How Doom’s Glory Kills Maintain Momentum

This is The Mechanic, where Alex Wiltshire invites developers to discuss the inner workings of their games. This time, Doom [official site].

Doom, the new one, has one heck of a sense of forward momentum. It’s a game of aggression and constant movement. You’re the Doom Marine: you move like the wind and your shots are unbroken by the need to reload.

At the heart of how Doom creates this response in players is a single feature which, paradoxically, is all about pausing your interaction with the game, pressing you so close to the enemy that they often fill the screen. It’s a feature, after all, that was intended to capture something special about the original Doom that had little to do with movement, but it turned out to trigger all kinds of secondary effects. The feature was:

THE MECHANIC: Glory kills

The origin of glory kills lies in an animatic, a visual prototype which was made by id’s animation team during the great overhaul of the Doom project some three years ago. The aim was to finally finish the game by bringing Doom back to its roots, and for animation director Shinichiro Hara, that was all about one thing.

“To me, when I hear Doom, what comes to my mind is the melting demon stuff. Shoot the enemy and he just melts,” he tells me. The stuff, in fact, that Brutal Doom is all about. So they built a prototype which was built on the elaborate hit detection features they’d made for Rage, which they’d recently launched, with the addition of a new gore system. Shoot an enemy in the shoulder and it would spin and fall and then try to stand up again, hit it harder in a leg and it might blow it clean off.

But it wasn’t working. “I just felt like the actual visual wasn’t there,” Hara says. “The way you remember Doom, you remember the melting demon right in front of your face, but the enemies were still AI, small, and the level of detail was getting lost. They just didn’t have that impact.” And so they tried something else, bringing the action right up into the player’s face, driven through a set animation, and showed the concept off in the animatic, which featured what game director Marty Stratton calls “synced moments of melee between the player and the enemy”.

Taking control from the player was a controversial concept. “We do everything we can to not take player control away, throughout the game, whether for a cinematic or anything,” says Stratton.

“But I wasn’t too concerned about that, because it’s kind of like the throw moves in fighting games, you know?” Hara says. If you decide to hit the button combination for a throw in a fighting game, you know you’re happy to commit yourself to watch a short animation of your character executing the action. For Hara, these moments of synched melee would work the same way, and besides, the effect was just too good. “You could really show off, like an enemy shattering in front of your camera, and to me that was the right direction to go in.”

The length of these sequences was crucial. A lot of the animatic’s animations were about three seconds long, which didn’t feel good to play once they were incorporated in a playable prototype. The team went through many iterations, reducing the timings and tuning them so they balanced how long players lost control against expressive animation. “It was a challenge,” says Hara. “How can we store the same amount of information and deliver it to the player?” If you’re looking for real artistry in animation, Doom’s glory kills are where it’s at. They’re pulling elaborate moves in just 30 to 60 frames, or between a second and a second and a half at the outside.

They’re also aided by a detail that helps them flow into play. The death animation can continue after the player has been disconnected from the sequence. So you’ve torn a mancubus’ heart out and stuffed it down its throat in about 45 frames, and at this point you’re free to move again, but the mancubus will still be going through its death sequence, ending in blowing up. “Or maybe the player punches twice and then the enemy’s head blows up and it runs around without a head for a while, whether players look at that or not. Adding that was a pretty huge leap, actually, because we could still have a lot of cool presentation, but without comprising the gameplay,” Hara says.

The next challenge with glory kills was one of disorientation and even, in Hara’s case, nausea (despite working at the most celebrated FPS studio in the world, he experiences motion sickness in FPSes). It was caused by the camera exiting the animation looking in an unexpected direction. Rage’s hit detection would again provide the answer. Part of the system enabled the game to query where the player was looking at; in Rage it meant the game could play a specific animation dependent on where an enemy was hit, and for Doom it’s coerced into triggering a specific glory kill animation depending on which part of the enemy the player is looking at, and also into ending the animation with the same view. “By doing that, it made it a lot more seamless, but we also managed to add more variations without using randomised stuff. I don’t really like randomisation, because it’s not really player choice,” Hara says. “In this system it’s the player’s choice to to rip an arm off and smack them with their own arm.” He lets out this irrepressible giggle at the thought of it.

