The game is also built around having an easy and intuitive editor for the map making community to have a field day ala the classic Doom WAD scene, so there’s a buttload of one-shots and crazy gimmick maps for when you finish the campaign levels. Just look at this:Ī couple of cool things – how the enemies are designed isn’t anything revolutionary, but how they are rendered is (3D models using dynamic shaders to render out to purposefully restricted sprites – you can play in regular 3D mode without all the pixel shaders as well to see what the engine is working with). But I wouldn’t put the level design on the same tier as something like Dusk or Amid Evil, and the movement itself doesn’t have the addictive, hyperactive skill ceiling of something like ULTRAKILL.īut, fuck, I’m nitpicking here. They’re great cannon fodder though, and the raw movement, weapon handling and way you can freely bounce around the map is a blast. The enemies also aren’t anything revolutionary from what I’ve seen.
If I’m being more critical, I’d say the HUD maybe occupies a bit too much space - although there is a minimal HUD setting you can toggle. I haven’t played all of the content yet, but I can report I’ve loved every second so far. The heavy metal was composed by Andrew Hulshult, who’s worked on Quake Champions, DOOM Eternal: The Ancient Gods expansion, Dusk, Brutal Doom, Rise of the Triad, Wrath: Aeon of Ruin, AMID EVIL and Rad Rogers.īasically most of the best retro shooters from the last five years, then.
Prodeus, as it turns out, has one of the industry’s best.
And you can’t have a game with this much blood without a banging metal soundtrack.
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