Cynical

So, does that mean it'll have Pestov Platforms? :D

You obviously haven't played Vanquish. Doom Eternal is basically first-person Vanquish, but much worse.

Daikatana is a good game that got hated on for reasons entirely external to the game.

It feels weird to be this self-promotional, but eh, it's a necessity I suppose. Anyways, my band, Condemner, has a new album out, "Burning the Decadent". 6 songs, 53 minutes of dark death metal. It can be listened to in its entirety on our bandcamp page here: https://condemner.bandcamp.com/ I also have physical copies available for $10 + postage. Contact me here or at condemnerpb@gmail.com if interested.

We're not dead! Here's a rehearsal version of the title track of our next album, upcoming "when it's done"...

Also, @Demon of the Well you are needed in this topic, I repeat, you are needed in this topic.

Nothing will ever top Morbid Angel's 1985-1993 run.

Everything gets forgotten on a long enough timeline.

My guess is you haven't played a lot of maps, then (or, more likely, it has and you didn't realize it). Putting enemies high or low enough that they can't be shot from certain angles easily is a time-tested design technique.

Not completely; more complex stairbuilder setups that work in vanilla can break in Boom (and vice-versa). Been there, run into that.

Extreme Weapons Pack: https://www.doomworld.com/idgames/combos/ewpack

I'm really surprised to see the love for Map 15. A map that starts with a mandatory one-try SR50 to a secret BFG? Uh...

It may not be as grandiose as a lot of Eternal's work, but it's one of the few things I've played in recent years where the traps managed to off-balance me and surprise me, even if I had no problems actually surviving them. Eternal has always had a knack for sketching out the angles and traps in such a way as to outwit the player who thinks they've seen everything and know every Doom mapping trope, and he's still really on his game with Endpoint.

If you had read the post, you'd see I already did The fact that we need a Forgotten Cacoward list says it all. But a few more that aren't on any of those lists: Grime Disturbia Dark Resolution 2008 Endpoint Doxylamine Moon: Overdose Claustrophobia: The Walls Close In Asylum of the Wretched Monster Hunter Ltd. Part I and II

LOL they're literally just what wads a few random dudes liked. There's been plenty of trash that's gotten Cacowards over the years, and tons of classics that got ignored. I mean, the single best wad of the last decade got ignored in favor of random ZDoom "let's make Doom pretty" wads that all got forgotten in a week.

I mean that it doesn't even have one killer riff that saves the album for 30 seconds like Somewhere in Time does; Seventh Son is just dreadful the whole way through.

Nope. Somewhere in Time's sole reason for being is that first riff on Wasted Years; Seventh Son of a Seventh Son has no such reason for existence that I can find.

The Bruce Dickenson era is hit-or-miss with me -- Powerslave is a great album, so is most of Piece of Mind, but otherwise it's mostly stuff I try to avoid -- but the DiAnno era is excellent. Killers is an album that really lives up to its name...

Wait, you dislike Iron Maiden as a whole? Huh, I'd have pegged you as a fan of the DiAnno era.

Speedcore is, to my understanding, a particularly annoying genre of electronic music, so kind of neither here-nor-there in this discussion. The difference between Death Metal and Deathcore is as clear as day. Behold, death metal: And now, that lameness of all lameness, deathcore: Re-Run to the Hills, I could see arguments that it's not metal, simply because most of the guitar part consists of nothing more than a gallop for the vocals to be the lead instrument over. Regardless of whether it's metal or not, the bigger issue is that, like the rest of Number of the Beast other than Hallowed Be Thy Name and 22 Acacia Avenue, it SUCKS.

That's one riff (ripped from Morbid Angel), not an entire song. See the discussion about Black Sabbath above; one metal riff does not equal a metal song.

The only Korn song I can still remember is the one that rips off the bridge riff from "Angel of Disease", and while that one riff is metal, most of the song is built around minor-key vocal whining, not riffs, so it's not metal.

The #1 thing to look at is "what's the lead instrument?" It's not necessarily "riffing all the time" that's the qualifier (although it's a good first step); it's rather that the rhythm guitar is the lead melodic instrument, with the vocals taking on a secondary role. You Really Got Me clearly features the vocals as the lead instrument, even though it's got a constant riff, which disqualifies it from being metal (but makes it clearly a major influence). There's a few other considerations (generally, as noted earlier in the thread, the more the blues-basis is abandoned, the more metal it's likely to be; generally abandonment of strict verse-chorus structures indicates more metalness; emphasizing beats 1 and 3 of a bar instead of 2 and 4 like rock typically is an indicator of metalness), but the rhythm guitar being the lead melodic instrument is qualifier #1 IMO. War Pigs is a borderline case. Even in the verses, though not a constant presence, the rhythm guitars are on more-or-less even ground with the vocals in terms of importance. I'd say that NIB is the first doom metal song. It's more uptempo than a lot of Black Sabbath's stuff, but not meaningfully moreso than a lot of songs that are universally considered doom metal, such as Bewitched by Candlemass or Servants of the Warsmen by Winter. That said, doom metal really isn't my preferred subgenre, so I'm probably the wrong person to ask that question to.