Editorials
[#DOOM25] To Hell and Back: BD’s ‘DOOM’ 25th Anniversary Retrospective
Today marks a significant anniversary – it has been a quarter of a century since id Software revolutionized the first-person shooter genre with DOOM. And while in the intervening years we’ve seen the genre branch off into other avenues, it’s arguably only in the DOOM franchise that the first-person shooter has been at its most purely entertaining.
So with our buckshot reloaded and our chainsaw refueled, we get knee deep in the dead with a fond, gore-smeared look at one of the most legendary franchises the industry has ever seen.
And naturally, there’s only one place where we can start.
DOOM
The godfather of the FPS genre, DOOM was a revolution in the absolute truest sense of the word when it released on a handful of 3.5” floppy disks for MS-DOS powered PC systems on December 10, 1993.
As a rugged space marine with a seemingly raging hard-on for blowing big ol’ holes into the anatomies of his foes on a Martian moonbase, DOOM had players punching, shooting, exploding and sawing their way through a mephistophelian nightmare of hellish invaders who were, well, hellbent on turning our reality into an absolute shithole.
DOOM then, was a game where shooting a demonic enemy could cause their guts to erupt up out of their mouths and over their broken corpse, or whereby collecting a berserk pack, you could literally punch a chap so hard he would literally explode in a shower of meaty chunks.
This was DOOM, and DOOM was glorious.
But what made it so very, very good wasn’t just its penchant for stylish first-person slaughter, but also its superb level and objective-based design. You see just one year before, id Software had released Wolfenstein 3D – a groundbreaking shooter that had you romping around various compounds killing Nazis, discovering secrets and collecting color-coded keys in order to progress through each level.
Emboldened by a brand new graphics engine that allowed levels to be designed with more than one floor, DOOM took this design manifesto and expanded upon it greatly, fashioning some truly fiendish maps that tested your skills of orientation, as much as they did your reflexive trigger finger.
Additionally, DOOM doesn’t get nearly enough credit for turning horror tropes on their collective heads; no longer were you some defenseless hunk of meat being torn to shreds by a slew of demonic terrors – as the horrendous empowered Doomguy you were the terror.
Then, of course, there was the multiplayer.
Long before the Halos, Call of Dutys and Fortnites of today dominated the multiplayer landscape, there were few thrills quite so potent as bombing around a map with a friend, using your knowledge of the map to its fullest as you nab all of the power-ups and decent weapons first before laying waste to them in quick, satisfying fashion.
From its thudding midi-metal soundtrack to the feeling of outright elation one had after firing the BFG for the first time, DOOM was, quite simply, a landmark effort that would shape an entire industry for decades to come. It’s also telling that next to Tetris, the original DOOM stands as one of the most ported games of all-time, ending up on everything from an ATM to a printer and beyond. So show some respect, yeah?
DOOM II
Releasing just a year after the original and much less of a sequel in the traditional sense and more of a full-bodied expansion with knobs on, DOOM II didn’t introduce any new mechanics, significant visual improvements or any other disruptive changes to the now established DOOM template.
Instead, id Software used the lessons learned in the first game and leveraged the availability of more powerful hardware to refine their in-house id Tech 1 engine. The result, was that DOOM II’s levels were much larger than before, which meant by proxy that you also had that many more monsters and secret areas stuffed into its hellish boundaries.
Despite basically offering more of what players had experienced already, DOOM II did bring some smaller changes to the table, nonetheless. Chief among these were a whole new range of monsters to blow apart, including the Revenant, Pain Elemental and towering Arachnotron for starters. Amusingly, two secret levels were also snuck into DOOM II which put players shotgun-to-face with the SS in a Wolfenstein 3D themed map – a nice nod to the progenitor of the FPS genre if there ever was one.
Ultimately then, DOOM II was more of the same – but when you’re talking about one of the greatest shooters in the history of the industry, was that really such a bad thing after all? Nah, it wasn’t – especially as DOOM II introduced the Super Shotgun; a weapon that quite easily boasted one of the most satisfying reload animations ever seen in a video game.
