DOOM Eternal - the sequel to the 2016 reboot - now with The Ancient Gods DLC

[Average Manatee]

The speedruns of this game are insanely boring to watch because they're just a series of super jumps outside the geometry and then walking to the exit.

It's never the runners' fault that a game is breakable.

Look up "glitchless speedruns".

Its always the runners' fault for being degenerates that waste their lives doing stupid shit.

 

[Bigg Boss]

Unless they are making money off of it. Then it is less stupid but even more degenerate.

 

[UserNamer]

Just started this game at second level now and I was pleasantly surprised by it actually being a challenge (started on nightmare directly) The health and ammo refill mechanic sounded retarded on paper but I have to say they work so far. I stress the "so far" part.


Granted, I can already see the potential on this game play loop remaining the same for the entire duration of the game and probably it doesn't have the same flexibility of the real dooms which offered (including wads) a wide range of encounters and scenarios with all levels of intensity and challenge.

I can also already see the flaws in level design,of course they are not as interesting and complex as the original, they just have more detailed backdrops. And there is something annoying regarding how cluttered and disleveled everything is- not sure I'm explaining what I mean

Also so far I didn't notice any enemy destroyingp of the level geometry to remove cover and stuff, like in some other old school style shooters such as arcane dimensions, ion Fury's security bots, and ss3. I think even wrath has it

Plot tone and style could have been done better, something more mysterious a la dark souls, but I think the doom marine is cool

Performance is awesome but the game didn't start immediately and I had to spend some time troubleshooting. In action it looks great but probably the game is not as jaw dropping graphic wise as anticipated

Anyway, TL Dr can see many flaws but I'm at level 2 and so far it has been a fun and intense shooter

 

[Zariusz]

 

[UserNamer]

Still having a blast. Flaws so far

-some stupid game design like the purple goo and the rocket launcher firing very slow moving rockets. Some puzzling decisions like the first person platforming and things right outside of a platformer like a chain suspended in midair rotating clockwise and you have to jump from a suspended but falling off platform to the next
-of course the level design meaning the progression through the levels, the layouts is uninspired as hell
-generic "hell priest" main enemies. Very lame /I generic I think.
-sound design is off, there is no characteristic sounds for enemies attacking, it's not like doom where you could recognise the sound of a rocket coming at you or a fireball flying fast. Here you have enemies teleporting in all the time so at least a recognisable teleporting sound would have been good

I want to stress that I'm really having fun despite some of this stupidity, the combat works very well- it's not the original doom but a mix of doom, quake, with some death match elements. I do think the gameplay is fun and challenging, on nightmare

 

[Sodafish]

Oh yeah that purple goo was bullshit. Still, it is very sparingly used thankfully.

 

[Average Manatee]

I think the purple goo was fine. It changed up the otherwise very rote formula and most of the time you could entirely avoid fighting it if you paid attention. Its good that it was only for like 4 fights during the whole game rather than there being an entire goo level or something. That would have been real bullshit.

 

[Infinitron]

SoundtrackGate: https://www.reddit.com/r/Doom/comments/gdg25y/doom_eternal_ost_open_letter/

DOOM Eternal OST Open Letter

An open letter to the incredible DOOM community.

Over the past couple weeks, I’ve seen lots of discussion centered around the release of the DOOM Eternal Original Game Soundtrack (OST). While many fans like the OST, there is speculation and criticism around the fact that the game’s talented and popular composer, Mick Gordon, edited and “mixed” only 12 of the 59 tracks on the OST - the remainder being edited by our Lead Audio Designer here at id.

Some have suggested that we’ve been careless with or disrespectful of the game music. Others have speculated that Mick wasn’t given the time or creative freedom to deliver something different or better. The fact is – none of that is true.

What has become unacceptable to me are the direct and personal attacks on our Lead Audio Designer - particularly considering his outstanding contributions to the game – as well as the damage this mischaracterization is doing to the many talented people who have contributed to the game and continue to support it. I feel it is my responsibility to respond on their behalf. We’ve enjoyed an amazingly open and honest relationship with our fans, so given your passion on this topic and the depth of misunderstanding, I’m compelled to present the entire story.

