Doom 3

Game Description: Doom 3 continues the incredible shooter action of the first two Doom games! The Mars Research Facility has been invaded by demons from Doom, leaving only chaos and horror in their wake. You're one of the only survivors - to stay alive you'll have to fight your way to Hell and back.

Doom 3 – Review

After plenty of delays, and months after the PC version has had time to make its mark on gaming, Doom 3 has finally made its way to the Xbox. An impressive achievement in audio and visual technology, Doom 3's visceral gameplay is a deliberate throwback to the original Doom from 1993 (appropriate, since the game is essentially just a retelling of the first). And for what creator Jon Carmack and his experienced team at id envisioned, Doom 3 is a resounding success.

Since Doom 3 is a remake of the original, the story is essentially the same. At a research base on Mars in the year 2145, a nameless Marine arrives to report for a routine assignment amid whisperings of missing persons and mysterious happenings. Armed with only a pistol and a flashlight, he's dispatched to a remote section of the compound to find an errant scientist. Quickly, things start to go awry, and soon enough all hell breaks loose—literally. The base slowly descends into chaos as the forces of Hell run rampant. The story will take our protagonist to Hell and back before its resolution.

Surprisingly, given its clear focus on action, storytelling is one of Doom 3's strongest points. This is not to say that the plot is anything spectacularly original or evocative, but the way the story unfolds—through in-game dialogue, radio conversations, emails, and audio logs downloaded to the Marine's PDA—provides a rich backdrop for the chaotic events that unfold.

Mood and atmosphere are the keys to Doom 3's success. The graphics and sound are simply phenomenal. Though the Xbox version certainly lacks the high-resolution detail of its PC cousin, it's doubtful that console gamers will care. Doom 3 is easily the most visually impressive game on the Xbox. The ugly, claustrophobic corridors that fill the game are crisp, lushly detailed and full of life. Although the game takes places almost entirely in similarly industrial environments, they are surprisingly varied. And when our hero descends into Hell itself, it's an astonishing sight. I vividly remember Hell in the original Doom (I also remember being pretty creeped out, despite the crudeness of the graphics by today's standards), and the reimagining of it is truly a frightening place. Additionally, the many hellish enemies players will encounter are all fantastically detailed and are believably animated with impressive fluidity. Most impressive, though, is that Doom 3 runs remarkably smoothly. Even when large numbers of enemies and tons of explosions and effects on screen, the frame rate chugs along without a hitch.

Doom 3 is also quite dark, making very impressive use of real-time shadows. Lights flicker, rooms are often dimly lit, and there are many sections of near total darkness. Our protagonist is armed with a flashlight, but he can't wield both the flashlight and a weapon at the same time. Now, some people might find that to be fairly contrived since even most modern day weapons can be fitted with a flashlight, but given the large arsenal our Marine accrues—particularly some that are heavy weapons or prototypes—I thought it would be less logical for him to have light attachments on them. Of course, I'm sure there is some creative counter-argument—maybe he should have a flashlight built in to his suit! But really, talking about logic in a game as outlandish as Doom 3 is absurd. Being forced to swap between the flashlight and the weapons is a pure gameplay mechanic, and it successfully creates a sense of fear and vulnerability.

The superlative audio adds tremendously to the game as well. I'm fortunate to have a quality stereo system that is able to capture the nuances of the sound, but I suggest that players not so fortunate with their home audio invest in a decent headset to fully experience the dynamic sound in the game. Just as seeing a blockbuster science fiction movie on TV is less engrossing than seeing it on the big screen with crisp surround sound, Doom 3 will lose much of its atmospheric impact without the sound cranked and clear. Subtle, often faint sound effects bring a great sense of tension to the gameplay. It's quite nerve-wracking to be pacing around in near-total darkness, only to hear a ghostly groan or thumping footsteps coming from close by.

But despite the advanced technology that encapsulates the game, Doom 3 is a decidedly old school experience. Carmack conspicuously eschews the many first-person shooter conventions popularized in the past five or so years by everything from Half-Life to Halo. Instead of having a shield-recharging system, a limited weapons arsenal or only allowing players to heal themselves at dedicated "health stations," id went back to the old school conventions of the original Doom: Our protagonist, the lone, tough-as-nails Marine (who, for no particular reason, is far tougher than his comrades, all of whom succumb to the forces of Hell), is a veritable one-man army with an arsenal that could put a hole in a small country, yet he moves adeptly and switches from a pistol to a chainsaw to a rocket launcher with superhuman speed; Armor and health are randomly scattered and often hidden in the most absurd places; and although the zombie marines display some decent artificial intelligence, for the most part the monsters in the game have simplistic, aggressive attack patterns—they are, after all, monsters.

