
Doom: The Dark Ages is a brutal thrill-ride — and it's my early pick for game of the year
Platforms: PC, PS5 (reviewed), Xbox Series X,Price: $69Release Date: May 15, 2025Genre: First-person shooter
Doom: The Dark Ages is just as good or better than its predecessors. That's no small feat considering how some game franchises start faltering with each subsequent entry. But here, id Software has managed to maintain the high quality we've come to expect while crafting a fresh and exhilarating experience.
Set in this franchise's distant past, Doom: The Dark Ages largely abandons the tight corridor combat of Doom (2016) and the demanding platforming of Doom Eternal in favor of more grounded combat and large open areas.
Thanks to his new shield and an assortment of medieval-inspired weapons, the series' Doom Slayer protagonist is more tank-like and savage than ever. The story and lore that tie it all together are also more engaging. And you even get to pilot mechs and a dragon!
Doom: The Dark Ages contains everything I love about this franchise, and more. Right now, it's an easy contender for Game of the Year. Whether you're a Doom fan or a newcomer, this game will satisfy anyone looking for an action-packed and brutal first-person shooter. Find out why in my full review.
Doom (2016) and Doom Eternal hinted at ancient events concerning malevolent gods, powerful kingdoms and the Doom Slayer's enigmatic origin. Doom: The Dark Ages lets you experience some of these events, giving you a greater understanding of this franchise's lore. While this game is a prequel, it still packs plenty of surprises.
As the Doom Slayer, you're tasked with helping the Sentinels (human warriors) of Argent D'Nur in their fight against the invading demonic forces of Hell. As the story unfolds, we discover what Hell hopes to gain from the war and how that could affect the greater cosmos. The story won't win any awards, but it's plenty engaging.
While the game has its fair share of cutscenes, most of the story happens during actual gameplay. For a game focused on hectic, fast-paced action, it's good that things don't come to a grinding halt during cutscenes. In fact, almost all cutscenes happen during the beginning and end of chapters, which keeps the in-game action going without interruptions.
Don't worry if you've never played the previous two Doom games, since The Dark Ages tells a self-contained story that anyone can enjoy. Knowing the intricacies of the lore can enhance your immersion, but it's not required. If this is your first Doom game, you won't feel lost.
Doom: The Dark Ages retains the same ferocious combat as its predecessors. As the series' catchphrase says, you'll 'rip and tear' through legions of demons and otherworldly monsters in gory and glorious fashion. This is not for the faint of heart.
The game features greater mechanical variety than before, but still feels intuitive to play. It has an ergonomic control scheme that ensures all your attacks are easily accessible, with melee attacks on the left shoulder buttons and projectiles on the right. The left and right analog sticks also serve more functions beyond player and camera movement, with the latter initiating melee attacks, for instance. While the controls are more streamlined, this doesn't diminish The Dark Ages' challenge.
Combat-wise, this is more akin to the first Doom from 1993. Though you'll have to stay mobile to survive, you can stand your ground without instantly dying thanks to the new shield mechanic. You can use it to block and parry attacks, or to throw at enemies, Captain America-style. The latter is particularly satisfying since the bladed shield will either slice foes in half or continuously saw into them. Using the shield comes naturally since it's so easy to block, parry, or throw. It's an essential tool in your arsenal.
Regarding parrying, you get a generous window to deflect projectiles and attacks. When you see an enemy glow green, you can parry whatever it throws at you. If you want, you can raise or lower the parrying window to make it easier or harder to perform a parry, respectively.
Speaking of your arsenal, you'll get the iconic Doom shotgun and plasma rifle, but there's a whole assortment of medieval-inspired weapons to pulverize demons with. There's a Chainshot for destroying enemy armor, a vicious nailgun with ammo that can ricochet off foes, and the Skullcrusher that crushes a skull and uses its pieces as ammo to lacerate demons. Every weapon has various attacks and upgrades, which add greater utility in different situations.