This was where glory kills almost got out of hand, because suddenly different animations were required for each part of each enemy’s body. I ask how many animations were made, and Hara bursts out laughing again. “I don’t know, man!” “I think it’s safe to say, so many,” says Stratton. Committing to the set of features that were rapidly growing around glory kills was a big decision for the team to have to make, because it would define a great deal of how the game would have to be developed. “Per enemy at least you have…” Hara counts them up. “12 glory kill animations. Stunned is one. And then special ones like chainsaw or berserk. Actually, I take it back. I think it was 16 per enemy, because you have directionals.” Later he corrects himself again when he remembers there are animations that play if enemies are close to walls.

And numbers aside, the animations made big demands of character rigging, because they had to be able to be torn in two, blown into chunks, have limbs detached, splint down the middle. The sheer amount of complexity also presented issues for the game in general. “It’s one of those things, it takes away a lot of your flexibility as you want to make changes down the road,” says Stratton. “There were times when we wanted to make a change to a character model or something like that. You basically get to this point of no return a lot of times.”

“We did a kind of scary thing from a dev’s point of view: we had to be right, right from the start,” says Hara. The complexities even came close to preventing the chainsaw from being part of the game, simply because of the trouble of integrating a set of animations of enemies being cut in half.

Another feature of the glory kill system is the stagger mechanic, which came from a different thread of ideas that had origins in a problem that id had with Rage. They’d seen how players tended to react to skinny mutants, which were quick melee enemies, by shooting while running backwards. And yet many of Doom’s enemies are melee-based. How to keep players moving forward? The answer was adding a stagger state to enemies when they reach a certain percentage of their health, as inspired by Resident Evil 4. “It’s my very favourite game,” says Hara. Shoot one of Resi’s ganadoes in the foot and it’ll grab it, initiating a state in which you can perform a special melee attack which leaves it lying on the ground, enabling you to slash at it with your knife. “It’s very satisfying because you save ammo, but it’s not Doom,” Hara says. For Doom they wanted it to be a guaranteed kill, so it was integrated with the glory kill system, promoting that forward motion as you fire on enemies, stagger them and finish them off in a single hit.

Reinforcing this yet further is another complementary system which drops health and ammo after a glory kill, giving these aggressive pushes a payoff, closing a virtuous circle of violence. But they’re balanced so that players are kept on the edge, teetering on life and never fully stocked after a period of combat. “We want them to use that downtime once out of combat to look for secrets, larger health and ammo packs, better ways to upgrade themselves,” says Stratton, referencing exploration, another piece of the Doom archetype that they wanted the new game to capture.

There are other, subtler and strategic effects to the glory kill system, too. You’ll find yourself farming enemies for health and ammo drops, taking care to avoid causing too much damage to weak zombies and imps. The animation introduces moments of invulnerability that can shield you against attacks and give you thinking time before you make your next move. The way glory kills can be triggered from a short distance away from the enemy can also allow you to cover ground quicker than running, especially if you equip Seek and Destroy, a rune which increases the trigger distance. “It became a central part of the game early on and spawned a lot of ideas for runes and a ton of stuff that really is the bread and butter of the game,” says Stratton. If you really like glory killing, there’s even a rune that makes staggered enemies next to invulnerable, so you don’t accidentally finish them off before initiating their glory kill.

In fact, the glory kill became so central to the game that it even plays into the characterisation of the Marine, introducing brevity and savagery into his movements. Stratton laughs. “Well, he kind of glory kills everything.” That moment of loss of control turned out to have extraordinary reach.

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  1. padger says:

    Love these columns.

    I absolutely feared this mechanic in Doom, but it worked out rather splendidly. (Bloodily.)

    • Antongranis says:

      My only problem with glory-kills is that some of the challenges require you to do specific ones, which is really fiddly.

      Otherwie, great idea and execution.

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        DelrueOfDetroit says:

        Easiest way to do those ones is by finding the areas where there are only those hole-in-the-face-zombies and one-by-one doing the specified glory kill.

    • StarTroop says:

      I feared it too, and although I must say I’m still not a fan of the overt glorification of violence (this is just my preference, I’m not opposed to it, but FFS they’re called GLORY kills,) the way they blend into the gameplay was quite seamless.

      It’s not really classic Doom, but like a fast-paced RE4, or like Dark Soul’ backstabs and ripostes. Sometimes a little invulnerability pause in combat is necessary to keep the player from getting mentally exhausted.

