Doom 3 – It’s Done [RETRO – 2004]

Doom 3 is a first-person shooter video game developed by id Software and published by Activision. It was released on 13 October 2004 for Microsoft Windows, Xbox in November 2005, PlayStation 2 in December 2005 and OS X in March 2006. The plot follows the protagonist’s attempt to rescue people from a demon invasion of Earth that occurs after an alien invasion of Mars goes awry

The “doom 3 mods” is a popular game that was released in 2004. It’s a first-person shooter video game and the third installment in the Doom series. The game is noted for its dark, gothic atmosphere and violence.

CLASSIC – Few game creators can claim to be incapable of meeting deadlines. Only one of them can afford the oft-quoted, notably cheeky, nonchalant “when it’s done” — I wonder how many times John Carmack has sloppily shoved it in our faces as we’ve waited expectantly for Doom 3 to be finished?! The time has finally come for one of the most eagerly awaited games of all time to be launched… We have an apparition at the gates of hell, and we have a shotgun in our hands!

 

 

Every self-respecting FPS enthusiast remembers the year 1993 as a magical year. The launch of the program has possibly the greatest influence on gaming history. Doom was a watershed moment in the PC action genre, shaking things up with its gameplay and being installed on more computers than Windows, bringing the game to the attention of the press and the general public. But, perhaps more crucially, it gave birth to a new genre. Despite being released before games like iWolfenstein d’s 3D, it supplied the crucial push for the genre’s extraordinary development and appeal. The first-person shooter has become a popular genre, but the third installment has been a long time coming since Doom II was launched exactly 10 years ago. That is, until lately…

 

 

Daydreaming

 

I couldn’t believe my eyes as I gleefully unwrapped the cellophane wrapping of Doom 3, which had come from the US, and then nonchalantly put aside the box and instructions to install and start the game. The engine footage seems to be ordinary at first: a screen with data on it – until the camera abruptly pulls away from it, concentrating on the soldier in front of it. With this initial exhibition of technological prowess, id has already shown one of its most recent advances in this field, specifically the capacity to communicate in real-time with various displays and screens.

The four major protagonists of the game are introduced next: Swan, a bearded Union Aerospace Corporation executive who steps out of the spaceship, a grey-haired man with him, a certain “Sarge” who you might recognize from somewhere, the German-sounding Professor Betrueger, the base’s commander, and our hero, the nameless and relatively silent space marine (not a single voice leaves his mouth during the entire game).

(The official military English counterpart of “marine” is “navy man,” but because there is no sea in Doom 3, it sounds stupid.) We don’t get much more from the opening than Betrueger isn’t happy about Swan and “Sarge” being here, and his tone of voice and implicit threats (“there will be things here…” – significant quiet) imply he won’t play a very good role in the game.

 

 

I’m astounded.

 

I don’t believe there was a player in the room who didn’t hear a horrified “that k****!” from the graphics after we took control and after some discussion and the decontamination procedure, we went inside the base. The space base’s spaces are brimming with breathtakingly detailed displays, troops strolling and conversing, real-time ads on TV screens, and surprisingly realistic flickering light and shadow effects.

I just spent about 10 minutes in the canteen, turning on the inside lights and opening and shutting the curtains that let in the reddish Martian light. The fact that there are pizza boxes, coffee cups, and magazines laying everywhere, left by employees, troops, and guards, is a little touch, but it’s what makes the game seem alive. People aren’t simply gazing out of their heads; they’re conversing with one another, sipping coffee, peering at monitors, tapping away at their computers, or playing with something. You can speak to anybody, and although most of them will drive away enraged, they will offer you reasonable responses that are suited for the occasion. So the base is still operational — but only for a limited time… (Satanic guffaw…)

Fear is gradually but deftly gaining control… Our first job seems to be straightforward: locate a scientist who is unlawfully residing in an outbuilding unit. Everyone is offering us ominous advice: get a weapon, the scientist isn’t OK, or remain put…

When we first meet him, he’s feverishly shouting about something, and suddenly demons and flying skulls arrive on the massive screen, turning the poor man into a zombie. There’s no time for remorse as the freshly undead approach us under the flashing lights, followed by another unlucky fellow soldier who wants to eat our brains. On the base, all hell breaks loose: as the horrors mount, the transceiver lets forth a frantic roar, reports, death rumbles, and demonic howls. It’s a tried-and-true horror-FPS approach, and no matter how prepared I was, the frenzy eventually got the better of me.