DOOM 3
Released a good decade after DOOM II had hit the shelves, DOOM 3 was highly anticipated to say the least. Originally conceived at the turn of the new millennium as a high-tech remake of the original DOOM, work on what would eventually become DOOM 3 began in earnest once id Software had released the multiplayer-focused Quake III: Arena.
When it did finally release on PC in 2004 however, it’s fair to say that the response to DOOM 3 was somewhat mixed, to say the least. Built on the then pioneering id Tech 4 engine, DOOM 3 simply looked incredible. With full 3D environments (you could look up, down and all around!), super detailed character models and a range of new shadowing, particle and lighting effects, DOOM 3 was pretty much the best-looking shooter of its day from a technical standpoint.
Beyond its lush veneer, however, DOOM 3 diluted the furious run ‘n’ gun design that had made the first two games such grandly entertaining propositions. For the first time in the series, we had a DOOM game that introduced NPC characters and a fleshed out story which was exposed through audio recordings, video logs, and cutscenes.
The upshot of this was that DOOM 3’s pacing was nowhere near as violently brisk as the first two games in series – taking off some of that precious edge that marked DOOM as such a frantic affair in the first place.
Another issue was the multiplayer functionality that DOOM 3 encompassed. When DOOM and DOOM II were on the market there very few peers that could survive comparisons with id Software’s magnum opus, but in the ten years that had passed from the release of second and third games in the series, much had changed in this regard.
Not least was the fact that id Software had already created another stellar multiplayer affair with their new Quake IP, and in which the previously released Quake III: Arena was arguably considered to be at the zenith.
Further afield, it also didn’t help that DOOM 3’s thunder was also somewhat lessened by the fact that it had the poor luck of launching in the same year as Half-Life 2, with Valve’s sublime super-sequel laying waste to id Software’s threequel both critically and commercially. Sadly, it would be 12(!) more years before DOOM would return after its divisive third core series entry, but when it did, it would bring an almighty ass-kicking with it.
DOOM (2016)
It’s a no less than a total fucking miracle that 2016’s DOOM turned out to be as stoat-bangingly great as it was. Originally revealed as DOOM 4 in 2008, internal struggles and a change in creative direction meant that the game would be flushed down the toilet and started again from scratch in 2011.
No longer a sequel, this new title would simply be called ‘DOOM’ and fittingly, was a reboot for the series that would introduce a whole new generation to the godfather of the FPS genre.
If alarm bells quite rightly rang at the mention of ‘new generation’ and ‘reboot’, then allow me to assuage your fears – this new DOOM was everything a good reboot should be; utterly faithful to the source material while bringing the whole affair up to date for contemporary audiences.
It’s almost as if DOOM 3 never happened. Except it did – and from it, this new DOOM developed a narrative inspired by that game filled with cutscenes, video and audio logs to act as a backdrop to the metal thrum of its relentless slaughter. Never invasive or overbearing, id Software injected *just* the right amount of plot into this new DOOM to keep things ticking over, whilst keeping players focussed to the furiously murderous task at hand.
Elsewhere, the new SnapMap feature allowed players to construct levels from a wide-range of pre-created level sections for play in either solo or up for four players in multiplayer; extending the legs of DOOM far beyond that of its single-player campaign and competitive multiplayer offering.
Perfectly encapsulating the frenetic combat and agency of the 1993 original, DOOM supplemented that timeless template with some stunning visuals, satisfying executions and some of the most appropriately featured music ever seen in a shooter (Rip and Tear is a stone cold banger – you know this).
From the relentless disruption of its musical score, perfectly timed to the frenetic beats of its shooter gameplay and the violent ballet of its encounters, DOOM has made a convincing case for itself as one of the finest shooters of this generation.
DOOM Eternal
With the credentials of DOOM 2016 now firmly established in the minds of players, the likelihood of the forthcoming DOOM Eternal being a steaming sack of demon shite at this point would seem to be rather low indeed.
Set for release sometime in 2019, DOOM Eternal looks set to carry on the great work wrought by its 2016 predecessor by seemingly giving players more of everything. First off, that means more weapons – including the Crucible Blade (a massive energy sword) and a modified Super Shotgun that fires execution-friendly meathooks at the enemy, just for starters.
