It’s hard to overstate the importance of id Software’s Doom franchise in gaming history. When the original launched in 1993 (distributed via the now-defunct shareware model, which let players sample a significant chunk of the game for free), it radically popularised the first-person shooter, pushed forward the use of 3D graphics and introduced multiplayer to the masses (it was Doom that coined the term ‘deathmatch’).

Numerous sequels followed, most hewing closely to the original template, until a 2016 reboot revitalised the series for a new generation. Four years later, Doom Eternal pushed the action even further, delivering a nightmarishly intense, finger-spraining experience that demanded constant motion on all axes at all times. In comparison, prequel Doom: The Dark Ages is a calmer, more grounded affair, though still unmistakably Doom.

Unlike the twitchy, ultra-mobile Doom Slayer of previous titles, this hero is a tank-like presence, smashing through scenery unimpeded and generating a thunderous shock wave when landing from height. Early on, players acquire the Shield Saw, a new hybrid tool that serves both offensive and defensive roles. By timing shield deployment just right, attacks can be parried to open up the opportunity for a powerful counter. The shield can also be thrown, Captain America-style, destroying less powerful enemies and sapping armour from tougher ones.

While it’s fun to use, it’s easy to become over-reliant on the shield, and its power neuters the impact of the game’s traditional weapons. While shotguns, the rocket launcher and rifle remain satisfyingly punchy, many of the other firearms feel redundant. In the previous two entries, players were encouraged to constantly switch weapons via a finely tuned risk-and-reward loop, replenishing ammo, armour or health depending on how enemies were dispatched. The Dark Ages pares that system back considerably. Glory kills, which acted as essential, brief pauses in the near-constant frenzy of the prior two games, have been scaled right back as they’re no longer necessary in the game’s slower-paced combat.

By grounding the action, The Dark Ages ends up closer in spirit to the original Doom, with large, open arenas and mostly earthbound enemies. The medieval aesthetic, however, feels a little drab, evoking Quake more than the series’ usual baroque futurism. The new soundtrack by Finishing Move is serviceable but lacks the impact of Mick Gordon’s iconic work (a spectacular, public falling-out ended that collaboration).

Still, credit to id: they could easily churn out a new Doom every other year, but instead they’ve taken their time and tried something different. Not every change lands but it’s heartening to see a franchise willing to evolve, even if it means ditching many systems that previously brought them success.

Doom: The Dark Ages is out now on PC, PS5 and Xbox Series X/S.