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Sviluppato da id Software e prodotto da Bethesda Softworks, DOOM è uno sparatutto in 1a persona uscito il 13 maggio 2016 per PlayStation 4.

DOOM fa il suo ritorno offrendo un'esperienza di gioco moderna e brutalmente divertente. Demoni inarrestabili, armi incredibilmente distruttive e movimenti fluidi e rapidi costituiscono le basi per un intenso combattimento in prima persona. Elimina orde di demoni nelle viscere dell'inferno nella campagna per giocatore singolo o sfida i tuoi amici in una delle numerose modalità multigiocatore. Espandi l'esperienza di gioco grazie all'editor DOOM SnapMap: crea, gioca e condividi i tuoi contenuti con tutto il mondo.



64 utenti


Ludopatia a proposito di DOOM per PS4

Grazie alla patch 6.66 che rende i dlc gratuiti ora doom è popolatissimo online
Sto godendo come un matto

Incubo Vinyardo

Incubo Vinyardo ha scritto una recensione su DOOM

Cover DOOM per PS4

Ue raga, ieri ho finito DooM! Peccato che Above anything else, Doom is an action comedy that reveres every FPS trope it had a hand in creating. A cheeky manifestation of space marine bullshit turned up to 11, the Doom Marine is vindication, rage, violence, and masculine excess personified. In Doom’s opening minutes, he wakes from a long sleep inside a demonic sarcophagus and pops the heads of several possessed Mars zombies. In the next room, the Doom Suit rests, surrounded by a jumble of candles and demonic insignia signposting in capital letters: This thing here? It’s important. I feel the same reverence. I climb inside. From there, it's a rude journey to shut hell the hell up.

Abated by a dull multiplayer mode, a limited level creation toolset, and a familiar art direction that doesn't feel as malevolent or creative as modern technology allows, my journey is otherwise one of playful, indulgent FPS action. Hell is my home now, and I won’t leave until a better source of unadulterated fun guts me out.

Hell? Yes.

The story partners you up with Samuel Hayden, a high-ranking UAC (Union Aerospace Corporation) official who worked on secretive Argent energy research projects on Mars. He’s not a fan of hell either. Our primary villain, high-ranking UAC scientist Olivia Pierce, wants the opposite. Satan and co. promised her “great things.” Guess how that one turns out. The plot is dead simple and easy to ignore, loose scaffolding for the furious gunplay, which suits Doom. But for the curious, codexes scattered through the environments detail characters, locations, and enemies in intentionally overwrought high-fantasy strokes.

We’re meant to inhabit the blind, dumb rage of Doom Guy.

I couldn’t take any of it seriously, and that’s the point. They imply hell has a history, civilization, hierarchy, and so on—it makes battles just a touch more personal, but I’m not weeping for every eviscerated Hellknight. It’s hard to imagine them after hours, having a friendly chat over a mug of hot blood, snacking on artisanal entrails. We’re meant to inhabit the blind, dumb rage of Doom Guy, a man who punches helpful drones after they upgrade his weapons, a man who knocks over computers just because, a man whose sole purpose is to be a relentless, unfeeling human tank.

Levels tend to have a singular goal outlined at the beginning by Samuel—turning off comm arrays and switching all sorts of important videogame switches—and end in a gigantic battle accompanied by a huge destructive event that the Doom Guy kicks off with inevitable overkill. It's routine FPS stuff, but filtered through Doom’s exaggerated tone, nearly everything you do is poised to be absurd and funny. One level has your friendly AI companion guiding you through his shutdown process. As I methodically dismantle his power and cooling systems, the AI continually explains away his impending ‘death’ as a utilitarian necessity in a soothing pre-programmed voice. I felt bad for laughing, but Doom Guy couldn’t care less.
For all its brutal violence and dispiriting Satanic imagery, Doom is charitably paced. Environments are a sprawl of corridors that span multiple levels of industrial mars facilities or the rocky islands of hell. I spent more time exploring the environments looking for yellow keycards or secrets than I did in combat, punctual bursts of action that demand intense focus.

Enemies spawn by the dozen; some pursue with melee in mind and others hang back and fire projectiles, and the variety expands throughout a given fight. One enemy can teleport around the arena and spawn minions, which forces me to prioritize them over every other threat. Problem is, they’re quick and small. Some are quick and very tall. Some fly and shoot fireballs. Most have horns and gaping mouths with sharp canines—they’re an imposing bunch, but the majority are familiar faces rendered in an unsurprising and tame 3D aesthetic.

Doom and Doom 2 weren’t exclusively action exploration romps, they were also survival horror games. Limited by the era’s hardware and development bottlenecks, Doom and Doom 2’s forced minimalism let my imagination do the heavy lifting. They were my first prolonged experience with occult imagery that felt simultaneously wrong and magnetic.Which is why seeing a Pinky demon realized as a cute reptilian monster, or Hell as a cluster of floating stone spires adorned with cartoonish demon skulls, diminishes the sense that I’m playing something I shouldn’t. It’s all very rad, but it’s never quite bad (in a don’t-tell-my-dad sense). I wouldn’t be surprised to find an identical underworld in World of Warcraft, so after seeing how well id Software interpreted and elevated Doom’s run-and-gun play, I’m slightly disappointed they went with such a safe rendition of hell and its inhabitants.
Doom’s story and art direction take a backseat to gunplay, and it makes that abundantly clear right away. There is no reload button. All you need to worry about is pulling whatever trigger you can. The super shotgun explodes, dissolving anything in its immediate path and drowning out the sound mix with a clap. Doom would dent your eardrums against your will if it could. My weapon of choice, the rocket launcher, shoots slow singular rounds. The satisfaction of predicting where a target will be and firing a rocket a full second before it connects never gets old. Classic Doom weapons fill out the arsenal, albeit with updated designs and secondary functions. It's nice to see them again, though they’re not bursting with newness.

