#MAD MAX FURY ROAD FREE ONLINE REDDIT MOVIE#
Fury Road would have been a pretty boring movie were it not for Miller's direction and John Seale's phenomenal cinematography, and so it is with Doom's dedication to the mechanics of its particular medium. That's not to say that Doom is unimaginative or one-note.
It feeds off and develops endless permutations of interdimensional shotgun combat like Fury Road does with post-apocalyptic car chases. While 2004's Doom 3 was a throwback in the sense that it concentrated on the original Doom's horror elements, Doom does the same for the original game's action. Doom is about nothing but shooting demons, finding keys to open doors to shoot more demons, and discovering secrets that may or may not help you shoot even more demons. The result is a game almost entirely free of fat, and it revels in that idea - minutes into the game, your character literally disposes with the concept of exposition by throwing away a computer that a character is trying to reach you on. Director George Miller eventually pushed the project forward after falling in love with the script, and it's clear that the final iteration of Doom benefited from a similarly driven vision. Fury Road had seen even more dramatic problems, meanwhile, with its initial plans for shooting postponed in the wake of the 9/11 attacks, then suffering multiple delays throughout the 2000s. Out of that change - which was not easy for those guys to go through - some amazing things happened." The game is almost entirely free of fatĪt the time of Kotaku’s report, it was unclear whether what was then known as Doom 4 would ever see the light of day. Some folks left and some faces changed at the studio. "We decided that it wasn't Doom enough and needed to be thrown out and started over. “We weren't happy with the game that was being made," publisher Bethesda’s Pete Hines told Polygon last year. In a 2013 report that makes for fascinating reading in hindsight, Kotaku detailed the tension and struggles behind the game's development, revealing that at one point it was set to be a Call of Duty-style scripted shooter before the entire project was scrapped and restarted. As with Fury Road, the tone and pace are set instantly Fury Road wastes no time in setting up the chase that dominates the movie, and Doom does the same when introducing its brutal brand of combat. There's no lengthy opening cutscene or ponderous tutorial - your character starts the game in chains, breaks free in seconds, and the action begins from there. The comparison struck me within the opening minutes of Doom, which make up one of the most striking introductions to a game in recent memory. Mad Max: Fury Road wouldn't have been on most people's list of most anticipated movies at the start of 2015, yet its iconoclastic direction, focus on pure action, and incredible sense of style made it an artistic and commercial success on every level. The closest analog I can think of, in fact, isn't a game at all, but a recent movie that went through a similarly torturous development process before emerging to rapturous critical applause. It takes a minimalist yet utterly modern approach to game design, rendering the original template in 21st century colors, and the result is a thrillingly straightforward experience that makes much of its competition feel bloated and laborious. Even the box art sucked.īut in one of those happy surprises that don't come along often enough, Doom is actually fantastic. A public debut at E3 last year was less than inspiring. Talismanic studio founder John Carmack had left for Oculus. Id Software's reboot of the most storied shooter in gaming had languished in development hell for the better part of a decade.