You also get numerous melee weapons to handle enemies that get too close. This includes an iron flail, a metal gauntlet and a spiked mace. Melee attacks have limited ammo, so you'll have to be judicious about when to use these savage attacks, though you'll find plenty of ammo strewn across any given battlefield. Performing these attacks on dazed opponents briefly slows time down and is extremely satisfying to watch.
The glory kill system is now unsynced, which gives you more control over how and when you can perform them. Though I liked the over-the-top canned animations of previous glory kills, ditching them maintains the game's fast pace by not stopping the action. You can now stagger and glory kill multiple enemies in succession, which is immensely gratifying.
This game's general combat loop has you shooting from afar, using the shield up close, and getting 1-hit kills on weakened enemies. Though the constant combat can get repetitive at times, the game generally keeps things interesting even if you're facing the same group of enemies. Feeling like a big, heavy tank that can take on all monsters ensures you're always engaged.
I'd be happy enough if Doom: The Dark Ages only had the standard type of combat from previous games. However, id Software introduces two new scenarios I didn't know I needed but now can't be without. You can now pilot mechs and ride dragons.
Some of Doom Eternal's backgrounds had destroyed Atlan mechs, and I always wondered what it would be like to pilot one of these towering 30-story-tall robots. This game grants my wish and allows me to do just that.
Punching and stomping equally colossal demons while inside a mech is almost too fun, with every lumbering attack feeling appropriately powerful and meaty. I especially like the enhanced attacks you can dish out after successfully dodging attacks. If you're like me and think "Pacific Rim" is peak cinema, you'll have a blast during these segments.
As if this game weren't heavy metal enough, you can also ride a mecha dragon during certain levels. And before you ask, no, these aren't on-rails sections as you have full control over your dragon at all times. Riding the dragon is smooth and responsive, with dodging and shooting feeling quite nice. Pressing L3 and having the dragon rev its engines and blast through the sky never gets old.
Doom: The Dark Ages isn't an open-world game, but it features the largest environments ever for the series. As the game's name suggests, there are plenty of medieval-inspired locales filled with villages and castles, though with a decidedly sci-fi edge. You'll explore Hell, as is standard for a Doom game, but there are other terrifying vistas of reality that I won't spoil, lest I drive you mad from the revelation.
Searching for items in the previous Doom games was half the fun, and I'm happy to report this is still true for The Dark Ages. Though the levels are huge, they're designed in such a way that you can instinctively tell where things are hidden. That being the case, pulling up the in-game map and seeing where items are located makes searching more efficient.
Thanks to the updated idTech Engine, the environments and demons that inhabit them look better than ever. Every location can double as the cover of a heavy metal album, with skulls, pentagrams, and torture devices almost everywhere in sight. Because of that, exploring every unsavory corner of this world for secrets is a hell of a good time.
The heavy metal and industrial-influenced soundtrack complements the hellish environments quite nicely and makes you feel like you're living in the game's world. And while there are plenty of headbanging tunes, there's also a nice mix of medieval instrumentation woven within the adrenaline-fueled soundtrack.
You're powerful from the jump, but you can make yourself and your weapons even stronger via various handy upgrades.
You'll discover gold, rubies and wraithstones in most levels, and you can use these to buy weapon, shield, and melee upgrades at strategically placed Sentinel Shrines. Said upgrades not only make your equipment hit harder, but they also unlock secondary firing options for your weapons. For instance, you can add a fire effect to the shotgun or increase the blast radius of the Chainshot. The stronger the upgrade, the more resources you'll need to spend.
Upgrading your health and armor points is particularly fun since it requires you to tear out and crush the hearts of powerful mini-bosses. These encounters are some of my favorites in the game, so the fact that they're required to make yourself more durable only sweetens the deal. Defeating these demons also raises the amount of ammo weapon classes can have.
Other secrets might not serve a specific use in combat, but they're fun regardless. This includes various weapon skins to help you kill demons in style, and cute toy replicas of the enemies. There are also codex pages to give you better insight into this game's specific lore and characters.
There's more I can say about Doom: The Dark Ages, but it's a game you need to experience for yourself to fully appreciate. The team at id Software has once again outdone itself and delivered another exciting Doom game that honors the series' past while forging a new path forward. This is the kind of title that reminds me why I fell in love with video games in the first place.