      With Nu-Doom, I was worried when I saw it taking inspiration from Brutal Doom (which I feel strays too far from the simplicity that makes classic Doom so good,) and its over-the-top melee kills. I felt that the kill animations took the focus away from actual combat, and the demos made it seem that the melee kills were being instantly activated for 1-hit kills a la CoD. It also didn’t help that the early console demos of Nu-Doom were painfully slow.

      As soon I saw the fast-paced PC gameplay footage, and heard about how well the glory kill/chainsaw systems meshed with the health/ammo systems, I immediately changed my cautious stance and became a devout supporter of Nu-Doom. I’m so glad that Id have apparently gotten a proper game designer on board to direct their games, because it seemed like they had lost the grasp on the delicate balance of systems that makes a games mechanics truly fun to play. More designers need to be taking direct inspiration from Shenji Mikami.

  2. Phasma Felis says:

    I’ve heard people complain that Doom should be all about guns and tearing demons apart at close range ruins the feel, which is so weird to me. Don’t they remember the chainsaw? The berserk punch? The chainsaw even effectively locked you into a brief kill animation like the glory kills do, drawing you and the demon together and stunning them as they were ripped apart.

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      DelrueOfDetroit says:

      Don’t they remember low resolutions where the sprites would take up 3/4 of your screen?

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      alison says:

      Yes I remember the chainsaw and berserk punch. They were the things that shocked parents and made being a computer nerd seem cool and edgy. Ultraviolence and pixelated gore! Outrageous! As far as being an important gameplay element, however? Meh. I mostly remember Doom as a dark, frightening game where you did everything you could to put distance between you and the bad guys – bad guys you would often hear but rarely see. To me stealth and horror games are the true heirs to Doom. Of course I know there are people who have spent the last 20 years perfecting the art of tearing around the old levels like psychopaths, and more power to them. For them there is the new Doom. But I think it’s a little disingenuous to imply that the original Doom – as a game, not a social phenomenon – was always about melee combat and bloody dismemberment.

      • LexW1 says:

        You seem to have forgotten Nightmare mode in the original Doom 1/2. This was the highest difficulty setting, and featured the enemies respawning and moving faster. This is why people remember Doom as a game of speed and aggression. You literally could not be cautious on Nightmare mode. You could not “put as much distance as possible” between you and the enemies, because other enemies would respawn right on you. You also had double ammo, rewarding actually blowing monsters away, rather than focusing on careful ammo usage.

        You had to go for aggression and hell-for-leather speed. You talk about people spending the last twenty years perfecting speed runs (not really – people are barely beating the numbers set in 1996 or so), but the reason speed runs and the like even exist are Nightmare difficulty. Which again, was a core part of Doom 1/2 – sure, not everyone worked their way up to it, but anyone who played a LOT of Doom did – either that or multiplayer, which similarly rewarded aggression over caution (unlike later multiplayer shooters). Doom 2 introducing the SSG as well strongly supported aggression – the SSG is probably the most effective and ammo-efficient weapon in the entire game – but it’s range is very limited

        As for stealth and horror games being the true successors of Doom, well, I get that that’s your opinion and you’re not saying it’s anything but, but that does seem pretty hard to support, given stealth and horror games were more or less it’s contemporaries, and not seemingly meaningfully influenced by it (there are exceptions – RE4 mentioned in the article, being one).

        However, you can always point to Doom 3. Doom 3 was made very much in the mould you describe – more or less as a sneaking horror shooter, not one which much speed or aggression, if any. Lots of darkness, ambushes, and the game was absolutely focused on the kind of caution and backwards-movement that you describe. The trouble is, Doom 3 isn’t very well-liked or well-regarded. It was technically impressive, but very little fun. I do get what you’re saying, but I think for any serious Doom fan, Doom 4/nuDoom is a lot closer to that actual Doom feel than, say, well Doom 3.

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          alison says:

          You’re right – I am forgetting Nightmare mode, because when I played Doom, that mode did not exist yet. It was added in a later version, and as such I always saw it a tacked-on novelty and not a “core” part of the game. I’ve never played in Nightmare mode precisely because it turns Doom into a different game, and one I do not like.

          It sounds like your enjoyment of Doom comes from a different place than mine. I don’t replay games over and over to “work [my] way up” to a super-extra-hard mode. I play a game once for the experience and then move on to another game. For me Doom was a tense, suspenseful experience.

