In fact, with the outcome of John Wick Chapter 4, I'd even consider making a NEW live action DooM movie or possibly series that cast Keanu Reeves as the DoomGuy. I'd consider that, for the sake of such a scenario, DoomGuy would be characterized as the fusion of Captain Jack Bartlett of Ace Combat 5: The Unsung War and John Wick of the film series by the same name: a veteran soldier highly respected by the grunts but deeply untrusted by the brass, that becomes a vengeance-fueled killing machine after his pet dies.
DOPE SICK LOVE WIKI FULL
Include a full cooperative campaign mode that allows players to run & gun together as a variety of characters from throughout id FPS games and throwback shooters with each one having their own characterization. How Union Aerospace came to possess them is left to the player.Īdditionally, work with other throwback FPS developers to add crossover content to the game. However, also include weird demon-tech weapons that replace the Plasma Gun and the BFG with strange, demonic artifacts clearly not meant for human use. Basic automatic would be a standard modern belt-fed instead of a rotary gun. Basic pump-shotgun, similarly derived from a real gun and embellished. Basic handgun derived from a real modern handgun, just with some minor embellishments.
Emphasize speed almost to the point of people making comparisons to Sonic the Hedgehog.īring the weapons to a more "down-to-Earth" feel, though, like the classic games. In fact, if there were to be a map in a city, have a section where DoomGuy is running along a crowded street full of other vehicles, and DoomGuy is clearly running just as fast as the cars he's next to. I'd absolutely lean into the speed of the classic games, doing everything possible to recreate the sheer pace that the classic DoomGuy could run. And all the firepower in the world to whoop them with. Just hordes of demons in need of a good whooping. No "Glory Kills", no "weapon upgrades", no elaborate story about how the DoomGuy is some kind of godlike figure. If it were up to me, I'd take it back to basics. There will never be something like the classic Doom games, but that doesn´t mean that ID can´t try to bring what makes Doom (1993) and Doom 2 so good to bring a fresh (and bloody) experience. I always thought that Doom Eternal was the right step to put the franchise on the top again. Now that he´s lost all the power from the Divinity machine, maybe we could see a more classic Doomguy trying to become stronger to face the demons and turning into the Slayer again. That would make everyone happy, from the people who are classic Doom fans, passing through the ones who knew Doom with 2016 and Eternal, to a lot of new Doom fans. I like how Doom Eternal has treated Doomguy, he´s not supposed to be a god (like Davoth, the Father or the Khan Maykr) but the incarnation of human will to survive and bring justice to a world that has been corrupted by hell. You know, with epic guitar solos, a dope battery, and lots of angryness in the background while you´re turning lots of demons to masses of guts mixed with blood.
I´ll miss Mick Gordon, but maybe it would be cool to actually hear some heavy metal this time. Just let doomguy kill demons with cool weapons in well made levels and I’ll be happy. I want it to be light on story and characters. Also want music a bit more in line with classic doom since it’s unlikely Mick Gordon will return, so might be best to go with a different style than hie work. All I hope for is that they take multiplayer a bit more seriously than they did with either 2016 or Eternal, and for the Doomguy to just be himself and not some sort of deity. When the National Guard from our home state of Arkansas deployed to Iraq, one of us went along and one remained with families calls home were filmed from both perspectives.I feel it will be rebooted yet again really. To make Dope Sick Love for HBO, we took turns living for days at a time on the street with two heroin-addicted couples, ferrying in fresh camera batteries. We worked in Haiti, in Juárez, and in a Chicago high school for kids who had been kicked out of every other school. Our projects were always driven by characters, people who did not have a voice and found themselves in extreme situations. We worked with Alpert for years and, after 9/11, often in conflict zones. Before long, I’d moved from Oregon to Brent’s New York apartment, sleeping on a lawn chair until it broke. At the time, my big brother Brent had fallen in love with documentary film and was interning at Jon Alpert’s Downtown Community Television Center. I studied anthropology in college, and was living with an Indigenous tribe in Costa Rica when I realized I wished I had a camera.
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