When asked on social media about his future with DOOM, Mick has replied, “doubt we’ll work together again.” This was surprising to see, as we have never discussed ending our collaboration with him until now - but his statement does highlight a complicated relationship. Our challenges have never been a matter of creative differences. Mick has had near limitless creative autonomy over music composition and mixing in our recent DOOM games, and I think the results have been tremendous. His music is defining - and much like Bobby Prince’s music was synonymous with the original DOOM games from the 90s, Mick’s unique style and sound have become synonymous with our latest projects. He’s deserved every award won, and I hope his incredible score for DOOM Eternal is met with similar accolades – he will deserve them all.

Talent aside, we have struggled to connect on some of the more production-related realities of development, while communication around those issues have eroded trust. For id, this has created an unsustainable pattern of project uncertainty and risk.

Spoiler

At E3 last year, we announced that the OST would be included with the DOOM Eternal Collector’s Edition (CE) version of the game. At that point in time we didn’t have Mick under contract for the OST and because of ongoing issues receiving the music we needed for the game, did not want to add the distraction at that time. After discussions with Mick in January of this year, we reached general agreement on the terms for Mick to deliver the OST by early March - in time to meet the consumer commitment of including the digital OST with the DOOM Eternal CE at launch. The terms of the OST agreement with Mick were similar to the agreement on DOOM (2016) in that it required him to deliver a minimum of 12 tracks, but added bonus payments for on-time delivery. The agreement also gives him complete creative control over what he delivers.

On February 24, Mick reached out to communicate that he and his team were fine with the terms of the agreement but that there was a lot more work involved than anticipated, a lot of content to wade through, and that while he was making progress, it was taking longer than expected. He apologized and asked that “ideally” he be given an additional four weeks to get everything together. He offered that the extra time would allow him to provide upwards of 30 tracks and a run-time over two hours – including all music from the game, arranged in soundtrack format and as he felt it would best represent the score in the best possible way.

Mick’s request was accommodated, allowing for an even longer extension of almost six weeks – with a new final delivery date of mid-April. In that communication, we noted our understanding of him needing the extra time to ensure the OST meets his quality bar, and even moved the bonus payment for on-time delivery to align with the new dates so he could still receive the full compensation intended, which he will. In early March, we announced via Twitter that the OST component in the DOOM Eternal CE was delayed and would not be available as originally intended.

It’s important to note at this point that not only were we disappointed to not deliver the OST with the launch of the CE, we needed to be mindful of consumer protection laws in many countries that allow customers to demand a full refund for a product if a product is not delivered on or about its announced availability date. Even with that, the mid-April delivery would allow us to meet our commitments to customers while also allowing Mick the time he had ideally requested.

As we hit April, we grew increasingly concerned about Mick delivering the OST to us on time. I personally asked our Lead Audio Designer at id, Chad, to begin work on id versions of the tracks – a back-up plan should Mick not be able to deliver on time. To complete this, Chad would need to take all of the music as Mick had delivered for the game, edit the pieces together into tracks, and arrange those tracks into a comprehensive OST.

It is important to understand that there is a difference between music mixed for inclusion in the game and music mixed for inclusion in the OST. Several people have noted this difference when looking at the waveforms but have misunderstood why there is a difference. When a track looks “bricked” or like a bar, where the extreme highs and lows of the dynamic range are clipped, this is how we receive the music from Mick for inclusion in the game - in fragments pre-mixed and pre-compressed by him. Those music fragments he delivers then go into our audio system and are combined in real-time as you play through the game.

Alternatively, when mixing and mastering for an OST, Mick starts with his source material (which we don’t typically have access to) and re-mixes for the OST to ensure the highs and lows are not clipped – as seen in his 12 OST tracks. This is all important to note because Chad only had these pre-mixed and pre-compressed game fragments from Mick to work with in editing the id versions of the tracks. He simply edited the same music you hear in game to create a comprehensive OST – though some of the edits did require slight volume adjustments to prevent further clipping.

