DOOM: The Dark Ages review

I was happy with how DOOM Eternal ended, but I was excited for DOOM: The Dark Ages the moment it was announced. The reboot series already proved it could evolve. A slower, shield-based prequel set in a medieval hellscape? That had my attention.

This isn’t another hyper-fast arena shooter. It’s slower, heavier, and more deliberate. The double jump is gone. So is dashing. Instead, you get a spiked shield you can throw like a buzzsaw or raise to parry incoming attacks. That single change resets the pace—and surprisingly, it works. This is still very much DOOM. You’re ripping through demons, launching across the screen, juggling ammo and armor mid-fight. But the combat is built around parries, melee strikes, and picking the tools you like best. The excess of Eternal is dialed back. The systems feel tighter.

The setting shifts to a dark techno-medieval world filled with heavy metal, gothic architecture, and dragons. Yes, dragons. You’ll ride one. You’ll also pilot a mech. And while both are hit-or-miss, they help break up the action in a game that otherwise focuses hard on moment-to-moment combat. Fifteen hours later, I wasn’t ready to stop. This one caught me off guard—in the best way.

DOOM: The Dark Ages details

Platform(s): Xbox Series X|S, PS5, and PC
Developer(s): id Software
Publisher(s): Bethesda Softworks
Genre: First-person shooter
Modes: Single-player
ESRB Rating: M (Mature 17+)

Slayers, saints, and something else

DOOM: The Dark Ages takes the Slayer back to an earlier time, though the timeline is deliberately vague. You’re fighting with the Sentinels, feared by Hell, and barely trusted by humanity. The tone leans more serious, with less chaos and more dread. And that shift fits the medieval setting.

The story isn’t the focus, but it’s not an afterthought either. Cutscenes are frequent, short, and well-produced. You can skip them if you want. The game also avoids dragging things out. There’s no cliffhanger. The arc wraps up by the end. I liked the idea of the Slayer being seen as more of a necessary force than a hero. The humans don’t celebrate you. They barely tolerate you. That subtle tension adds something. It’s not overdone, but it stuck with me more than I expected.

There’s a new demonic prince leading Hell’s armies. He’s introduced early, has a strong presence, and isn’t just another bullet sponge. While the narrative never pushes hard for emotional stakes, it’s there for context. You’re not just clearing arenas. You’re crushing a coordinated threat. The worldbuilding touches are solid. Ancient ruins, religious iconography, and corrupted tech blend together in interesting ways. Some levels even hint at themes of false worship and manipulation. It doesn’t go deep, but it adds weight to the setting. It won’t change how you see the series, but it gives you a reason to keep ripping and tearing.

Combat with teeth

Combat in DOOM: The Dark Ages slows things down compared to Eternal, but it hits harder. The game trades acrobatics for weight. There’s no double jump, no dash. Instead, you sprint, parry, and slam into enemies with a shield that doubles as a circular saw.

The Shield Saw is the core mechanic here. You can block incoming damage, parry glowing green attacks, or throw it to pin enemies. Later upgrades let it bounce off walls, tear through groups, and trigger rune-based follow-ups like lightning strikes. It’s satisfying, flexible, and easy to rely on. Guns feel punchy. You start with the Combat Shotgun and Super Shotgun, then unlock energy weapons, launchers, and melee tools like the flail and mace. Most weapons have two variations and a mastery challenge that adds perks. My rocket launcher got a mod that restored health after a parry. It became my go-to for larger demons.

During one late-stage fight, I was pinned between a Mancubus and a shielded line of fodder. I parried the shield blast, blew through the front line, and used the flail to stun the Mancubus before switching to the launcher for the finisher. That kind of flow is common—and it never gets old. Enemy design supports aggressive play. Melee hits give you ammo. Flame damage drops armour. Parrying gives you the edge. You’re rewarded for staying in the fight, not backing off.

The Atlan mech and dragon segments break up the action. They’re simple but fast-paced. Mech fights involve dodging and charging finishers. Dragon missions focus on aerial dodging and lock-on shooting. They don’t last long, which helps. The gameplay doesn’t overcomplicate things. It sharpens what matters and keeps the pressure high from start to finish.

Blood, metal, and muted tones

DOOM: The Dark Ages runs great. Performance is steady with no noticeable drops. Load times are short, and everything feels smooth—even in the messiest fights. I didn’t run into crashes or bugs, and the one rare freeze I saw barely set me back, thanks to the generous checkpoint system.

Visually, it’s a mixed bag. The environments are well-designed, with gothic architecture and strong enemy variety, but the colors lean too dark. Some levels feel muddy, leaning on browns, greys, and deep blues that make enemies harder to spot. The visual style fits the medieval setting, but I missed the stronger contrast in DOOM 2016.

Enemy designs are strong. You’ll fight familiar faces like Cacodemons and Hell Knights, all reworked to fit the darker setting. Attack patterns are easier to read thanks to clear visual cues, like the bright green glow that signals parries. The cutscenes look sharp and the cinematics blend well with gameplay and avoid dragging things out. The story plays out clearly without overstaying its welcome. You’re not watching long monologues. Just quick beats that push things forward.

The soundtrack is handled by Finishing Move, replacing longtime series composer Mick Gordon, whose heavy metal tracks defined the last two games. While the new score has its moments, it doesn’t hit with the same intensity or presence. Some tracks get drowned out by combat, and I had to adjust the mix in settings to hear things properly. The voice work is consistent. There’s a familiar voice in the Slayer’s suit feeding updates, and the rest of the cast does what it needs to. Nothing flashy—but it keeps the mood grounded. It looks good, plays well, and holds together from start to finish.

DOOM: The Dark Ages reinvents without overreaching

DOOM: The Dark Ages shifts the reboot formula without losing what matters. The speed is slower, but the impact hits harder. This isn’t about juggling cooldowns or platforming through laser traps. It’s about parrying a demon, slamming a rocket into its chest, and charging headfirst into the next fight.

I enjoyed the tighter focus. The shield adds something new without overcomplicating the flow. There’s still a lot to manage—upgrades, runes, secrets, weapon swaps—but it never feels overwhelming. You can specialize in what you like and push through without being forced to cycle every tool constantly.

I didn’t expect to enjoy the Atlan and dragon segments as much as I did. They break things up just enough to keep the campaign moving. The mech is simple but satisfying. The dragon sections feel larger in scale, even if the mechanics are more restrictive.

Some things wear thin toward the end. The last few levels lose some variety. A few weapons feel underused. Boss fights don’t raise the stakes much. But the core combat stays fun the whole way through. The darker visuals won’t work for everyone. I liked the setting, but the darker palette sometimes made enemies harder to read. Still, the art direction fits the premise. It feels grim, grounded, and different without going too far.

Overall assessment of DOOM: The Dark Ages

Gameplay: 4.5/5
Graphics: 4.5/5
Sound: 4/5
Lasting appeal/Replayability: 4/5

Overall rating: 4.3/5 (86%)

I came in curious. I left impressed. The Dark Ages doesn’t try to outdo Eternal. It cuts the noise, digs into combat, and finds its own rhythm. If you’ve liked any modern DOOM game, this one’s worth seeing through.

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