Of course, there’s little point in having a bunch of fresh bang-bang if you don’t have new enemies with which to use them on, and thankfully here too DOOM Eternal also looks to bring the goods. In addition to reaching back into its history and bringing us the likes of the Archvile and the Pain Elemental, DOOM Eternal also brings a range of totally new foes such as the Doom Hunter and Marauder, too.
Better yet, the new ‘Destructible Demons’ feature brings detailed damage modeling to the proceedings, allowing players to gradually maim and dismember their demonic foes in startling detail.
Of all the new features, arguably the biggest change to the status quo comes in the form of a new asymmetrical multiplayer mode called ‘Invasion’ (don’t worry, traditional competitive multiplayer modes remain), where players can invade the single-player campaign of other players and help them vanquish their enemies.
Though the awesome SnapMap mode from DOOM’s 2016 release will not be returning (instead, id Software has promised a generous amount of post-release DLC), DOOM Eternal is looking every bit like the essential sequel to the white-hot series reboot most of us thought would never happen.
College kids, strippers and vampires—those were Donald P. Borchers’ only requirements when he approached Richard Wenk about writing and directing a movie for New World Pictures. As requested, Wenk cooked up Vamp (1986), a tailor-made blend of the decade’s teen movie craze as well as its horror boom.
Grim and earnest stories were still very much a part of the ’80s horror landscape, yet Vamp is something of a comedy. One difference between it and, say, Saturday the 14th, though, is the former avoids using schtick. Wenk’s movie proves that horror comedies also don’t have to subtract thrills from their recipes. Of course, it takes a minute before reaching that point; college antics and culture shocks preface this one macabre misadventure.
Vamp‘s initial setup is apt for a typical college-set, sex-driven comedy; to bribe their way into a fraternity house, two pledges (Chris Makepeace, Robert Rusler) go looking for some adult entertainment. Without wasting time on any further exposition, the characters embark on an all-in-one-night trip that quickly detours into terror.
To procure their elusive MacGuffin—a stripper willing to gyrate for some frat boys—Keith (Makepeace) and AJ (Rusler), plus a third wheel named Duncan (Gedee Watanabe), trade the safety of their remote college campus for the seediness of some unnamed city. The setting is recognizably L.A. by day, but as soon as night falls, downtown, along with the characters, slips into a kind of surreal universe. Director of photography Elliot Davis gave this early entry on his prolific résumé an unusual yet distinctive look; that Mario Bava-esque, magenta-green lighting is omnipresent, so much so that it’s almost its own character.
Chris Makepeace and Robert Rusler in Vamp
The faint comparisons to Martin Scorsese’s After Hours are merited, although not just because of Vamp’s distinguishing nighttime aesthetic. Save for the primary characters, the supporting roles in Wenk’s movie are also quite colorful and transactional in their behavior. The difference here, though, is the additional urge to ruin Keith and his friends at every turn. Some of that harm is humorous and tolerable enough, whereas the moment Vamp dishes out its first fatality, it’s abundantly clear how this movie qualifies as horror.
Vamp falls into that category of horror movie that reveals its genre with a scream rather than a series of whispers. The opening scene can function as a hint of what lies ahead—things are not at all what they appear to be—but otherwise, Wenk is more than happy to hold off on the horror. When that time does come, though, it catches the viewer off guard. In addition to the pure shock value is that sudden decision to upend the movie’s foremost feature. Or so it would seem.
If afraid of major spoilage, those new to Vamp would be wise to stop reading here. There’s just no skirting around the fact that the central fellowship in this buddy movie hits a serious snag when AJ is killed. That development causes the story to become more of a “long, bad night” journey for Keith and his romantic interest. So while Wenk scores points for subverting expectations, there is also a touch of sadness in his decision. Because if Vamp does anything well, it’s making the characters likable.
Something that comes easily to Vamp—and other teen horror movies from this same era—is its ability to invent young characters worth caring about, or at the very least, are interesting and not so immediately off-putting. More impressive is how Wenk did all this without actually fleshing out those characters. Still and all, Keith and his kind are a grade above cookie-cutter, and in some cases, aren’t completely devoid of growth.
