Obzen

It's hard to say without knowing the guy. Was he working on multiple projects at the same time? How far behind was he on supplying the core game tracks in January when he accepted to mix and master the OST for the Collector's Edition? We honestly won't know until he says something. One thing to keep in mind is this isn't the first time this has happened with him. How quick we forget this exact same discussion happening when he was dropped for missing deadlines for Killer Instinct Season 3...

I used to be a runner at a recording studio. Average turn around to mix and master a whole album (45-65 minutes worth of music) is about 2 weeks, and that's with a mastering engineer juggling a couple projects. The time he was given was ample given the job. It does not take 3 months to mix and master a whole OST worth of music, let alone 2 songs. Again, there is absolutely no excuse to why it took him so long. I am a huge Mick Gordon fan and life-long guitarist, he inspired me to get out of my comfort zone and dig deeper into synthesizers. I bought the Limited Edition Vinyl because I loved the 2016 soundtrack so much. I would LOVE to be wrong about this, but the timeline simply doesn't make sense. I know how long these things take, and If what Marty says is true, it it's a very bad look for Mick.

I’ve had my suspicions about Mick’s methods and time management ever since the noclip interview and his GDC presentation. His experimentation with old synthesizers, feedback loops, and gain stack creation are commendable, but it does give off a slight whiff of pretentiousness when he drones on about these Rube Goldberg Machines he creates that amount to little more than some distorted fart sounds. Compound that with all his cute little Easter eggs and symbolic stuff he spends his time stuffing into his music, he’s always struck me as a pretty inefficient artist. Now, there’s nothing inherently wrong with that... whatever you need to get inspired and as long as the end result is finished and up to quality standards it’s all in good fun and fair game IMO. But as we can see here, that’s not always the case. Bottom line is there is absolutely no excuse he could possibly give that would justify him only delivering 2 tracks in a 3 month period. If it’s because he had to restructure and write new parts of songs to make a coherent track, well that’s on him. He should have been more organized in the beginning to account for this music eventually becoming tracks people listen to in an album format. Chad arranged something like 40 tracks in 3 weeks after all. Guys on YouTube arranged versions within a week of the game dropping. What does Mick finally produce after 4 and a half months including the extensions? 12 tracks of mostly ambient meandering noise.

Bosses, Slayer Gates, Gore Nests and stuff like that I’m not considering when I mention difficulty spikes. Stuff like spawning a whiplash and marauder in a tight hallway at the same time and little things like that. For the most part the game is very fair and I even enjoy the marauder which everyone seems to despise.

Oh I definitely did watch the DF video when it came out. Between the higher poly count and improved texture resolution combined with the higher enemy count, there’s no doubt it’s impressive stuff compared to 2016. That’s a pretty large gap though, 4 years. That’s nearly a console generation. It seems iterative and not so much the revolution I’m used to from id Software. That said, I’d like to emphasize that my “negatives” are nitpicks and are not strong opinions at all. It’s still an amazing looking game and I was consistently impressed with the environments and enemies on display.

I was very very relieved after playing the game, so I suppose I am the opposite of disappointed. I’d like to preface this by saying that my love for id Software extends far beyond Doom. I’m a massive Quake and Rage 1 fan, so maybe I’m a little more lenient than most here in what I can tolerate in my Doom games. That said, while I’m totally happy with the game and plan on playing it for years to come, it isn’t perfect and it doesn’t totally make Doom 2016 obsolete as the devs have been claiming. Lets start with the good: POSITIVES - Variety: In environments, in gameplay, in content Pacing: The game is great at setting pacing between exploring, combat, and traversal. It is also the perfect length. Of course I’d like more content, but I was very satisfied by the end of the game. Combat Loop: It’s everything they claimed it would be: fast, visceral, and cerebral. Not drastically more so than Doom 2016, just different. It is way less forgiving when it comes to failing to play the game “the right way” Gamey-Ness: It makes no apologies for being a video game and I absolutely love that. It feels like most decisions were made based on gameplay and not on how “realistic” it might be. This may have been at the detriment of some other aspects of the game, though, and that brings me to the negatives... NEGATIVES - Atmosphere: The game is simply too bright and clashes aesthetics to a point where it loses the thick atmosphere other Doom games absolutely nail. There are portions of the game that scream DOOM, but more often than not it felt way too “Modern Blizzard” when it comes to atmosphere and art direction. Difficulty: I played on UV and for the most part it was perfect, I died about 2 or 3 times per level and it made my palms sweat and I had to be in a zone to win. But there were some intense difficulty spikes that were really jarring and I think some of those instances could have used some more play testing. Progression: I had this same problem with D2016, putting mobility options behind progression systems may work for platformers and character action games, it is just very frustrating in an id FPS. Also, there are just way too many options going on. Technology: Simply put, I expected more. Now, id has always employed some of the best artists around, so I’m not questioning graphics. It’s more of, I was expecting something that truly wowed me... instead I got something that is roughly on par with the game they released 4 years ago. Fine for any other studio, but this is id Software we are talking about. I feel targeting 60fps for old outdated consoles really limited us PC guys at the top end. ——————————————————— I feel the reception here is pretty on par with what I remember the Doom 2016 launch being like. Meaning, overall pretty polarized. Now, from what I’ve experienced, that’s pretty par for course regarding doomworld when it comes to id Software games post-Quake 1. I’ll end this with something directed to the disappointed folk: try going in wanting to enjoy a game you purchase to play. If you can’t get pumped for the game, the lore, the art, the music. Save your energy for something you can really immerse yourself in and jive with. Life’s too short to force yourself to play games that aren’t on your wavelength, much less complaining about them. Try not to waste your energy convincing other people why they shouldn’t like the things you also dislike, save it for the things you love.