In early April, I sent an email to Mick reiterating the importance of hitting his extended contractual due date and outlined in detail the reasons we needed to meet our commitments to our customers. I let him know that Chad had started work on the back-up tracks but reiterated that our expectation and preference was to release what he delivered. Several days later, Mick suggested that he and Chad (working on the back-up) combine what each had been working on to come up with a more comprehensive release.

The next day, Chad informed Mick that he was rebuilding tracks based on the chunks/fragments mixed and delivered for the game. Mick replied that he personally was contracted for 12 tracks and suggested again that we use some of Chad’s arrangements to fill out the soundtrack beyond the 12 songs. Mick asked Chad to send over what he’d done so that he could package everything up and balance it all for delivery. As requested, Chad sent Mick everything he had done.

On the day the music was due from Mick, I asked what we could expect from him. Mick indicated that he was still finishing a number of things but that it would be no-less than 12 tracks and about 60 minutes of music and that it would come in late evening. The next morning, Mick informed us that he’d run into some issues with several tracks and that it would take additional time to finish, indicating he understood we were in a tight position for launching and asked how we’d like to proceed. We asked him to deliver the tracks he’d completed and then follow-up with the remaining tracks as soon as possible.

After listening to the 9 tracks he’d delivered, I wrote him that I didn’t think those tracks would meet the expectations of DOOM or Mick fans – there was only one track with the type of heavy-combat music people would expect, and most of the others were ambient in nature. I asked for a call to discuss. Instead, he replied that the additional tracks he was trying to deliver were in fact the combat tracks and that they are the most difficult to get right. He again suggested that if more heavy tracks are needed, Chad’s tracks could be used to flesh it out further.

After considering his recommendations, I let Mick know that we would move forward with the combined effort, to provide a more comprehensive collection of the music from the game. I let Mick know that Chad had ordered his edited tracks as a chronology of the game music and that to create the combined work, Chad would insert Mick‘s delivered tracks into the OST chronology where appropriate and then delete his own tracks containing similar thematic material. I said that if his additional combat tracks come in soon, we’d do the same to include them in the OST or offer them later as bonus tracks. Mick delivered 2 final tracks, which we incorporated, and he wished us luck wrapping it up. I thanked him and let him know that we’d be happy to deliver his final track as a bonus later on and reminded him of our plans for distribution of the OST first to CE owners, then later on other distribution platforms.

On April 19, we released the OST to CE owners. As mentioned earlier, soon after release, some of our fans noted and posted online the waveform difference between the tracks Mick had mixed from his source files and the tracks that Chad had edited from Mick's final game music, with Mick’s knowledge and at his suggestion.

In a reply to one fan, Mick said he, “didn’t mix those and wouldn’t have done that.” That, and a couple of other simple messages distancing from the realities and truths I’ve just outlined has generated unnecessary speculation and judgement - and led some to vilify and attack an id employee who had simply stepped up to the request of delivering a more comprehensive OST. Mick has shared with me that the attacks on Chad are distressing, but he’s done nothing to change the conversation.

After reaching out to Mick several times via email to understand what prompted his online posts, we were able to talk. He shared several issues that I’d also like to address.

First, he said that he was surprised by the scope of what was released – the 59 tracks. Chad had sent Mick everything more than a week before the final deadline, and I described to him our plan to combine the id-edited tracks with his own tracks (as he’d suggested doing). The tracks Mick delivered covered only a portion of the music in the game, so the only way to deliver a comprehensive OST was to combine the tracks Mick-delivered with the tracks id had edited from game music. If Mick is dissatisfied with the content of his delivery, we would certainly entertain distributing additional tracks.

I also know that Mick feels that some of the work included in the id-edited tracks was originally intended more as demos or mock-ups when originally sent. However, Chad only used music that was in-game or was part of a cinematic music construction kit.

