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Cave Complex

   (5 reviews)
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Large gothic/hell theme cave style map with multiple paths and branching areas.

Screenshots - https://i.imgur.com/fZClmnA.jpg


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NuMetalManiak

  

it's an alright level, cramped as most cave levels can be, combat is alright and layout actually is nonlinear for the most part. a few traps, like the three-door room, and the god-awful crusher area (please never do this newbie mappers), everything else is pretty much alright in my book. i don't care about the map format.

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StoneMason

  

Not awful, but nothing too exciting either. Simply average.

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an_mutt

  

As much as I enjoyed playing this map, the requirement of playing the wad in an advanced port which supports UDMF is pretty baffling to me, as it could very easily be simplified down to Vanilla or Boom while losing basically nothing. The only things I could recognise were a few out of place stealth imps (which aren't inherently bad, but are poorly utilised here), along with some scripting at the end of the map for one particular fight. Otherwise, this map could easily be part of any given old-school vanilla mapset and I wouldn't bat an eyelid.

 

One aspect of this 'old-school' feel is the texturing, and the fact that Yummy Pie goes for the almost Wolfenstein 3D-esque approach of having most areas have their own wallpaper of a single texture throughout, and a few supporting texture variants for detail. This works for most parts of the map, with the exception of the opening area - its use of brick being too repetitive and garish, and making me wish that some different textures were also incorporated to support said bricks visually. The 'old-school' feel is also enforced by the fairly ordinary architecture within the map - the most dynamic changing of architecture you're going to see here is some doors being opened and a few blocks being raised out of lava. While this isn't a problem, it does continue to raise the question of why the mapper would choose UDMF as their map format of choice if they aren't going to experiment with what UDMF is capable of. Because of this, the map feels very safe, artistically - too by-the-numbers.

 

Some final points about this map, and keeping on the topic of it feeling too safe: the monster placement and general gameplay progression also falls into this same feel. The map is quite nicely paced, with gameplay difficulty ramping up at points where it feels like it should, and the map ending at a satisfying point. (it doesn't end too abruptly, or go on for too long once you feel you've experienced everything it has to offer) This is definitely the strongest part of the map's design. Unfortunately, the final areas is too by-the-numbers and generic as a final boss fight that things go from "natural" to "predictable" once you reach the final areas. As for the map's 'multiple paths and branching areas', it was not something I particularly picked up on until reading the wad's description after the fact. While there were multiple areas that had some additional areas, they usually amounted to single off-shoot rooms or pathways that gave me either a few monsters to fight, or some goodies to pick up. Again, unfortunately, it feels very safe. It would be interesting to see the mapper move into some more experimental non-linear design, if they're interested in including it in their maps going forward.

 

Lastly, I felt that the final baron "fight" was laughably bad, and I simply sunk 40 cells into it before leaving. For some reason it's not a scripted fight, and I can just lower the bars to avoid it and walk into the exit. Once again, this raises questions on the use of UDMF, as the fight before this does use scripting for what is essentially a very similar fight, fundamentally speaking (kill a thing, then be allowed to leave). The baron encounter is a strong sign that a similar approach could have been made in the previous fight too. Again: baffling.

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wolfie3dfan

  

Very nice map. I would play more from this author.

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Zalewa

·

  

Some good stuff here. The level consists of an elaborate cave system with geometry that can be described as an entangled web of beads. There's also a swastika look-alike in north-eastern corner of the map.

 

The layout doesn't belong to the non-confusing ones, but it's nevertheless manageable. When reaching some points, you will be provided a convenient way of arriving at the next point-of-interest, Skyrim style. Action is constant, with some moderate switch hunting. Nothing too bad. Difficulty is also moderate.

 

Visuals are brown and gray then some more brown and gray plus some extra colors other than brown and gray here and there, with sufficient amount of detail to not suffocate you with all that brown and gray.