Thanks to its visceral gameplay, phenomenal graphics, and hours of content, Doom: The Dark Ages is a must-play game. If you're looking for something to get your blood pumping, you don't want to miss out on this one. I'm not being hyperbolic when I say it's an easy Game of the Year contender. It's just that damn good!

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Classical composers such as Dmitri Shostakovich and Sergei Rachmaninoff had this dark quality with a tinge of beauty to them. That really captured the essence of the dark ages and the medieval world. BLW: We're also dealing with much larger spaces in this game. The maps are massive and the arenas are really big so we wanted to capture that by making the sound more cinematic with longer tails and more reverb on the drums. BLW: We spoke about pacing and structure for the music from day one. Hugo [Martin, game director at ID Software] used an analogy; if Eternal made you feel like a Ferrari, in The Dark Ages you're a Sherman tank. It's this grounded stand and fight game. The traversal is not the same here so you're not doing vertical movements. It's much heavier. So we asked 'how do we make the music heavy and brutal while still feeling like this crazy power fantasy but not necessarily representing that with insane speed?' Finishing Move Inc previously worked on Halo Wars 2 BLW: All of us are gamers and have been for a long time. My introduction into modern gaming was through Wolfenstein (1992) and the original Doom (1993). I was too young to be playing it but I'd go over to a friend's house and it'd be on their parents' computer. It was absolutely revolutionary. I play a lot of modern games but my heart is in vintage gaming as that's what I grew up with. Working on Doom 30 years later is incredible. BT: This keeps happening though. We've been involved with Halo, Microsoft Flight Simulator and now Doom. Those all are games that first came out when I was a freshman. Halo and Xbox were cultural touch points for me then. My youngest memories on a computer was at my grandparents house playing Flight Sim. Then with Doom I convinced my mom to buy a family PC to play it. Being able to contribute to these franchises as an adult is insane. AK: I've grown up with games my whole life too. Like Brian Trifon, Doom is something my parents did not let me have but I'd go to a friends' house and play. It was the same with Halo. My parents always read the age ratings on the box. AK: It's so fun to work on a game when it's a long term project. A movie trailer requires a very brief turnaround and then it's done. A game can involve talks for years. With Doom, the cues we wrote a few years ago ended up being different to what's come out in the end. Allowing ideas to cook in the oven for that long meant they could develop naturally. It's such a rewarding experience. BLW: Most of the touch points a young audience will have today is going to be from a video game. You play a game for 50 or 100 hours and the music gets embedded into your brain. As a kid, I'd rinse my favourite albums but people don't do that so much anymore. With a game you have to be present. For many, the music in games has actually become their entry point into music generally. I won't be surprised if there's young people who find their first encounter with metal sounds through Doom. BT: My kids' favourite music is in games. I try to play bands of all styles to them but they don't like that. Music in the Zelda and Mario games is what they love. That's what they're exposed to. That's where they make an emotional connection to it. It's hard to get them to sit through a TV episode or a whole movie (unless it's the Minecraft movie) but video games is where they're connecting deeply and wanting to then play the songs they hear on a piano. Brian Trifon was inspired by Nine Inch Nails AK: It's different for each of us. We all have our own specialities and tastes that we bring. For me, I've got one foot in the modern era and another in the traditional. I actually like a lot of electronic music. I love synthesisers and forward-thinking artists on the cutting edge, like Noisia. But then I also love going back to orchestral and classical music with a darker edge that has this little beauty to it too. BLW: The common thread amongst all four of us is that we started our musical journey as teenage dirtbag guitar kids trying to tap. We all discovered electronic music later on too. That's why we can do so many styles. The thing we all share is a love for different types of music, specifically guitar based stuff and electronic sound design. BT: My background is the same. I was die hard about guitars and metal. I hated synthesisers but at some point I heard Nine Inch Nails. I saw them live and thought they were so heavy. It started the process of expanding my ears. Like Alex and Brian, I had a career in electronic music for a while. At some point you start to ask if you believe in the essence of what an artist is doing when you're analysing or listening to them. 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