Mick also communicated that he wasn’t particularly happy with some of the edits in the id tracks. I understand this from an artist’s perspective and realize this opinion is what prompted him to distance from the work in the first place. That said, from our perspective, we didn’t want to be involved in the content of the OST and did absolutely nothing to prevent him from delivering on his commitments within the timeframe he asked for, and we extended multiple times.

Finally, Mick was concerned that we’d given Chad co-composer credit – which we did not do and would never have done. In the metadata, Mick is listed as the sole composer and sole album artist. On tracks edited by id, Chad is listed as a contributing artist. That was the best option to clearly delineate for fans which tracks Mick delivered and which tracks id’s Lead Audio Designer had edited. It would have been misleading for us to attribute tracks solely to Mick that someone else had edited.

If you’ve read all of this, thank you for your time and attention. As for the immediate future, we are at the point of moving on and won’t be working with Mick on the DLC we currently have in production. As I’ve mentioned, his music is incredible, he is a rare talent, and I hope he wins many awards for his contribution to DOOM Eternal at the end of the year.

I’m as disappointed as anyone that we’re at this point, but as we have many times before, we will adapt to changing circumstances and pursue the most unique and talented artists in the industry with whom to collaborate. Our team has enjoyed this creative collaboration a great deal and we know Mick will continue to delight fans for many years ahead.

With respect and appreciation,

Marty Stratton
Executive Producer, DOOM Eternal

 

[Ash]

Who gives a shit? Doom 2016 and Doom Eternal's soundtracks are both painfully average. It does the job but that's all. There's not s single track that stands out.

 

[sullynathan]

Who gives a shit? Doom 2016 and Doom Eternal's soundtracks are both painfully average. It does the job but that's all. There's not s single track that stands out.

Menu theme is good

 

[Average Manatee]

I remember nothing about the Doom Eternal soundtrack except that I was able to listen to the Doom 3 theme, which is simultaneously great but also makes one think of replaying Doom 3 which is a mistake.

 

[normie]

 

[DalekFlay]

I remember nothing about the Doom Eternal soundtrack except that I was able to listen to the Doom 3 theme, which is simultaneously great but also makes one think of replaying Doom 3 which is a mistake.

I just replayed Doom 3 and loved it. Depends on what you're going to it for though, as it's not Doom 1 and 2 much at all. Play it like a cross between Doom and System Shock though, and I think it's a blast.

 

[Infinitron]

 

[Silly Germans]

I remember nothing about the Doom Eternal soundtrack except that I was able to listen to the Doom 3 theme, which is simultaneously great but also makes one think of replaying Doom 3 which is a mistake.

I just replayed Doom 3 and loved it. Depends on what you're going to it for though, as it's not Doom 1 and 2 much at all. Play it like a cross between Doom and System Shock though, and I think it's a blast.

Did you play Prey(2006) and Quake 4 ? They use the same Engine and are similar to Doom 3.

 

[DalekFlay]

Did you play Prey(2006) and Quake 4 ? They use the same Engine and are similar to Doom 3.

I did back then, don't remember them much now. I think they were more straight-up FPS games, if memory serves.

 

[UserNamer]

Been Playing some more and I have to say now I'm a defender of this game. It definitely doesn't feel like popamole and it's both challenging and fun. The way you recharge health armour and ammo still sounds incredibly stupid on paper yet it works, it works fine without removing the challenge.

Would I like a new game with levels layouts more like the classics or the wads of the classics, and a gameplay more based on item placement? Sure but I would still maintain that doom eternal stands on its own legs as an alternative to the classics but still very much in the same spirit, for what concern the furious gameplay.


I am playing on nightmare and it's co. I just believe its jarring in a minor way to have this mega armor still you get destroyed in 1 or 2 fireballs but it's a minor note
I have endless nitpicks on this game, endless, yet the overall experience remains excellent.

Somehow I really dislike the lore, the names like mayjr and argent d'nur, it all sounds stupid to me. Doom guy story sound cool and dumb, dumb in a cool way everything else seems a bit dumb in a non cool way.