Graphics play an important role here: the more grotesque deformed corpses, zombies, and terrible beasts that assault us are all beautifully depicted. The undead, with their corpse-colored muscles or fat pads of fat, their stomachs, their eyes sparkling with an unearthly light, and the demons, with their snarling, drooling visages, are brutally unpleasant and horrifying – as they should be. The devilishly expertly executed effects of The Eighth Passenger, however, send chills down the spine: the crazily flickering light-and-shadow effects that depict Death, barely revealing the horrors. The flashlight is one of the most important instruments for preserving this mood, yet it has yet to be used as a gaming technology by any development team (maybe no one has thought of it?).

Some individuals may find the idea that you can’t have a pistol in your hand while flashlight waving unusual and unreasonable at first. Still, once you get over that little detail, you realize that half of the net playtime would be spent “unarmed” in dark, monster-infested hallways, carefully scanning with our light beams for the next source of shuffling sounds…

The feeling of infinity is terrifying, but there’s nothing you can do about it: you have to use your flashlight to locate your target before returning to your beloved shotgun. It’s pointless to fire aimlessly since you’ll squander your hard-earned ammunition. Only the Silent Hill episodes terrified me more, but while that series focuses only on terror, Doom 3’s intricate FPS gameplay is as important…

 

 

The Monsters’ Waltz

 

How does Doom 3 do as a first-person shooter? After all, numerous shooters have attempted to combine a variety of gameplay styles: System Shock 1-2 and Deus Ex were role-playing games, vehicle usage has been more widespread since Halo, Tom Clancy games have emphasized tactical features, and Far Cry combined all of these (save RPG components) to create enormous territory that could be observed from afar. Doom 3… is still Doom, no matter how much the FPS world has changed in the last 10 years. (Which is a good way to avoid performing a lot of outside sausage-making since the engine is restricted in this region to decrease the harsh machine needs…) There are no RPGs to play, no jeeps to jump into, and just a little amount of outside landscape to explore — and even then, you’ll be racing to the pressure relief airlock to prevent suffocating while inhaling Mars’ less-than-oxygenated air.

It’s also a somewhat more intelligent game than the original Doom or the single-player Quakes, even if it’s far from Far Cry-level tactics. You’ll have to pay more attention to location, utilizing weapons correctly against creatures, and being cautious with ammo since there’ll be much less than in previous action games. That is why we must also learn about the monsters’ behavior and motions, such as how quickly they attack, how violently they attack, if they like to move in groups or alone, whether they attack us at close range or from afar, how far they leap, how they fly, and so on.

The new interactive interface system, though, is the most remarkable demonstration of how much id has invested in gameplay advances.

Carmack has been pushing the bounds of his games as far as possible since the original Quake (think of the first-ever flip-down console, which emulated a DOS interface), and Doom 3 follows this tradition. Indeed, the game’s 2D operating system is an intrinsic element of the 3D engine – just as Quake introduced DOS to the game, Doom 3 brought Windows to the game. On the in-game panels, you may use your own desktop mouse, and the PDA is activated simply raising the device in front of your face, rather than via a separate menu. It’s also a wonderful idea to add real-life Internet websites in the game, such as www.martianbuddy.com-ra and www.ua-corp.com-ra, as we’ve seen in previous games.

 

 

Apathy is a state of being uninterested for a short period of time

 

Unfortunately, in terms of monster assaults, the game gets pretty monotonous and repetitive: if you pick up a huge quantity of ammunition, do a major action, or turn a corner, you’ll typically know it’s time for the battle.

The visuals, ambiance, technical execution of the battle, and physics of the shoots and explosions (save for the fact that I missed the body-specific injuries and jerks a little, but maybe that’s just because I’m a perfectionist) are just frantic. But what annoyed me the most was that monsters’ look and behavior are extremely programmed, so if you reset the game state (which is fairly often due to the quicksave option), they nearly always attack from the same location at the same time.

When it comes to saves, While I constantly complain about FPSs not allowing you to save, I would have rather if, as in Halo, Far Cry, and XIII, you couldn’t do it everywhere all the time without any limits since you do it too much, which disrupts the game’s dynamic. The strategically placed acid spots, in my opinion, are an excellent method to keep the game continuing if you die while also heightening the stress. “What? Do you want a little more tension? Some of you may be asking, “Are you sick????” since Doom 3 is, among other things, the most badass FPS of all time. On the one hand, I’m a perfectionist when it comes to that (late-night gaming in a deserted apartment with a 5.1 sound system is a must), but on the other hand, I have to admit that the tension fades at a certain point in the game and is replaced by monotonous killing, which is made even more intense by the all-too-similar, repetitive rooms. Later on, however, the action picks up again, we meet new monsters, the maps and locations become much more varied and exciting (going to hell with my hero literally was an unforgettable experience for me – both in terms of the eerily oppressive atmosphere, the stunning graphics, and the brilliant map design –), and even the story, which had been put on the back burner for a while, picks up again.