        • gnalvl says:

          Nightmare was just one mode added to Doom post-release as a bonus feature, not the definitive version of the game. The central concept of Doom is that the marine is actually killing demons, not just delaying them for 30 seconds while they pick themselves back up. The ending screen does not say “congratulations, you killed the mastermind, good thing you left before he respawned 30 seconds later”. The behavior of monsters staying dead when you kill them on Hurt Me Plenty and Ultraviolence is wholly intended as a core part of the game.

          I would definitely agree that the lower difficulty levels became painfully easy once mouselook became standard with Doom95 onward, but that’s because the game was designed to be playable with keyboard-only. To me, the definitive way to play the game with mice is via Zdoom’s fastmonsters cvar on Ultraviolence, which gives Nightmare’s enemy movement and projectile speeds without the immersion-breaking respawns.

          And thats really my biggest problem with Doom 4. One would hope that a modern Doom designed with mouse aiming would use OG Doom’s nightmare AI speed as the baseline, since that’s the minimum needed to deliver a challenge to mouse users. Instead, Doom 4’s AI on all levels is as slow as OG Doom’s Hurt Me Plenty, and then they just ramp up the enemy health and constantly break the 4th wall by spawning them in the middle of the room to maintain the superficial appearance of a fast-paced challenging game.

          Of course, we all know that Doom 4 wasn’t really designed with mouse aiming in mind; it was designed for console analog sticks – which is why it has so much bark and so little bite.

      • Phasma Felis says:

        The really interesting thing about Doom is that it was both a revolutionary action game and a revolutionary horror game. I’m not sure that would even possible to duplicate today; the genre assumptions are well-established now, and mutually exclusive. The sad part is that, since horror recedes with familiarity, the hardcore types who’ve been playing it ever since have mostly forgotten that it was ever frightening, and insist that it was always just about the action. But horror was a crucial part of the formula that sucked us all in, back in ’93.

        It’s interesting to me that subsequent sequels have split the difference: Doom 3 went for much more of a horror feel, while Doom 4 drills in on ass-kicking action.

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          alison says:

          I really should get around to playing Doom 3 someday. I never played it at the time because the specs were too demanding, but I guess my computer today could handle it. So many games, so little time…

  3. Kinsky says:

    These analogies are terrible. Throw animations work in fighting games because they are essentially character action games where every input results in watching the character you chose do something. The stagger states in Resident Evil 4 work because of the game’s relentless atmosphere of danger and your own feeling of weakness in the face of that danger, not to mention the deadly scarcity of ammunition, such that using your gun can sometimes feel like a last resort. DOOM is neither of those games. DOOM is a game where a constantly evolving situation forces you to change tactics on the fly as you fight to keep your health and ammo usage at least on par with what the level provides for you. It is not a game where you stop for any reason, or where the assault abates for any reason other than everything being dead. It is not a game where you get free kills at low health, or free ammo/health from killing things, or use invincibility frames to cheese your way out of taking damage. So stop trying to list potential upsides of the design like the fact that it has any at all is proof that it works in a DOOM game. It’s fine if DOOM 4 wants to be its own game like DOOM 3 did, but it’s sold as classic DOOM and clearly wants to be classic DOOM, and the fact that the designers extol something like the glory kills as a smart iteration of the original game or even Brutal Doom just goes to show how little they understand either.

    • Kinsky says:

      An amendment, yes you do get ammo drops from some enemies in classic DOOM, but they’re small amounts and certainly not expected be anything like a sustainable supply.

      • Phasma Felis says:

        “It is not a game where you stop for any reason, or where the assault abates for any reason other than everything being dead.”

        That’s funny, I have clear memories of sticking a pinky demon with a chainsaw and then standing still for a couple of seconds while the saw did its work, leaving it stunned and unable to attack until it died.

        I also recall punching zombies so hard they explode.

        I’m not seeing anything unprecedented about glory kills.

    • Phasma Felis says:

      Another thing re: “not stopping for any reason”–that’s actually bullshit. I stormed around like a bull in a china shop when I had full health and armor, but at 5% health it was all cowering behind corners and ducking out to snipe. Doom 4 is the opposite of that–it makes you more aggressive when you’re low on health, so you keep roaring forward at all times. I think you’re suffering from severe rose-colored goggles.

