Latest news with #Doom
Arab News
10 hours ago
- Entertainment
- Arab News
Review: ‘Doom: The Dark Ages' sets new bar for first-person carnage
LONDON: The first 'Doom' game back in 1993 helped define the first-person shooter genre, spawning numerous sequels and even a Hollywood film. Now it is back, and in a crowded market packed with chaotic shooters and arena brawlers, this game slices its way into the pantheon with style — and a spinning shield saw. For the latest updates, follow us on Instagram @ Boasting 22 adrenaline-soaked levels, 'Doom: The Dark Ages' sticks to the classic formula of annihilating every enemy in the room before moving on. Yet it rarely pauses for breath, charging through its campaign. While there are secrets to uncover and collectible toys to find, it always feels hurried, pushing players forward with breakneck urgency. Where it stands out is in its innovative combat tools — a shield saw that doubles as a melee weapon, a flail for crowd control, and a shield charge that turns defense into offense. Combat is fast, demanding, and utterly satisfying, especially in boss fights where success hinges on timing and picking the right attack for the enemy. The gunplay is awesomely brutal and weapons evolve through Sentinel Shrines, letting players fine-tune their arsenal to match the rising difficulty. This isn't just a shooter; it's a metal-fueled ballet of aggression, where being passive is punished and staying alive means staying angry. The music? Pure heavy metal fury, matching the gameplay beat for beat. Visuals run at a crisp 60 frames per second and every environment drips with cosmic dread, from crumbling hellscapes to star-forged citadels. The new cosmic realm adds visual diversity, while massive set-pieces like dragon-riding with autocannons and piloting giant sentinels crank the spectacle to 11. This is bone-crunching mayhem at its finest. It's Halo-esque in scope, 'Doom'-like in execution, but ultimately a beast of its own making.
Yahoo
19 hours ago
- Business
- Yahoo
'It's mine': Wagner's housing effort brings dreams within reach
May 30—WAGNER, S.D. — When a pre-built home rolled into Wagner last fall, few could predict how significant it would become. For Irene Sully, 54, it wasn't just the first Governor's House to arrive in town — it was her very first home. "I never thought I'd be able to own a house," said Sully, a first-time homebuyer. "When they brought it in, I just stood there watching them unload it. It was such an emotional moment." Sully purchased the first Governor's Home brought to Wagner, part of a broader effort to bring affordable, high-quality housing options to the community. She's now finishing the interior and expects to move in soon. "My house has three bedrooms, two bathrooms — one with a tub and one with a walk-in shower," she said. "I've added a two-stall garage, and I'm planning a porch soon. It's everything I wanted." The initiative is being led locally by Wagner Area Growth, Inc. (WAG), a nonprofit development corporation working to strengthen the local economy. WAG has plans to bring in at least two more Governor's Houses to Wagner as part of this effort to expand affordable, high-quality housing options for the community. The homes are purchased from the South Dakota Housing Development Authority (SDHDA) through the Governor's House Program, which offers affordable, energy-efficient homes to income-qualified South Dakotans. "We're not just putting houses in the ground," said Margaret Doom, Wagner's economic development director. "We're building opportunity — for individuals, for families, and for the long-term future of Wagner." WAG owns the homes when they arrive and selects details like flooring, paint and appliances. Doom said the goal is to offer homes that feel modern and move-in ready. "We tried to put the best of everything into ours," she said. "The best appliances, flooring, colors — we want these to be homes people are proud of." The first home sold quickly to Sully. The second Governor's Home, now placed in town, is being used for open houses until it sells, giving residents a chance to see the quality firsthand. "There's a stigma that's followed Governor's Homes in the past, and we're working hard to change that," Doom said. "These homes are beautiful, customizable, and efficient." Governor's Houses have sometimes faced skepticism due to their affordability and prison-built origins, often seen as basic or low-end. Doom says WAG is challenging that perception by showing how high-quality and attractive these homes can be. Buyers are responsible for several key parts of the setup — including securing a lot, laying a foundation (such as a crawl space or basement), installing utilities, and adding floor coverings. For example, a buyer like Sully would need to choose a site, hire a contractor to pour the foundation, coordinate with utility companies, and make interior decisions. WAG helps guide them through each step. Governor's Houses are built by inmates at Mike Durfee State Prison in Springfield through a program managed by SDHDA. Since 1996, more than 3,300 have been sold. Prices typically range from $79,000 to $99,900, with income and net worth limits for eligibility. For a household of one or two, annual income must be under $66,570; for three or more, under $76,080. Doom says