Grace Jones in Vamp
Vamp appeals with an assorted cast of characters. No two are the same, nor are they operating on the same wavelength. The cinematically extroverted AJ, whose actor conveyed charm and vulnerability in near equal amounts, comes alive when he’s at his most undead. Makepeace then makes the chronically cautious Keith a sympathetic fellow, even as he’s more and more affected by the night’s bizarre events. Meanwhile, Duncan is indeed the designated loser of the whole bunch, but Watanabe still manages to humanize him. As a bonus, the role didn’t require him to pull a Long Duk Dong.
As for Dedee Pfeiffer, she is plain adorable as the mysterious After Dark server nicknamed “Amaretto”. She spends all night fixing her dress strap while at the same time trying to get Keith to remember how he knows her. As their offbeat romance grows, it becomes another highlight of this movie. Whether or not Pfeiffer’s character is really a vampire also creates some welcome tension in the story.
Like a lot of its contemporaries, Vamp went on to become a bit of a cult classic. That current status is determined by several factors, but without a doubt, the casting of Grace Jones is the most considerable. The image of her writhing on that unique-looking chair, a Keith Haring original, springs to mind whenever this movie is brought up.
Chris Makepeace, Billy Drago and Paunita Nichols in Vamp
Prior to that first display of unequivocal horror, local vampire queen Katrina (Jones) took to the stage and delivered a strip show like no other. One would expect nothing less from that renowned model and performance artist. By now reports of Jones’ tardiness on set are no secret, yet it’s also hard to deny her commitment to the part of Katrina. It was, in fact, Jones who took charge of her character’s appearance—on top of Haring painting her body and that now-iconic chair, she had Andy Warhol handle her costuming. And not too many actors could seize a room’s attention without saying a single line of dialogue.
In 2022, Vamp received a retrospective novelization from Encyclopocalypse. This literary union of preexisting source material—Wenk’s original screenplay—and new ideas from author Christian Francis amounts to a more comprehensive visit to the After Dark Club. The basic story there is no different than what’s shown on screen; however, Francis gets creative with the characters’ origins and designs, and he enhances a number of key scenes.
The novelization expands on the urban and social decay of the main setting, and supplies a background for the After Dark Club. Sandy Baron’s character, Katrina’s emcee and familiar, is given ample motivation for sticking around; up until the fiery end, he is loyal to his friend and former business partner “Squeak”, who looks like he was “fed through a combine harvester, and left as nothing more than a heap of mangled remains”. Then there is Billy Drago’s character Snow, the leader of a street gang called The Dragons. His reason for menacing Keith and AJ is more altruistic than in the movie; he and his peers act tough to scare off any potential food for the vampires.
Lisa Lyon in Vamp
If not for all the backstories, Francis’ Vamp would be a hell of a lot shorter. Instead, this tie-in read dives into how AJ met Keith—the orphaned Anthony Joseph hailed from a broken home back in Brooklyn—and how their friendship flourished over the years. Keith’s archership is no longer just an assumed part of his entire being; it’s a confidence-building extracurricular for a boy who got picked on before coming into the protection of the new kid in town. These supplemental, in-depth looks at the protagonists, plus their close connection, are maybe unnecessary. The movie already did a fair and concise job of addressing their platonic intimacy without the need for flashbacks and insights, specifically in that scene where AJ lays it all out as he sacrifices himself.
Where the novelization gets off course is its approach to the minor characters. Intermittently backstorying the likes of Katrina’s indentured servants, Seko (Leila Hee Olsen) and Vlad (Brad Logan), ends up disturbing the flow of the writing. Was it absolutely essential that readers know Vlad was the Grand Duke of the House of Romanov, or how Snow’s accomplice Maven (Paunita Nichols) became so dentally challenged? No, not really. However, one’s mileage with these random biographies may vary.
The novelization is a more substantial experience, but for a movie like Vamp, less is more. And as plentiful as they are, it never simply coasts on its campy charms, either. The character work sits comfortably in that realm between cursory and meticulous, the script is sharper than first realized, and Greg Cannom’s vampire makeup is straightforward yet effective. Most of all, the movie didn’t squander its out-of-the-box concept. Richard Wenk made his vision of a “comic nightmare in which just about anything that can go wrong does” come true, and it is very enjoyable.
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