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Ripping and Tearing into Hell: The 25th Anniversary of ‘DOOM 2’

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With DOOM 2 coming out less than a year after DOOM, id Software at first glance had just given fans more of the same. After all, DOOM 2 featured no major technological developments, graphical improvements, or substantial gameplay changes. Granted, it was still DOOM, so that same frenetic action and fun that had swept up PC gamers was back. Still, some critics dismissed the game, fun and addictive as it was, as a glorified expansion pack, and didn’t really improve upon its predecessor. Not so, I say! DOOM 2 took the original DOOM, and like all good sequels, improved upon it.

The story for DOOM 2 picks up after the events of the first game, with the player once again assuming the role of the Space Marine. Being the only survivor of the first game, the player is given leave to return back to Earth. However, upon returning to Earth, it’s discovered after that Earth has been invaded by Hell’s denizens. The world’s leaders have decided to use spacecrafts to transport the survivors of Earth’s population. However, the starport is the only way for the ships to depart, and the demons have protected it with a force field. It’s up to the player to infiltrate the starport, rip and tear, and save humanity.

Admittedly, from first appearances, DOOM 2‘s gameplay didn’t change much from the original (which was amazing). However, the changes that id did make added so much more to the action. For starters, the addition of the new enemy types – Hell Knight, Mancubus, Revenant, Arachnotron, Pain Elemental, Arch-Vile, and Chaingunner – varied up the action and set it apart from what was already established in DOOM. You now had enemies that could deal far more damage to the player, and in the case of Arch-Vile, resurrect enemies, or with the Pain Elemental, increasingly spawn Lost Souls to torment the player. The additions required the player to spend far more time trying to kill enemies (or provoking them to fight each other), as well as frantically moving around to try and avoid being caught by enemy projectiles.

To counter these new enemy types, the player is given the iconic Super Shotgun. When used at point-blank range, the resultant damage offset the increased damage from enemies. id simply upped the ante with the addition of a single weapon. Not mentioned as much but still a welcome addition is the Megasphere, which maxes out both the player’s health and armour to 200%. All of the original weapons and items are back from the original DOOM, including the beloved chainsaw (which you can find on the very first level).

Musically, it would be tough to beat what Bobby Prince did in the first game. And while not as memorable as the first game, Prince’s soundtrack for DOOM 2 has a few noteworthy tracks such as “Shawn’s got the Shotgun” or “Bye Bye American Pie”. Feeling more techno in some areas than heavy metal, Prince still manages to lift themes from songs such as Slayer’s “South of Heaven”, Black Sabbath’s “After All (The Dead)” and even Argent’s “Hold Your Head Up”. The music is less adrenaline-pumping, and more atmospheric this time around. There are also some tracks that don’t quite match up with the chosen level, but that’s more of a qualm against the artistic decision rather than the music itself. Still, what Prince manages to do is still engaging and accompanies the action most of the time.

Probably one of the most significant changes made in DOOM 2 was its level design and structure. It also led to big impacts on the industry as the a whole. id took advantage of new computer hardware and pushed their skills in level design even further, allowing the maps in the game to be bigger and more detailed. Things such as lights, windows and decorations have all been added to give the levels that much more variation, giving them all a unique feel. Unlike DOOM, DOOM 2 takes place over a single continuous sequence of linked levels. As well, the level structure was far more non-linear this time, allowing players to explore more of the maps. The player can carry his weapons throughout the entire game, rather than starting from scratch several times as one episode ends and another begins. As the player progresses through the game, the theme of the levels changes from the different military installations of the starport, to residential areas, to slowly changing into Hell itself.

While most of the levels were designed by Sandy Petersen, John Romero and Tom Hall also pitched in. However, American McGee, one of the newest team members at id Software, had the second most input in level creation. American McGee of course went on to create the American McGee’s Alice series, which holds a special place for many gamers. McGee and Petersen also created what many fans feel is one of the greatest deathmatch maps in MAP07: Dead Simple, due to its design and item placement. Another new member of the team, Shawn Green, only contributed one map to the game, but eventually went on years later to help create the Xbox killer app, Halo: Combat Evolved, whose multiplayer component helped bring consoles into the realm that was almost exclusively reserved for PC gamers.

Of course, multiplayer deathmatch was DOOM‘s bread and butter. DOOM 2 only made it that much easier for players to connect with each other for fragfests. The addition of LAN connections made it even easier for players to set up Deathmatches at work (and bringing network traffic to a standstill). Source ports would later increase the number of players supported (from the initial four) and several ports would also support custom player skins and skin colors.

In spite of all the minute changes, it all comes back to the question of if you could call the game an improvement upon its predecessor. On one hand, the increased action and honing of the level design are top notch. But on the other, the game admittedly is just more of the same as what we got in DOOM, with nothing significantly new added. And as mentioned above, some critics latched onto the latter as justification for their expansion pack claims. That didn’t stop the fans, however, as DOOM 2 sold over 2 million copies for id Software. And up until Rage in 2012, DOOM 2 was the highest-selling game ever for the developer.

25 years on, and it’s kind of a no-brainer to say that both games are obviously required playing if you’re into first-person shooters, and both still hold up today when it comes to gameplay. But, the debate rages on. Some will say that DOOM edges out because of the game design, while others will say DOOM 2 refined it. Regardless, even if you go with the view that DOOM 2 was just more of the same, was that so much of a bad thing?

Writer, Artist, Gamer from the Great White North. I try not to be boring.

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Editorials

Meet the Actors Who Brought the ‘Backrooms’ Still Life Monsters to Life [SPOILERS]

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Renate Reinsve in 'Backrooms' - Horror ARGs

Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.

And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.

However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.

For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.

The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).

While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!

That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).

At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.

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