the homes are part of a broader effort to "jumpstart the housing cycle" — providing starter homes for young adults, long-term homes for families, and retirement-friendly options. "Right now, we don't have enough starter homes," Doom said. "And if young people can't find a place to live, they leave. We want to stop that." According to the U.S. Census, from 2010 to 2020, poverty in Wagner dropped significantly — and so did the population. While Doom questions whether those numbers reflect a true population decline or a drop in poverty, she believes the solution lies in housing revitalization. WAG is also focused on education — offering workshops on home maintenance, connecting residents with resources, and encouraging long-term stewardship. "A house only stays valuable if it's cared for," Doom said. "We want to teach people about siding, roofing, all of it. When someone eventually moves out, that house should still be in good shape for the next family." Doom also praised SDHDA's flexibility in working with nonprofits. The program allows up to a year to sell a home before payment is due — a grace period WAG didn't need for Sully's home but that she says is essential for other communities. "Every home we place is part of a bigger picture," she said. "It's not just about shelter — it's about bringing people into the community, helping them succeed, and building something sustainable." For Sully, that vision is already a reality. "I'm so proud of this home," she said. "It's mine. And it's in Wagner. That means everything." Looking ahead, Doom says Wagner's future won't be defined by population or wealth — but by lives changed. "Gone are the days of a one-size-fits-all perfect small town," she said. "Every town has to define its own success. For us, that means making Wagner a place where people want to stay, grow, and dream big."
Yahoo
a day ago
- Business
- Yahoo
Bethesda Devs Win First-Ever Union Contract In The Country At A Major Gaming Company After Threatening Strike
ZeniMax Workers United just became the first game developer union in the country to win a contract at a major publisher. The group of over 300 quality assurance testers across franchises like Fallout and Doom secured an agreement with Microsoft that includes wage increases, salary minimums, and crediting procedures. 'Video games have been the revenue titan of the entire entertainment industry for years, and the workers who develop these games are too often exploited for their passion and creativity. Organizing unions, bargaining for a contract, and speaking with one collective voice has allowed workers to take back the autonomy we all deserve,' ZeniMax QA tester and bargaining committee member Jessee Leese said in a press release. 'Our first contract is an invitation for video game professionals everywhere to take action. We're the ones who make these games, and we'll be the ones to set new standards for fair treatment.' The contract will now go to the full membership for review with a ratification vote planned for June 20. Once completed, ZeniMax devs, including staff at Bethesda Game Studios, will have won the first collective bargaining agreement of any of the major gaming unions that have formed in recent years. Sega of America staff are also currently in negotiations for a contract, as are developers at other Microsoft-owned studios including the Overwatch 2 and World of Warcraft teams at Blizzard as well as Call of Duty testers at Raven Software. The ZeniMax contract comes just two months after union employees there threatened to go on strike if an agreement wasn't reached following a nearly two-year-long negotiation process. The Communications Workers of America, which represents ZeniMax Workers United and other Microsoft gaming unions, previously filed an unfair labor practice charge against the tech giant claiming it was slow-walking the talks. The new contract, once ratified, will provide important benchmarks for other teams currently hashing out agreements. . For the latest news, Facebook, Twitter and Instagram.
New York Times
a day ago
- Entertainment
- New York Times
Destructive Driving, Artisanal Creepiness and Lovecraftian Rituals
New York Times critics recommended three very different video games released in May, including Clair Obscur: Expedition 33, a turn-based role-playing game about a grieving family that left the critic emotionally shaken. Also receiving Critic's Picks were Doom: The Dark Ages, a grounded reinvention of the hellish shooter franchise, and What the Clash?, an addicting mobile game filled with humorous absurdity. The three critics who banded together to play Elden Ring Nightreign, the punishing fantasy franchise's first cooperative adventure, felt generally frustrated by the Fortnite-esque additions meant to speed up gaming sessions. Here are three other games you may have missed this month: Deliver at All Costs Reviewed on the PlayStation 5. Also available on the PC and Xbox Series X|S. I approach driving in video games with outlandish care — painstakingly trying to stick to the right lane and avoid pedestrians — while getting a feel for how much chaos the virtual world will tolerate. I keep up the charade until I inadvertently cause enough property damage that my reserve cracks and my domesticated psycho comes out. Want all of The Times? Subscribe.
