One of the worries held about id taking this story driven horror tack for Doom 3 was that it would mean a step away from the frenzied run and gun of the original Doom games, but strangely enough id has managed to create a wonderful sense of nostalgia that permeates the entire game. For when the attacks come they have you scrambling for cover, dodging and blasting away at the oncoming enemies.
Creatures that tormented us in those games are back, and do bear the hallmarks of their sprite based forebears. For example the fireball tossing Imp (the first of many types of Imp that you encounter), which now tenaciously pursues you down hallways, stopping to lob flaming death in your direction. From the moment you first sidestep one of these fireballs you are right back in the darkened room of 1993, quaking in your boots.
Back too is the weapon dynamic we loved. The shotgun is the standout of the early part of the game, and is almost completely useless at anything but point blank range. But when up close and personal only the chainsaw comes near it in the zombie mincing stakes.
But as amazing as all of this is, what pushes the experience in Doom 3 from the phenomenal to the sublime is the audio. It is quite frankly astonishing, and it is the noises in the game that puts you on edge and keeps you frantically searching your surrounds for the next assault. Whether through stereo, headphones or surround speakers it is downright amazing.
It is worth noting that the game features four player deathmatch for multiplayer, but it is the all-encompassing single player experience that makes Doom 3 great. While at first glance this may be a survival horror take on the boring old corridor shooter, it is not only in a league above these games, it is the finest corridor shooter ever.
So upgrade your hardware, tell your friends to piss off, lock the doors, turn up the sound and go to Hell. Doom 3 is indeed the visceral masterpiece of suspense that we all desired, and yet again id has shown the world that it is the reigning king of this genre.
Issue: 137 | June, 2012