Weapon abilities are extended through the addition of upgradable mods that add an alternate fire option to each gun. The shotgun gets a three shot burst, the gauss rifle gets a scoped charge shot—most are methods for doing more damage at the cost of consuming ammo quicker. If I need a Baron of Hell out of the picture sooner than later, I’ll take the compromise and empty my gauss rifle reserves in a heartbeat; it’s satisfying, and the ammo cost forces experimentation with every weapon. A few offer methods of AoE damage and crowd control. By right-clicking with a rocket launcher mod, you can explode the round anywhere on its trajectory. If I see a cluster of enemies or know a shot will miss, I’ll pop that round to make sure it’s not wasted. The plasma rifle has an alt fire that stuns enemies for a short period. If I’m cornered by a few Hell Knights, I stun and run. While the gun viewmodels aren’t much to look at, each a static smattering of greys and blacks, they feel great in your hands and force diversity enough to make every combat encounter feel different.It’s Doom’s emphasis on mobility and spontaneity that makes everything work. Aiming down the scope of the gauss rifle while strafing is one thing, but aiming down its scope why flying over the entire stage after hitting a jump pad with Haste (a speed powerup) active is another. Your base movement speed is faster than a sprint in most other FPSes, and that quickness motivates you to move constantly to kite, dodge, and lunge at demons, some of which are as agile as you. Almost all arenas have little terraces and mesas you can double-jump onto, along with hidden powerups and ammo and health pickups. If I died, I switched up my weapon choices, tried to explore more of the arena, and if things got dire enough, I equipped new runes.

It’s Doom’s emphasis on mobility and spontaneity that makes everything work.

Rune challenges are time trials hidden throughout the campaign that reward you with equippable perks that give a small boost to certain abilities. My favorite extends the reach at which I can execute Glory Kills, quick melee animations that guarantee health drops you can perform once an enemy has taken a significant amount of damage and enters a stagger state. Since executing a Glory Kill shoots you toward that enemy, I’m able to close a 20 yard gap almost instantly. Paired with a rune that makes enemies stagger sooner and another that gives me a temporary speed boost after performing a Glory Kill, I can zip across an arena and take out several enemies in about 10 seconds (if I don’t miss), and heal along the way. I’m still excited to try out new rune and weapon combinations just to find new ways of emptying a room with panache.

The cherry on top is the chainsaw, which prevents combat from devolving into a desperate search for resources by functioning as a limited ammo regain tool. Spend some chainsaw fuel to treat yourself to a grisly show and a guaranteed shower of ammunition. Chainsaw use and Glory Kills are rewarding resource management mechanics that force me to keep an eye on ammo, health, and to not outright liquify every enemy on sight.Doom’s combat is a bumping demonic dance floor, where standing still kills the vibe (me) and the most popular demon is somewhere across the crowded room. Getting there without tripping up requires close study of the floor, creative use of my arsenal, and no small amount of jumping and strafing. The only thing missing is a live band improvising to my sweet moves, but the inspiring fuzz and pulse of industrial metal will do.


Voto assegnato da Incubo Vinyardo
Media utenti: 8.5 · Recensioni della critica: 8.8

PlayStation Bit

DOOM: la colonna sonora arriva ques'estate su CD e vinile

In collaborazione con Laced Records, Bethesda Softworks ha annunciato che quest'estate la colonna sonora di DOOM sarà disponibile in formato fisico. Le venti tracce scelte dagli sviluppatori per esse … · Leggi tutto l'articolo


IlvostroCaroArdy ha scritto una recensione su DOOM

Cover DOOM per PS4

Il grande ritorno

Anche se con qualche anno di ritardo , sono riuscito a mettere le manine sul reboot del buon vecchio Doom , gioco che non ha bisogno di presentazioni secondo me .
Id software dopo tanti anni dall'uscita del terzo capitolo , ritorna molto indietro con uno sparatutto che vuole miscelare il vecchio con il nuovo , riuscendoci molto bene , e inserendo quel tocco di sana violenza e ignoranza totale .
Credo che la novità delle uccisioni epiche sia un toccasana per chi vuole gasarsi nel far fuori decine e decine di mostri , tra l'altro tutti esseri provenienti del primissimo Doom , qui rivisti e ridisegnati per l'occasione .
Ho giocato solo la campagna e le sue 12-13 ore mi sono bastate per divertirmi con un livello di sfida , che gia a Normal risulta parecchio impegnativo , con il malus di dover giocare ahimè con un pad .

- E' il caro vecchio Doom , punto !
-sistema di gioco tra nuovo e vecchio bene amalgamato
-tamarro fino al midollo
-livello di sfida già importante a livello Normale

il caro duo mouse+ tastiera non potrà mai competere con un normale pad nello shooting
-Qualche calo di frame importante nelle fasi molto concitate


Voto assegnato da IlvostroCaroArdy
Media utenti: 8.5 · Recensioni della critica: 8.8

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