Time of India
3 days ago
- Entertainment
- Time of India
Doom: The Dark Ages does what Doom does best, forging carnage in a forge of chaos
Don't you think video games are getting too complicated? Every title coming out these days feel compelled to drop me into a 200-hour increasingly cinematic sandbox filled with fetch quests that demand dozens of hours exploring vast open worlds for what, just to kill off the bad guy for world peace? Well, Doom: The Dark Ages is exactly that but it's honest about it, and bluntly effective. After years of watching the franchise from the sidelines, occasionally nodding along to Mick Gordon's brutal soundtracks without context, I finally dove headfirst into it. What I discovered wasn't just my entry point into the series, but a reminder of why sometimes the most sophisticated gaming experiences come wrapped in the simplest packages. The Dark Ages positions itself as a prequel to the modern Doom trilogy, casting the legendary Slayer in a medieval-meets-sci-fi setting where alien overlords, demonic hordes, and humanity's last defenders clash across sprawling battlefields. The premise couldn't be more straightforward: you are an unstoppable force of nature, demons exist, and your job is to make them not exist anymore. No moral complexity, no branching dialogue trees, no companion approval ratings to manage. Just pure, undiluted aggression channeled through increasingly creative methods of digital violence. What struck me immediately was how liberating this clarity felt. In a gaming landscape increasingly obsessed with cinematic storytelling and player choice consequences, The Dark Ages presents a different philosophy entirely. The Slayer speaks exactly one word throughout the entire campaign, yet his character development through body language and environmental storytelling proves more compelling than most fully-voiced protagonists. There's something profoundly satisfying about a character who solves every problem by hitting it really, really hard with medieval weaponry. Rip and tear, stand and fight by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Click Here - This Might Save You From Losing Money Expertinspector Click Here Undo The Dark Ages' isn't very good with it's storytelling but let's honest it doesn't really need to be. Instead, it is the Doom's ages old combat formula, which is subtly evolved but still maintain its frenetic DNA. The introduction of the Shield Saw fundamentally changes how encounters unfold, shifting from Doom Eternal's emphasis on constant movement to a "stand and fight" mentality that initially sounds counterintuitive to everything the franchise represents. Yet somehow, it works brilliantly. While shields have mostly been known to be defensive equipment to humans, for the Slayer, it's a weapon, traversal tool, and tactical game-changer rolled into one circular buzzsaw of destruction. Parrying incoming attacks feels satisfying in a way that transcends mere mechanical feedback; there's a rhythm to combat that emerges naturally as you learn to balance aggression with precise timing. Unlike the rigid resource management that sometimes made Doom Eternal feel like solving an equation under pressure, The Dark Ages allows for more improvisational approaches to demon disposal. The weapon roster adapts familiar tools to the medieval setting without losing their essential character. The Super Shotgun remains the close-quarters king, but new additions like the skull-spitting gatling gun and chain-attached railgun offer fresh approaches to crowd control and armour piercing. Each weapon feels purposeful rather than redundant, contributing to a combat system that rewards experimentation without punishing players who develop preferences. What impressed me most was how the game manages to feel both more accessible than its predecessor while maintaining tactical depth. The shield bash's traversal capabilities replace Eternal's air dash system seamlessly, while the parry mechanics add a layer of skill expression that never feels mandatory for success. It's a delicate balance that many action games struggle with, providing systems that enhance experienced play without alienating newcomers. Hell on earth (but make it medieval) Beyond the moment-to-moment combat, The Dark Ages succeeds in creating environments that justify their existence beyond being demon-killing arenas. The level design strikes an excellent balance between linear progression and exploratory freedom, with larger hub areas offering multiple objectives and secrets to discover at your own pace. These aren't the overwhelming open worlds that dominate modern gaming, but focused playgrounds that reward curiosity without overwhelming players with busy work. The medieval aesthetic could have easily felt like a gimmicky departure from the series' established visual language, but id Software wisely blends fantasy elements with the technological underpinnings that define Doom's universe. Watching massive mechs stomp across castle battlefields while dragons soar