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  • File Reviews

    • By P41R47 · Posted
      Pretty entertaining and challenging mapset. The maps start in a somewhat heretic or cave theme at first, and with a really abstract style with just tiny little realistic details. It use TNT as iwad and there are just a few maps with name patches. The rest and the text screens are the ones from TNT. The story is interesting: Serena, B.J. Blazkowicz's wife, worried that, after the incident on 20 Days In Hell (but it could be also after Doom 2 final map), he hasn't returned home yet. So she decide to go search for him. In the proces she found that every map we play is an hour of torture for her husband, and thats from where the title 32 Hours of Pain come. Thematically, the maps use the TNT skies to tell the story, starting with Serena on earth, vayaging throught space on map12 to map20, and reaching hell where her husband is being tortured on map21 to map30   Maps have a good gameplay, and the little and few details really stand out from the abstract design, like in map11 the ship sailing out to space. The design varies from really large and big open areas to really cramped and difficult to traverse tunnels and areas. Thus, it somehow really grasp the TNT feel and style. The texturing is varied, from monotexturing to using different themes like starbase and marble on the same map, especially on those where the hellish influece is seen as bigger.   I really enjoyed it! Its not a masterpiece, but it certaily has a charm and offers a good challenge. Kristian Aro's story, maybe i'm wrong with this, was use as a base for 2002: A Doom Odyssey later as its pretty similar. This mapset is kinda analogue to Paul Corfiatis The Twilight Zone. Both follow a free thematic texturing from map to map, both have a story mostly told throught little details (TTZ has a proper mapinfo on it, though) and both shows the first mapping efforts of their respective authors and how the ideas here lead to their later awesome mapsets.   I recommend it to anyone who is seeking abstract design and challenge.
    • By Meddy · Posted
      Short, but pretty well done. The best custom Hexen levels I played so far.
    • By Roofi · Posted
      Very decent map from 1995. As previous comments said, it looks like a workplace with two floors tons of openable doors.   The gameplay is very classic but very enjoyable. The progression may be quite confusing, especially about finding the yellow key which was hidden in a little compartment as if it was a secret. However , discovering each room was a pretty exciting experience.    Also this level has a cool sense of place. I really like the idea of creating "elevators" by using teleporters as well as the partially demolished 2nd floor.    Despite being an easy level, some traps may kill you like the surprise monster closet with barons near the author's signature located at the beginning.   Aesthetics are ok but I really enjoyed the use of light gradiants in some corridors , they make the stock textures look a lot better !
    • By Argenteo · Posted
      Hunting for those letters reminds me of Star Force, that alone makes the set memorable. Cute midis, some custom textures and fun gameplay. Maybe it was the first episode replacement I played. Long ago. :)
    • By rd. · Posted
      50 Shades of Graytall is a seemingly improbable success of a project that was born when Gez I believe jokingly suggested a texture theme composed of a pair of Doom 2's awkward misfits -- GRAYTALL and FIREBLU -- and a texture designed for basically one purpose (it's in the name): DOORTRAK. And then miraculously, Someone actually did it.    Naturally its restrictions would seem to consign it to the garbage bin, but it worked out very well, becoming a darling of the community (but not of livestreams).     Part of the reason 50 Shades of Gray worked so well visually was that despite the apparent memeiness of the theme, the chosen assets complemented each other quite snugly. GRAYTALL, with its obnoxious off-center red strip and that ugly arrow-like splotch, is tricky to get a handle on as a mapper, but with some anger effort spent on alignment, it gives you pretty red borders, either around the original gray core or freestanding, with can be fit to planes of arbitrary width. FIREBLU is an eyesore embodied, but with its purple-blue scheme, it comports well with the red strip of GRAYTALL -- in big picture terms, it functions as a splash of color among the other two desaturated materials. DOORTRAK is a crime painted '90s style over vast surfaces, but over sleekly shaped smaller ones it's not so bad, and something about being the only dark texture means that eventually your mind starts to perceive it as shade and contrast itself, rather than "this ugly thing customarily used for doors."       Add a very pretty primary skybox -- all inky blue and pink-tinged splotches, all stars and comets and nebulas in a spacebound sky -- that is fittingly sort of a "serious" take on FIREBLU in spirit. Add each mapper's ability to choose one texture to use for floor and ceiling (usually ones that meshed with the texture theme in some way). In the end, the working materials were ultimately quite harmonious in their minimalism.     The project head Marcaek was also picky about what maps he accepted, sending rougher work back to the drawing board or in some cases serving up outright rejections (especially to work sent in batches by one particular person who likes to chuck lower-effort maps at every community project within earshot). That makes him kind of the bad guy, some might argue, but strict QC is often a necessary evil for ensuring quality with open submissions.    Handed all of these elements with few defined rules or instructions for making it all work, the varied cast of mappers (which, looking at the roster again, has a suspiciously high number of "big names") did their own thing, in different ways, which was the final element of the magic gluing it together.       The typical 50 Shades map is fairly short and to the point, almost as if motivated to end before your eyes started yelling about the overexposure to FIREBLU, but of course Mechadon threw a curveball by being himself, with a long odyssey that is honestly little different from his usual sprawling feat of relentlessly intertwining architecture and crazy interlocking angles, just with these textures instead. There are abstract little gameplay-oriented maps that focus on punchy, kinetic action in varying molds -- pistol-and-shotgun pecking early, a brief and hyperviolent BFG romp late, and every degree in between. Some mappers attempted to reach into other dimensions entirely, fashioning surrealistic art pieces that compensated for the narrow palette by concocting something out of nothing -- as with Dobu's exploiting negative space in the form of invisible sectors, and NoisyVelvet being, "Hey, HOMs are a texture too!" Of course there were crates. Contrasting the natural lean towards abstraction is a bit of stubbornly playful representation: castles, faces, giant stick figures crafted out of sectors.   In sum, it's good shit.   
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