If you thought Doom was all about relentless, close-quarters combat, think again. Doom: The Dark Ages offers a bold new twist by blending the series’ iconic brutality with elements that feel lifted straight out of Halo 3. Midway through a recent hands-on session, I found myself riding a cybernetic dragon, blasting away at demonic turrets on a hellish battleship. Once the turrets were destroyed, I leaped onto the vessel, charging through its corridors and turning the crew into crimson mist. Moments later, the dragon met its fiery end, and I leapt back aboard for another round of chaos.
This unexpected nod to Halo’s iconic Scarab tank assault is just one example of how The Dark Ages reimagines its campaign structure. While the core combat remains distinctly Doom, the overall design leans heavily into the bombastic aesthetics of late-2000s shooters, complete with elaborate cutscenes and novel gameplay mechanics. Over two and a half hours, I explored four diverse levels, each showcasing a different facet of the game’s evolving identity. The first felt like classic Doom—tight, meticulously designed corridors—but the rest took me skyward on a dragon, into a massive mech, and across expansive battlefields filled with secrets and minibosses. It’s a far cry from the series’ usual laser-focused intensity, instead borrowing heavily from Halo, Call of Duty, and even James Bond-inspired titles like Nightfire.
A dragon assault on Hell’s battleship. | Image credit: id Software / BethesdaThe opening cutscene reintroduced the world of Argent D'Nur, its opulent Maykrs, and the Night Sentinels—Doom Slayer’s knightly allies. The Slayer himself is portrayed as an unstoppable nuclear force, and while die-hard fans might appreciate the deep lore, the cinematic presentation feels refreshingly new. NPCs akin to UNSC Marines dot the environment, creating a sense that you’re part of a larger army—a nod to Halo’s Master Chief. Yet, despite these nods, the cutscenes thankfully remain brief and impactful, never breaking the game’s signature momentum.
After the initial slugfest, I was thrust into a Pacific Rim-style mech battle, wrestling demonic kaiju. Then came the dragon sequence, where I soared above Hell’s armies, raining destruction on gun emplacements. These scripted sequences, while undeniably ambitious, feel starkly different from Doom’s traditional gameplay. The mech is ponderous and deliberate, offering a Warhammer miniature perspective that highlights the scale of Hell’s forces. The dragon, on the other hand, is fast-paced and exhilarating, shifting the camera angle to create a distinct experience. Unfortunately, these segments feel anemic compared to Doom’s signature chaos, almost resembling quick-time events.
In Call of Duty, these transitions work because the scripted moments share similar mechanical depth. In The Dark Ages, however, the gap between styles is jarring. When I’m pounding a demon with a rocket-powered mech punch, I find myself longing for the simpler satisfaction of a double-barreled shotgun. My final hour introduced “Siege,” a level that opens up the claustrophobic maps into vast battlefields. Destroying five Gore Portals mirrors Call of Duty’s multi-objective missions, but the expansive layout evokes Halo’s contrast between tight interiors and open exteriors. Here, the core combat feels revitalized in larger spaces, requiring players to rethink weapon ranges and adapt their playstyle.
The mech battles are Pacific Rim-scale punch-ups. | Image credit: id Software / BethesdaWhile these ideas show promise, the pacing suffers in open areas, with me backtracking through empty paths. Adding the dragon as a Banshee-like flyer could have helped maintain momentum, but perhaps future levels will address this. Regardless, it’s fascinating to see id Software resurrect concepts from the scrapped Doom 4 project, which reportedly included scripted setpieces and a stronger narrative focus. The result is a campaign that promises big boarding actions, cinematic reveals, and a richer lore tapestry.
At its heart, The Dark Ages remains a testament to Doom’s unparalleled gunplay, but the studio’s new additions feel uneven. While I’m intrigued by the potential of this hybrid approach, I worry that some ideas may dilute the series’ essence. Come May 15th, we’ll learn whether these bold experiments breathe new life into Doom or leave it bogged down by conflicting identities. For now, I’m cautiously optimistic—and eager to see where id Software takes us next.
