Doom - in development for the better part of a decade now - is a grotesquely beautiful game that feels in many ways like a direct response to the complaints directed at Doom 3. That perspective being something very fast, very loud, very violent, and very graphic. With that in mind, this new Doom feels like a new translation of the original text, something approaching the gospel from a different perspective. New technology was built specifically to hide all those obvious monster closets from the original games, to make you have to run scared in the dark in a way that maybe id had always intended but never quite came across. It was a translation of what the developers thought Doom was. Id's previous attempt at modernizing the most influential shooter of all time was 2004's Doom 3, a great game that nonetheless proved divisive. There was only moving very fast, and shooting demons.
Doom released at the tail end of an era of pixelated abstraction in games, a time when your brain had to do a lot more heavy lifting to fill in the gaps between those big squares of color to see a bright pink demon explode into a intestine-strewn mess, where those bright red blobs were blood, where, as the now-infamous Edge review lamented, there was no talking to the monsters. It's been demonstrated before that taking the original 1993 release of Doom and repurposing it for a modern audience is hard. Doom (2016) is an attempt at translation.
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