Perhaps Doom 3's greatest achievement is that it proves that all these seemingly hackneyed conventions are still functional and do little or nothing to sacrifice suspension of disbelief. There seems to be an implicit assumption among game designers that "realistic" correlates to "believable," but Doom 3 proves that such is not the case. On the contrary, too often when a game strives to be "realistic," its contrivances become all the more obvious. With brisk pacing, spectacular atmosphere, high-tension gameplay and adept storytelling, Doom 3 hides its contrivances artfully.

Doom 3 is also very linear, which I view not as a shortcoming but as an integral part of the excellent pacing in the game. The PDA acts as a multifunctional tool that allows the Marine to access new areas and gain access to some hidden items when he downloads information from other characters' PDAs. Essentially, it's the same find-the-key gameplay of the original, but again id has turned archaic contrivances into believable gameplay.

This is not to say that Doom 3 couldn't have benefited from more progressive thinking in some respects. It would have been nice to see a little more variety or intelligence in the tactics of the enemies. What if, for example, instead of always blindly charging at the Marine, they kept their distance and tried to lure him in into a trap? Once the relatively simplistic attack patterns of the enemies are memorized, there is little effort in dispatching them unless they appear in large numbers. Fortunately new enemies appear often and they are varied well, but the replay value does take a bit of a hit.

The difficulty of Doom 3 is a point of contention as well. I don't mind the occasional surprise, but there are times when the cheap ambushes that are found throughout the game become a little too cheap and make the game too frustrating. In one example, I found a room full of ammunition. Having low health already and without any health packs in the area, I needed all the ammo I could get. I stepped out of the room only to encounter a veritable army of ghouls and, by the time I was done slaughtering them, I was literally one hit away from death and I had used nearly all of the ammo I had found. The whole thing was just a booby-trap. Additionally, the old "monster in the closet" gag gets old pretty fast. It doesn't happen all the time, but it often feels too forced and artificial to gel with the rest of the game.

Though it should be no secret to those who have read the PC reviews, the multiplayer is decidedly average. Personally, I would rather id had just skipped the competitive multiplayer altogether. It's clear that Carmack and company were focused on Doom 3 being a scary, solitary experience, and that the multiplayer was merely added on to appease the popular but misguided notion that what is essentially a minigame is a required feature in a first-person shooter.

For the Xbox, Doom 3 has been graced with a nice new feature: a cooperative campaign. It's a great feature; the levels are trimmed down to be more action-oriented, and the narrow corridors are widened a bit to accommodate two players. Weapons and ammo are also designated to each player, so it's impossible for one player to hoard all the items for him or herself. The downside, however, is that all of the multiplayer features are available only over Xbox Live or via System Link. All of the fun I had playing Halo cooperatively was with a buddy sitting next to me, and with a console with four controller ports, neglecting split-screen play is a rather glaring oversight.

But for an avid first-person shooter fan like myself, none of the complaints I can level at the single-player game amount to more than minor nitpicks. Doom 3 does so many things right that its retro-style gameplay feels decidedly new. Although, save for the visual technology, it does little to advance first-person shooters to new grounds in the way a game like The Chronicles of Riddick or Half-Life 2 does, it brings together the best qualities of the genre and serves as an example of how to do the most important things right. I'm sure many shooters will come along in the future with more complex gameplay, but Jon Carmack and his team have shown us that when the basics are done right, simplicity is all the firepower you need. Rating: 9 out of 10

Doom 3 – Second Opinion

It's the exponential progression of these things that bothers me most. Ever since the original Doom, the majority of First Person Shooters (FPS) have followed an incredibly strict formula: The hero begins the game with a ridiculously underpowered weapon, and is besieged by an army of enemies that can be just barely killed by that first weapon (it's challenging enough that each enemy put down feels like something of an accomplishment). Then, in the next area or level, after a harrowing experience, it becomes clear that the first weapon just isn't going to cut it against the sheer volume of simple enemies the hero is facing. Just then, when things are looking their worst, the hero will discover the second weapon (generally a shotgun; although sometimes it's a futuristic shotgun, or a space shotgun, or an energy shotgun) and the tables will have turned. The zombies that just a moment ago spelled my imminent doom suddenly fall like tenpins before my mighty will, their heads only a single click away from exploding. It's a great feeling, suddenly going from prey to predator, and the adrenaline kick of easily mowing down what was, a moment ago, an impossibly overwhelming threat. The real sense of satisfaction gained from doing this goes a long way towards explain why this genre continues to be as popular as it is.