This fantastic gaming experience continues till the very end, although the idle time is a bummer… I wouldn’t call the AI very intelligent. Okay, we’re dealing with zombies (who, by Carmack’s own admission, have no expertise with AI), but at the very least, the ex-commando should do something other than hide behind cover and go forward and find their way. Speaking of which, I believe it is a missed opportunity that, despite the fact that the idea of sending a team to clean out the research base was raised here, we will not encounter it throughout the game (we only see them from a distance in one place), nor will we face them as enemies, as we did in Half-Life.

 

 

Is it an homage, a rerun, or a heist?

 

When it comes to Half-Life, we can’t overlook the fact that it must have had a significant impact on John Carmack, since many of its concepts… hmm… are derived from Doom 3. The premise of spending practically the whole game on a single research facility where all hell breaks loose, as well as aspects like the monorail, the plot that (also) develops via the scientists being discovered repeatedly, and other minor details, are evocative of Valve’s masterpiece. To answer my question in the title, I thought the extremely similar themes were a smart wink in certain areas, but the stealing of ideas irritated me other times.

It’s not only Half-Life that’s been altered for the game: the notes and sound recordings on the recordable PDAs have a System Shock feel to them. Otherwise, this PDA craze will keep you entertained for a long time (especially the funnier emails). Even yet, when the twenty-first one arrives to interrupt the game’s momentum, I – fashionably, I suppose? — pray for hell. Furthermore, the developers have made reading the emails and listening to the audio recordings mandatory. Our courageous researchers also provide you the code to unlock the combination lock of the ammo and bandage lockers in some of them. True, the audio recordings do not have to be listened to when standing still on a fixed screen, but playing continues after you leave the PDA.

The trouble is that you won’t comprehend a single word of the repetitive, low-pitched soundtrack when the machine gun clicks, the plasma rifle hisses, or the monsters scream, thunder, and hiss from all directions. What irritates me the most is the behavior of the foolish scientists who, instead of joining us, choose to perish there. OK, they all said that they were a) terrified, b) had work to do, and c) I was better at the job at hand anyhow, but playing this on all the poor idiots was a little much…

 

 

A timeless classic

 

So there were a lot of comments towards the end, but I have to admit that I had a great time with the game till the very last second. The wonderful ambiance, as well as the perfectly made

Even though I only had a few days to play, I hesitated to write a single word about the game until I had trodden in the spilt blood of the last boss monster. Its physics, and the dark, pessimistic horror plot with a hint of satanism did the job. Doom 3 is still an unmissable classic, a must-have for all action, FPS, and horror enthusiasts – novices and veteran “chainsaw” aficionados alike – despite its flaws. If you don’t play it, the pinky monster will come for you at night.

-BadSector-(2004)

Pro:

+ A parodic mood that is very well-crafted + Stunning visuals + Overall good track design

Against:

– A portion of the game is a little tedious – scripted enemies – listening to PDA messages interrupts the flow of the game

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Activision is the publisher of this game.

id Software is the creator of this game.

FPS is the game style.

The film was released in 2004.

CLASSIC – Few game creators can claim to be incapable of meeting deadlines. Only one of them can afford the oft-quoted, notably cheeky, nonchalant “when it’s done” – I wonder how many times John Carmack has sloppily shoved it in our faces as we’ve waited expectantly for Doom 3 to be finished?! The time has finally come for one of the most eagerly awaited games of all time to be launched… We have an apparition at the gates of hell, and we have a shotgun in our hands! The year 1993 is etched in the consciousness of…

It’s Done [RETRO – 2004] Doom 3

It’s Done [RETRO – 2004] Doom 3

2022-01-04

Gergely Herpai (BadSector)

Doom 3 is all we dreamed it would be: a brutal first-person shooter with a paralyzing atmosphere, stunning visuals, nonstop killing, and some fascinating new features. It wouldn’t have hurt if the gameplay had been more unique.

9.2 out of 10 for gameplay

9.5 for graphics

8.5 for the story

9.5 for music and audio

9.5 for ambiance

9.2

AWESOME

Doom 3 is all we dreamed it would be: a brutal first-person shooter with a paralyzing atmosphere, stunning visuals, nonstop killing, and some fascinating new features. It wouldn’t have hurt if the gameplay had been more unique.

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The “doom 3 length” is a game that was released in 2004. The game has been remastered and rereleased for modern computers.

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