Ismail Amzovski

Compared to the previous two games in the trilogy, this is definitely the weakest entry. That doesn’t mean it’s a bad game—just that it doesn’t reach the same level of quality as its predecessors. I appreciate that each installment in the series has experimented with different FPS mechanics, but this one feels like a step backward. Doom Eternal felt incredibly refined and demanded mastery of its mechanics, especially at higher difficulty levels. In contrast, this game is noticeably more forgiving. You can get through tougher encounters by relying on just one weapon and melee, with parrying doing much of the heavy lifting. Weapon swapping, which was essential in Eternal, feels optional here. The expanded focus on story is a nice attempt, but honestly unnecessary for a game like Doom. As someone who enjoys deep, narrative-driven RPGs like The Witcher or Baldur’s Gate 3, Doom’s story just doesn’t do much for me. It’s passable, but not why I play these games. Now for the biggest letdown: the soundtrack. It’s easily the weakest in the series. The absence of Mick Gordon’s iconic, aggressive “lawnmower metal” really takes the energy out of the experience. His work helped define the modern Doom identity. And considering how poorly ZeniMax and certain individuals treated him—despite his major contributions—it leaves a bad taste. That alone drops the game another star in my book.