overhead creates moments of genuine spectacle that feel earned rather than manufactured. These setpiece moments, while not always mechanically perfect, serve their purpose as palate cleansers between the more intense combat encounters. The game's approach to progression also deserves mention for how it respects player time. Upgrades feel meaningful without being overwhelming, and the currency systems are straightforward enough that you're never confused about what you need or where to get it. Secrets are well-integrated into level design, offering genuine rewards for exploration without requiring exhaustive searching to find every hidden item. When glory kills actually feel glorious Perhaps what surprised me most about The Dark Ages was how it made me reconsider my relationship with action games in general. I've spent years gravitating toward narrative-heavy experiences, convinced that emotional investment required complex storytelling and character development. The Dark Ages demonstrates that engagement can come from perfectly tuned mechanics and clear, achievable goals just as effectively as any branching storyline. The game's violence is cartoonish in the best possible way—so over-the-top that it transcends any concerns about real-world implications and becomes pure digital catharsis. There's an almost meditative quality to chaining together perfect parries, weapon swaps, and glory kills that creates its own form of flow state. The feedback loop is immediate and satisfying: see demon, devise elimination method, execute plan, admire results, repeat. This isn't to say The Dark Ages completely abandons narrative ambition. The wordless characterisation of the Slayer, the environmental storytelling embedded in each level, and the broader mythology all contribute to a surprisingly coherent world. But these elements serve the gameplay rather than demanding attention in their own right, creating a more integrated experience than many games that pride themselves on their storytelling. The campaign's 22-chapter structure maintains excellent pacing throughout its roughly 20-hour runtime, never allowing any single element to overstay its welcome. Even the occasional mech and dragon sequences, while mechanically simpler than the core combat, provide necessary variety and spectacle without derailing the overall experience. The sound of silence (and chainsaws) If there's one area where The Dark Ages stumbles, it's in the audio department. While I haven't really spent hours slaying on Mick Gordon's composition, yet somehow his absence is immediately noticeable, and I guess it would be even more so for someone who have been a regular of series' previous entires. While Finishing Move's soundtrack is competent, it lacks the driving intensity that made Gordon's work such an integral part of the Doom experience. The music often fades into background noise rather than amplifying the on-screen chaos, a significant departure from how seamlessly audio and gameplay integrated in previous entries. This isn't a fatal flaw, but it does represent a missed opportunity to elevate already excellent gameplay with equally excellent audio design. The sound effects themselves remain top-tier, every shotgun blast, demon roar, and shield clang carries appropriate weight, but the musical backing never quite matches the energy of what's happening on screen. Until it is done (for now) Doom: The Dark Ages succeeds as both an entry point for newcomers and a worthy addition to an established franchise by remembering that complexity and sophistication aren't synonymous. It knows exactly what it wants to be and executes that vision with laser focus. Now I understand what I'd been missing all these years. The Dark Ages doesn't just serve as my belated introduction to the series, it's a masterclass in why Doom has endured for over three decades. What I initially dismissed as mindless violence revealed itself as carefully orchestrated chaos, where every system works in harmony to create something greater than the sum of its parts. The sophistication I'd been seeking in complex narratives and sprawling worlds was here all along, hidden beneath layers of demon viscera and shotgun shells. This realisation feels almost embarrassing in hindsight. I'd spent years chasing elaborate gaming experiences, convinced that depth required complexity, when Doom was quietly perfecting the art of elegant simplicity. The Dark Ages strips away every unnecessary element to focus entirely on what matters: the pure joy of interactive entertainment. No padding, no filler, no respect for your time wasted on anything that doesn't contribute to the core experience. In a year likely to be dominated by sprawling open worlds and narrative epics, Doom : The Dark Ages offers something increasingly rare: a game that respects your time, trusts your intelligence, and never forgets that fun should be the primary objective. Sometimes that's exactly what hell ordered. Our rating: 4/5 AI Masterclass for Students. Upskill Young Ones Today!– Join Now