The problem with FPSs is that historically, and especially here in Doom 3, the designers don't have any idea what to do after that first big reversal. So they just do it again, confronting players with bigger monsters that aren't afraid of a puny shotgun, then providing with the player with a gun that will make them stop in their tracks. Unfortunately, it's just not as satisfying the second time around, or the third, or the fourth… Worse still, while the power of the weapons and monsters is increasing, the health of the player never does, so by the end of the game, I'm invariably packing weapons that can kill any enemy with a single shot, batting enemies that can kill me with a single shot. By that point, the gameplay boils down to who gets the first shot off, and arbitrary enemy placement ensures that most of the time, it ain't gonna be me. By the end of Doom 3, I found myself quicksaving every minute or so, to ensure that next time I fell victim to one of the game's endless deadly ambushes, I wouldn't have to replay more than sixty seconds worth of game. I'm sure it's possible to play the game so cautiously that the constant ambushes aren't invariably fatal, but I can't imagine it would be any more fun than the way I was playing.

Mike's right about the storytelling being very effective at drawing the player into the game. The terminals that allowed me to interface with the game's computers in real time rather than on a separate screen were also a huge step forward for immersion. Of course, fans of System Shock 2 are quick to point out that this dynamic is taken whole cloth from that game. The only thing I find surprising about that is the fact that it took game developers five years before they started ripping off the best system of FPS storytelling to date.

Doom 3 begins wonderfully, with more than half an hour of wandering around the Mars station before all hell starts to break loose (although I understand this was cut down somewhat in the Xbox version). This builds an incredible amount of tension that pays off when the first zombie finally appears. It was here that I enjoyed the game the most. Slowly inching my way through dark tunnels, listening for movement, keeping my pistol at the ready… Zombies and ammo were so well-placed that the game managed to make me feel like I was always on the cusp of running out of ammo, and becoming dinner for some vicious monster. My heart rate was continually elevated, and I couldn't help but think that if the game could keep up this brutally tense pace for the rest of the game, I'd be looking at the best FPS I'd ever played. Of course, the game couldn't maintain the pace, and shortly after I found a submachinegun and started seeing Imps, it became painfully clear that Doom 3 was beginning that long slide down towards tedium that I'd become all too familiar with in my years of playing FPSs.

In his review, Mike referred to the game as "old school," and he's not wrong. I differ from him in that I don't think that's a very good thing. Games like Halo have proven that there are other, better design concepts to model your game on. And while I understand that Id was trying to recreate the feel of the original Doom, I can't imagine that I'm the only one who thought there were fundamental problems with Doom's design that didn't deserve to be recreated so exhaustively here. Sure, it's prettier now. But that doesn't make it any less dull or frustrating than it was when I was growing sick of Doom 2 all those years ago. But for all these problems, it still deserves a rating of 7.0 out of 10

Disclaimer: This review is based on the PC version of the game.

Doom 3 – Consumer guide

According to ESRB, this game contains: Blood and Gore, Intense Violence

Parents should be advised that Doom 3 is rated "M" and as such is in no way appropriate for children. It is very bloody, scary, and contains some profanity. It also contains faux-religious images, including a rather elaborate recreation of Hell, which may be too intense for young gamers. With respect to the 9.5 score, which is a very high score reserved for only the best games, I should note two things. First, I am primarily concerned with the single player game, and that is where Jon Carmack and his team were clearly focused.

If you are a multiplayer fan, then adjust the score downward accordingly. The hastily tacked-on multiplayer aspect is mostly average, save for the cooperative campaign. Second, I'm an avid fan of the genre. Doom 3 contains all the conventions that fans like me love about shooters, and that turn off many others.

This is a game specifically for first-person shooter fans, not for those looking for a genre-shattering innovation. For longtime fans of the series, there is a special edition of the game available that contains the original Doom and Doom 2 packaged with the game.

Deaf and Hard of Hearing gamers will miss out on a substantial degree of audio cues, as well as miss out entirely on audio logs, which often give codes for stashed ammunition and supplies. Additionally, the weapon that is essential for defeating the final boss explains itself by speaking for a couple minutes after it is found. Although with a cheat sheet it's possible to play through the game fully, audio is integral to both much of the information in the game and to the design of the gameplay.