Audio-Visual Feedback. You keep bringing this up, can you elaborate? Is it an animation thing? Weapon sounds aren't loud enough, or don't have enough bass? What is especially puzzling about this is you reference Overwatch... which I have no drive to play anymore because of lack of visual feedback when hitting an opponent and also weak, non-lethal sounding weapons.

As both a SS and PK fan, I can say that, while individual mechanics might be similar, the games play very differently. Mechanically, as well as gameplay-wise, all 3 of these games are unique. First off, the SS games don't require nearly as much spatial and vertical awareness from the player that Doom 2016 or even PK does. SS boils down to a circle-strafing gauntlet where you are constantly backing up and funneling a horde of enemies that just run right at you. It's similar to Robotron in that sense. Doom 2016 has a risk/reward concept much more in tune with something like a japanese shmup game -- pushing through enemies and being aggressively tactful to maximize survivability and DPS at the same time. It's a build up of momentum thing, where you have to almost plot out a rough scenario in your head then execute to wind up and keep momentum high. This is extrapolated on in Arcade Mode. PK is somewhere in the middle, where collecting resources is important so you are encouraged to kill fast to maintain resources... but it still has the same circle-strafe/backpedal reverse-herding gameplay that SS has, for the most part. There is a lot more variety in map layout in PK than SS though, so that alone mixes up gameplay a little better. To simplify the argument by calling Doom 2016 a ripoff or clone would be not understanding the underlying mechanics of the games. It would be like shrugging off the differences between games like Street Fighter and King of Fighters... They may share mechanics, and on a superficial level, seem like the same game, but each game plays very differently and are both rewarding in different ways.

What I would emphasize is setting up macros and learning your arsenal to maximize your damage output. Once you get some upgrades and a couple of power weapons you do massive amounts of damage. You can kill anything in seconds. Don't forget about the chainsaw and grenade. If you aren't killing fast enough, you aren't maximizing your DPS.

I was pretty harsh on the lighting and texture problems in the initial reveal... but having played the game and beaten around half of the classic levels, I can forgive them. That must have been a decent amount of work just modeling out those classic levels with 3D brushes. I'm sure if they had more time they could have added light sources and all that. As they are, they are a fun little diversion. I can forgive them not balancing them because they are unlocks. Bonus content in games is usually kinda unfair... par for course. A little polish would have gone a long way, but as it is it's still kinda fun. I dunno, maybe I'd care a lot more if the core game wasn't as good as it is.

You can have a trigger disable it. Use a trigger volume that disables the trigger when touched by the player then have something else enable your trigger later on.

I don't mean to be rude, but you come here, complain about limitations and things not working within SnapMap without giving any examples or screencaps and without explicitly saying what you are trying to accomplish, then quit because you've somehow managed to hit network limitations despite not even figuring out how to hide a weapon on spawn or troubleshooting why your spawners aren't working and I'm supposed to believe you are a programmer?

Are you using SnapMap on PC? you can change the values quickly by pressing the x key to type them in manually. Just memorize the 3 values and it's a breeze.

On Door Open > Random Integer > Reference specified integer in object's options menu (x on pc) This does not work? I'm on my work comp right now, but wouldn't Integers act like a Boolean or a Container where they need to actually be referenced outside of the scripting tree? Let's say it is outputting to a hud element, you would actually have to go into the HUD options menu to reference the integer in a drop-down menu, right?

Why exactly would you want a variable as a parent trigger in the first place? To randomize a value or timing of something? Just set the parent trigger as on player spawn or something. What are you trying to do that scripting is limiting?