I've never played Destiny. I was playing...
DOOM (2016)
Pretty good fun, if suffering a little from the typical failings of modern game design. My main complaint is the use of challenges, runes and secrets for in-game rewards via pseudo-RPG upgrades, which kinda pushes you into playing the game non-optimally for the sake of meeting certain challenge conditions - leaving you deflated when you wipe out a horde of demons but failed to get X headshots with Z weapon on Y enemy - or breaking up the flow of a level to do Rune Upgrade sections. The fact that levels would frequently lock you out of previous rooms with no warning (and then trigger a checkpoint) was also rather infuriating. The bosses were also a bit "gamey" for my taste, with their silly jump/duck and pattern recognition attacks. Oh, and cacodemons were annoyingly bullet-spongey. Otherwise it was alright, and worth the sale price.
Had to disable the motion blur to get screens that look even remotely clear, which does reveal some shoddy texture quality in places. It doesn't look as bad as some modern shooters, and I did like the look of one of the later levels, with the juxtaposition of the sterile-white Lazarus Labs and the mountains of gore caused by the invasion, but in general environments are pretty forgettable. Some monsters look great (Revenant and Summoner), though others are a bit generic (Hell Knights, for example, are similar to their uninspired Doom 3 versions). It would've been nice to see an emphasis on the demonic violation of relatable, mundane human environments in the UAC base rather than dark industrial corridors and security checkpoints caked in entrails and blood, something that has always proved a challenge for sci-fi horror. I thought the Event Horizon nod in The AMC Mod Episode 2 did a much better job of depicting a research facility being progressively subsumed by Hell. Perhaps id were wary of falling into the trap of Doom 3's asinine side-characters and audio logs, hence the choice to depersonalize everyone on the base aside from Olivia Pierce and Samuel Hayden. On that note, they did a fantastic job characterizing "The Doom Slayer" via little touches such as the way he tears open priceless experimental machinery in defiance of Hayden's requests, or the momentary hesitation when he's about to shut down VEGA and notices the "Backup" key. We know everything we need to about the guy without requiring a single line of extra dialogue or stuffing his backstory into a bunch of collectibles (which exist, but only reveal the history of the demon world rather than as a half-hearted attempt at an alternative telling of the character).
I'm not a huge fan of the music, but then the kind of genres that the Doom community have tended to cluster around have never been my thing. Though most of the combat tunes are adequate enough, virtually every other track (aside from the one that plays before you enter VEGA's core) amalgamate into a single amorphous blob.
Some Classic Levels (unlockable by finding them in the campaign) and Snapmap crap.