BLOODY HELL

I’M IN SPACE, ABOVE MARS, SO CLOSE THAT THE HULKING RED PLANET FILLS THE ENTIRE SCREEN.

A MASSIVE CHUNK HAS BEEN TORN OUT OF IT, AND I’M HOPPING BETWEEN SHARDS OF ROCKY DEBRIS THAT HAVE BROKEN LOOSE, SLAUGHTERING DEMONS WITH A SUPER SHOTGUN.

DOOM ETERNAL, A SEQUEL TO 2016’S STELLAR REBOOT, IS A GAME OF IMPOSSIBLE SCALE AND DRAMA. SO MUCH SO THAT THE PREVIOUS GAME SEEMS ALMOST BORING IN COMPARISON.

“From the beginning, our goal was making you fight in unbelievable locations, surprising you every step of the way,” says id Software’s Marty Stratton, producer of Doom Eternal. “From the very start to the final boss, players will be seeing things they’d never expect from a Doom game.” “It’s all about engagement,” says creative director Hugo Martin, a word the two developers use several times in our interview. “Not only do these moments achieve that from a visual perspective,” he adds, “but the mechanics contribute to it too.”

The Doom Slayer can now climb, grabbing hold of surfaces with a certain texture. He can dash in mid-air as well, crossing wide gaps.”