I am really excited to see how the series will progress. Would like to see maybe some large scale battles in the future with you against hordes of monsters. Would love better levels layouts and a slightly more refined background lore, something in the style of dark souls maybe. Possibly some ambient destruction doable by both you and the monsters,like ion fury(limited to the security bots enemies I think), arcane dimensions, serious Sam 3

A final note for anybody who hasn't played the game. Playing nightmare, it feels to me it was 100% balanced around a mouse and keyboard player and that was a really pleasant surprise to me. Unless the game is easier than I think and I have become retarded, gaming retarded during my hiatus. Also you can remove the fatality indicator and remove the glow around item, it helps a bit

 

[Infinitron]

 

[UserNamer]

These are the equivalent of skyboxes basically. Anyway I'm almost finished with eternal so I wouldn't mind a few more levels

 

[OctavianRomulus]

I see all kinds of cool exploration possibilities in the second shot. They will probably disappoint me in that regard...

 

[Sodafish]

Those really look like concept art rather than screenshots to me.

 

[Boleskine]

https://blog.irdeto.com/2020/05/14/...ve-a-message-to-doom-eternal-fans-and-gamers/

Denuvo Anti-Cheat goes LIVE! A message to DOOM Eternal fans and gamers

• by Reinhard Blaukovitsch
• May 14, 2020
• Anti-Cheat

Hello DOOM Eternal fans and gamers!

Over the last three years, Irdeto’s Denuvo team has been building a multiplayer anti-cheat solution. Two years ago, Denuvo kicked off an early access program where AAA publishers & studios were invited to contribute today’s most popular multiplayer titles as anti-cheat test platforms. After countless hours and millions of gameplay sessions, we are excited to announce the launch of Denuvo Anti-Cheat.

Denuvo Anti-Cheat goes LIVE today, May 14th, 2020, to protect the BATTLEMODE multiplayer of DOOM Eternal on PC, developed by id Software and published by Bethesda Softworks.

Our Anti-Cheat solution doesn’t have annoying tray icons or splash screens, and this invisibility could raise some eyebrows. Installing files onto your gaming rig deserves full transparency so here’s a list of what our Anti-Cheat does:

Install and uninstall

• The first time you start your game, Anti-Cheat installs a kernel mode driver into the Program Files folder.
• When you uninstall your game, all previously installed Anti-Cheat files are removed.
  • Bethesda.net PC customers will need to manually uninstall Denuvo Anti-Cheat via Add or Remove programs in Windows settings.

Starting and stopping

• When your game starts, Denuvo Anti-Cheat starts automatically.
• When your game stops for any reason, Anti-Cheat stops automatically.

Although Anti-Cheat starts with the game, actual monitoring only happens during multiplayer matches.

Monitoring
Denuvo by Irdeto is a GDPR-compliant third-party data processor and it’s in our best interest to avoid collection of any personally identifiable information. Unlike other anti-cheat solutions, our Anti-Cheat solution does not take screenshots, scan your file system or stream shellcode from the internet. We collect information on how the OS interacts with the game and send the information to Amazon-hosted servers for cheat detection.

We couldn’t be more excited to take the knowledge we’ve gained in battling piracy and apply it to catching cheaters in the very games we play daily, with you.

Sincerely,

Irdeto’s Denuvo Anti-Cheat Team

 

[Lutte]

Anti-Cheat installs a kernel mode driver

A very good idea to have extraneous drivers on a system. I mean, the ones we already have are so perfectly fine.

Why not add more kernel-privilege software.

Drink your kool-aid, good goy.

if you let this happen to your computer for the sake of playing super mario doom you deserve to get pwn3d

 

[Baron Dupek]

StarForce 2 - Electric Boogaloo?
How bout no

oh and they locked levels behind Twitch Prime

PC Master Race my ass

 

[502]

Bethesda's community guy says single player is supposed to be played without DAC, but people say it's reinstalled at launch, which is of course a big nono so I've paused the update. For once I play an AAA game at launch and this happens. This is what I get for giving in to COOF boredom I guess.

oh and they locked levels behind Twitch Prime

Community guy also says the map won't require Twitch Prime after all.