      (Other post was meant to be here, obvs. RPS plz buff comment system)

      • Kinsky says:

        The key distinction is that at no point does classic DOOM take control away from you. Melee is dangerous; it’s a tactical decision. The chainsaw requires you to constantly adjust your aim so you don’t twitch off the target and get your face eaten, and it also doesn’t give you invincibility. Similarly, the berserk pack gives you no additional defense other than your punches staggering your target if it’s still alive. As long as you’re in combat, you have zero opportunities to take your hands off the keyboard and let the game play itself. If you stop, you die. Hiding around corners and peeking out to take potshots without getting hit is part of this. Press F To Kill Demon is totally counter to that design and does not belong in a game that casts itself as a continuation of it. It’s hardly a case of rose-colored goggles, as I play through Final DOOM, DOOM II, and any good new custom WADs I can find at least annually due to being generally unable to find quality single-player shooters on the market today.

        • Marblecake says:

          Question: have you even tried it yet? It sounds to me as if you’re passing judgement on the game without even having experienced it first hand.

          You should seriously give it a shot. I have disliked most if not all shooters of the past 15 years or so.

          DOOM is magic.

        • gnalvl says:

          This is also true. Ising the berserk fist without taking damage required really careful strikes. Trying to chainsaw in a crowd resulted in pinkies eating you alive while the chainsaw pulled you into your victim. Glory kills require none of this consideration and are almost never a bad idea.

        • Phasma Felis says:

          “The chainsaw requires you to constantly adjust your aim so you don’t twitch off the target and get your face eaten, and it also doesn’t give you invincibility.”

          …No, the chainsaw locks you to your target. I don’t think it’s actually possible to rotate off a target once impaled, and if it is, you’d have to do it on purpose; it never happens randomly.

          It doesn’t protect you from surrounding attackers, true, but it will stunlock most of the weaker enemies, and in its ideal use case (demons/spectres in a corner or tight corridor) you’re effectively invulnerable with no effort required.

          I think, basically, I don’t get how pressing the “rip off head” button to rip off something’s head counts as “interrupting the action.” Yeah, it stops movement for all of a second or so. That seems as reasonable to me as stopping movement to chainsaw down a demon did in the original Doom. If it’s not your thing, that’s cool, you’re not required to enjoy it, but I don’t get all these people who feel like it transgresses against the soul of Doom.

      • gnalvl says:

        This is so true. I’m so tired of people espousing this false cliche that og doom was all about nonstop movement. Sure, you could run around like a headless chicken if you wanted to, but in most cases this amounted to sloppy play with unnecessary health and ammo loss compared to skulking around the map luring small groups at a time into chokepoints where you picked them off from a corner.

        • LexW1 says:

          I take it you didn’t play Doom on Nightmare, much, eh?

          • Razumen says:

            Nightmare was a bonus mode added later, it wasn’t in the original. I would also go so far to say that it was by far not the de-facto difficulty to play the game, since it changes the core gameplay so dramatically.

            Ultra-Violence is the difficulty that we should be comparing from the originals.

  4. MrUnimport says:

    I’ve only played the demo, but it didn’t really sell me on the glory kill system. Chainsaw and berserker pack punching were one thing in Doom but they were always optional, rarely optimal strategies. It’s another thing entirely for the gameplay to revolve around aggressively making melee contact with enemies, even at low health. I was surprised to hear that the mechanic was actually inspired by thoughtful musing on the tactile feeling of melting enemies in Doom, which is IMO one of the game’s core strengths and rarely remarked upon. Great article.

  5. anHorse says:


    They don’t

    • tangoliber says:

      My answer as well. While not as bad as they could have been, they are a speed bump.

      To me, the worst part about the glory kill system is the fact that enemies stagger, thus becoming motionless targets. It’s not fun to shoot at motionless targets, and that is a bigger speed bump than the kill animations are.

      But it is still a very fun game. Nothing is perfect.

      • Antongranis says:

        I like the glory kills, as they allow aggresion regardless of health. In most games, low health will force defensive play.

        In DOOM 4, i will always attack and advance, it is always rewarded.

        This is why i think it keeps the pace up.

        • MrUnimport says:

          In most games, the player is aggressive when they are high on resources, defensive when they are low. I don’t know if it’s actually a good idea, making it so that the optimal play strategy is being aggressive at all times. Certainly Doom 1 wasn’t like that.

          • Antongranis says:

            It dosent work in all games, i agree. I just think it works here.

