comfortable control scheme allows for more responsive gameplay. Essentially, it’s about ensuring that during intense boss battles, the buttons players press are easily accessible, familiar, and aligned with the game mechanics, making the Slayer’s core abilities feel instinctive.
Did Finishing Move compose all the music that we heard today?
Stratton: Yes, they created the trailer we unveiled at E3 last year, which I still refer to as E3, and it was a hit. Furthermore, they handled all the music during Dev Direct. It’s simply fantastic! They’re an incredible team of talented individuals and musicians. We can hardly wait for everyone to experience this.
What are you most excited for people to see about this iteration of DOOM?
As a dedicated gamer myself, I can’t help but reflect on DOOM – it’s like an old friend, yet somehow fresh and different. For over a decade now, we’ve been immersed in the world of DOOM, creating games, DLCs, and then moving onto the next project. What sets DOOM apart is that there’s never really a break from it. There’s always this ongoing thought process, this continuous connection that keeps us engaged and excited about what’s to come next.
It’s clear that many individuals have been immersed in our game for quite some time now, and I appreciate your dedication. I can see the impressive statistics, and our fanbase truly is extraordinary. However, I believe there are also those who play our game occasionally, as well as exploring other games and media. I’m eager to welcome back those who have been away, and extend a warm invite to newcomers to delve into this experience. This fresh installment promises an epic journey through its vastness, offering a unique twist on the classic DOOM gameplay loop that is both familiar yet distinctly different.
The most thrilling aspect of creating something such as this is the collaborative effort involved in pulling everything together during this final phase. Once completed, it’s a joy to share it with others and witness their initial reactions. I believe there’s an inherent excitement in experiencing something new for the first time, which always adds a unique charm to the project.
As a devoted fan, I wholeheartedly concur with your assessment. For me, it’s undeniably the shield that stands out. Just like you mentioned, there are numerous other fascinating items such as the Atlan and the Skull Crusher. However, the shield, in my opinion, plays a pivotal role in the gameplay loop, as demonstrated during the Dev Direct. Its versatility is truly remarkable, and to be honest, I find it incredibly cool. Plus, it looks absolutely stunning!
“This isn’t designed to be the end of something.”
Could you tell me the name of the weapon that pulverizes skulls and fires shards of bone, and who was the inventor behind this concept?
Martin: The name is Skull Crusher. Incredible, right? I’m not entirely sure, but I think it was designed by Peter Sokol. If that’s a mistake, my apologies. However, as Marty pointed out, it’s a collaborative project. Many minds come together to create such masterpieces. From the design aspect, Ethan Evans is who I recall being responsible for the Skull Crusher. However, from an initial concept perspective, I believe Peter Sokol had the original idea. We all contributed to the development, and that’s what makes it truly remarkable.
It seems we often deal with rather whimsical tasks, and despite their absurd nature, they’re executed earnestly. The Skull Crusher serves as a perfect example of this.
As a gamer,
“I’ve got an idea for a fascinating reveal – let’s dive deep into one element of the game, say the Skull Crusher or a beloved character, and trace back who worked on it throughout development. It’d be mind-blowing to uncover a network of around 30 people who contributed to this tiny part of the game. It’s astounding because not a single aspect of video game creation can be credited solely to one person. Instead, it’s a collaborative effort, and this example would be a great illustration of that.
Regarding DOOM: The Dark Ages being the third DOOM game you’ve been involved with, are you viewing it as the conclusion of the trilogy or rather as a standalone title?
Martin: I’m afraid I can’t discuss that matter. Our focus is solely on the task at hand. However, I enjoy working on DOOM games immensely, so I wouldn’t mind continuing this for an extended period. To clarify, this isn’t intended to be the conclusion of anything. But in all honesty, we are fully committed to what we’re currently doing now. Yet, it doesn’t signify a definitive end.
Can you explain how the new Glory Kill system works?
Martin: The design is smooth and seamless. One of our main goals was to make players feel like an unstoppable force, much like Leonidas charging through the Hot Gates, effortlessly taking down enemy after enemy. However, with the synchronized Glory Kills, player control can momentarily be lost, disrupting the overall gameplay experience. This isn’t a problem in Eternal and 2016, as players typically don’t have to take out large numbers of enemies at once. But in this game, they often do.
To ensure smooth gameplay, it’s crucial to move seamlessly from melee attacks to gunfire, shield play, and executions or glory kills without experiencing a pause due to animations. This pause can cost valuable seconds, causing you to miss an opportunity to execute an enemy that is staggered and ready for execution, but you fail to reach in time because the animation was still playing.
Utilizing the physics-based mechanics of our engine, our exceptional team of animators has truly excelled in their performance. Essentially, they’ve been granted full autonomy without any restrictions. They can strategically position – a technique frequently employed, as discussed during Dev Direct – where multiple enemies, say four to six, are highlighted for elimination, allowing you to effortlessly eliminate them all in a single assault. This experience, reminiscent of Leonidas at the Hot Gates, is absolutely thrilling and outstanding!
Despite our fondness for Glory Kills, I must admit that I wasn’t aware another game incorporating Glory Kills would generate such interest among players.
Stratton: The smoothness of gameplay ties into every aspect, whether it’s handling weapons or utilizing the shield. We haven’t yet discussed this, but your shield also allows you to move swiftly across the world by locking onto an enemy with the left trigger and then activating the right trigger to dash through the environment, colliding forcefully with the character. After that, you can perform melee combos, stun them, and immediately follow up with a Glory Kill or keep firing your weapon during this sequence. The consistent momentum would be disrupted by a synchronized Glory Kill, making it remarkable how well everything fits together.
Martin: The unique aspect of this time is that it leverages physics, which gives it a distinct appearance each time. This was crucial in overcoming the monotony that often arises with the Glory Kill system from past games due to repetitive animations. Now, depending on your attack angle, the experience feels slightly varied. Initially, it was nerve-wracking to deviate from synchronized animations, but after testing, the general consensus was, “Wow, this is fantastic!
Will the game follow the classic style of Doom, featuring similar quantities of collectibles and secret areas hidden within its maps?
Martin: We’re moving towards a system where collectibles will carry greater significance as they become interconnected with the growth of your power within the game. This means you’ll see fewer records and toys, but an abundance of valuable items like gold and crucial resources to enhance your character’s strength throughout the gameplay experience. You’ll still have toys, just less frequently than before.
“There’s a bigger story. It’s one of the pillars of the game.”
Is there a formidable adversary similar to the Marauder, who will challenge the player to master the combat mechanics extensively in this game?
Martin: Absolutely, there are quite a few of them. These are the elite combatants on the battlefield, and we definitely possess some. They’ll assess your proficiency, knowledge, and your skill with the parry system. In this game, enemies often launch combinations of attacks, and it’s not just about blocking a single melee strike; you need to block several consecutively to disrupt them. The disruption system is crucial here, as successful parrying will disrupt enemies, thereby creating opportunities for you.
Will the game have more cutscenes than previous games?
Martin: Absolutely, there’s a more extensive narrative at play. It forms a crucial part of the game and is intertwined with your gaming experience. It serves to answer questions like what you’re doing, why you’re going there, and who you’ll encounter in conflicts. Moreover, we create an impressive antagonist for you to confront. In essence, it’s engaging, it enhances the gameplay, and it aligns well with the other core aspects of the game. It’s a great storyline.
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2025-02-27 18:16