            I never played any other doom games, but games with 20 years between them are never going to be the same. Things change, and people are going to be left behind.

            Such is the way with all things.

          • LexW1 says:

            It was on Nightmare difficulty – enemies moved faster, respawned, and you had double ammo. I’m surprised so few people seem to have played on that.

          • Razumen says:

            Nightmare changes the game into something else, it was also not in the original game afaik. It’s no surprise that people didn’t play it as much as the other difficulties.

  6. aircool says:

    love it love it love it love it love it love it love it :)

  7. eddyschecter says:

    I do not like the glory kill lag time,nor do I feel its repetative silly visual adds anything to the game, and then to force its use bylinking it to abilities upgrade? Its game writers deciding what We are going to like about Doom, like it or not. Who thought demons spitting health and ammo was a good idea in the first place? Also the is too little differentiation between demon types and many look like piles of mud, environments are too disjointed and its impossible to avaoid taking too much damage the way game play is set up. Its kind of a mish mash overall, perhaps it will improve as the game goes on.

    • Geebs says:

      If the animations were about half as long as they are, the system would feel much better – as it is, everything is just a touch too elaborate. It’s still a huge improvement on regenerating health, though.

      • Razumen says:

        I believe you get a rune early on that makes glory kills much faster, but then again, if the player doesn’t like them, there’s nothing stopping them from ignoring them altogether.

  8. satan says:

    Haven’t played it so reserving judgement, but most of my Doom1&2 memories are of maintaining speed and distance, these videos of chaining melee finishing moves have me scratching my head.

  9. shocked says:

    Glory kills were not as bad as I thought, but I think overall they’re bad. At the start a single glory kill can feel ok-ish, but when I see other demons patiently waiting in the background until the gk animation is finished, it simply feels wrong. Glory kills are constant interruptions of the flow the game could have. And the worst thing about them: tying them to health/ammo makes it inevitable to use gks. You have to play with them whether you like them or not.

    I believe without them the game would be faster, more fluid, feel better.

    • gnalvl says:

      I totally agree, though i will say this can be abated in custom maps. In mine i removed the loot drops for glory kills, so they are 100% only worthwhile to save ammo. Moreover i bumped up enemy damage which means that stray fireballs and pinky charges started just before the glory kill are often timed to completely obliterate you as soon as the glorykill invincibility window ends.

      I would still prefer that there were invincibility period at all, and that monsters didnt politely wait for you to finish before intentionally hitting you, but custom maps can still do a lot to diminish its ill effects.

  10. Holysheep says:

    No, they really don’t. They were really one of the few flaws I saw in the game. I tried to use them the least, but no, they were really a momentum breaker.

    – Mob trying to kill you, and you press the magical kill button? oops, I’m invincible!
    – slow as hell, I could cross an arena in less time than these things took
    – You know all of them after a short time
    – they stop the music -_-
    – woohoo, ammo out of nowhere!
    – Fucking. Berserker. pickup. Pickups were silly to begin with. They made sense in single player games like quake and whatnot in which they were HIDDEN.
    They made sense in multiplayer games because the maps are big, there’s map control. In doom you enter an arena and oh hey, look, the insta win button is over there!
    the berserker one was absolutely retarded. Wait for the end, see big mobs appearing, one hit kill them with that shit. IMO that’s adding insult to injury.

    • Holysheep says:

      (no edit feature tho)

      Note that I still really liked the game. But that was like, one of the shittiest ideas, ever.

    • Razumen says:

      Most of your points are just hyperbole.

      Oh, and Doom had pickups like the Berserk as well.

  11. Chaoslord AJ says:

    “We do everything we can to not take player control away, throughout the game, whether for a cinematic or anything,” says Stratton.
    Finally the industry gets it, next for Deus Ex MD please…
    In Doom glory kills worked better than I expected. It’s short enough not to stop the momentum too much but long enough to think about what to kill next or about the hotkey for that weapon.

  12. Metr13 says:

    “They don’t”

  13. tonicer says:

    I bought the highly consolified DOOM 2016 after a lot of people said “it is not as bad as i initially thought it was going to be” and after a couple of hours of bland and boring combat went back to Project Brutality which feels 100000 times more like a DOOM game should. I only started the game once and played ~3 hours of it. Biggest waste of money since Shadow of Mordor.

  14. gnalvl says:

    100% agree.