Like most games, id Software's Doom greeted launch day with its share of bugs and crash-to-desktop issues. To some extent, it's permissible – games are hard to make, there's a million hardware configurations (we benchmarked Doom on several GPU configs over here), and developers are under serious deadline pressure lest they risk missing the market timing. But that doesn't make it easier for gamers to deal with – particularly after spending $60 on a dysfunctional product.
Having put Doom through the ringer with several hardware configurations, we've seen the most common issues and have found the solutions. This quick guide contains Doom 4 crash fixes, FPS drops, and FPS locks.
Following our GTX 1080 coverage of DOOM – and preempting the eventual review – we spent the time to execute GPU benchmarks of id Software's DOOM. The new FPS boasts high-fidelity visuals and fast-paced, Quake-era gameplay mechanics. Histrionic explosions dot Doom's hellscape, overblown only by its omnipresent red tint and magma flows. The game is heavy on particle effects and post-processing, performing much of its crunching toward the back of the GPU pipeline (after geometry and rasterization).
Geometry isn't particularly complex, with the game's indoor settings comprised almost entirely of labyrinthine corridors and rooms. Framerate fluctuates heavily; the more lighting effects and particle simulation in the camera frustum, the greater the swings in FPS as players emerge into or depart from lava-filled chambers and other areas of post-FX interest.
In this Doom graphics card benchmark, we test the framerate (FPS) of various GPUs in the new Doom “4” game, including the GTX 980 Ti, 980, 970, Fury X, 390X, 380X, and more. We'll briefly define game graphics settings first; game graphics definitions include brief discussion on TSSAA, directional occlusion quality, shadows, and more.
Note: Doom will soon add support for Vulkan. It's not here yet, but we've been told to expect Vulkan support within a few weeks of launch. All current tests were executed with OpenGL. We will revisit for Vulkan once the API is enabled.
Before Rainbow Six: Siege launched, it seemed like the game had some real momentum behind it -- even potential as a competitive shooter. Counter Strike: Global Offensive has also been making waves in the eSports scene; last year, ESL Cologne set the record for most viewers on a single stream with 1.3 million watching CS:GO. There is real demand for tactical, team-based shooters.
The team at Giant Enemy Crab are currently looking to fulfill that desire with upcoming title “Due Process.” Comprised of around nine people, Giant Enemy Crab have been putting Due Process together for around a year and a half now. We recently had a hands-on gameplay session with Due Process, joined by GN Hardware Editor Patrick Stone and members of the Giant Enemy Crab team.
The freshman effort from studio Fool’s Theory looks promising. A small group of seasoned game developers that comprise the studio has been together now for about a year – including former CD Projekt Red (The Witcher) team members – and PAX East 2016 offered our first look at their game, Seven: The Days Long Gone. The Polish group set out to do something they said “no one has done,” which was to create an isometric, parkour-style, jump-and-climb action RPG. We got the chance to play Seven: The Days Long Gone, an Unreal Engine game, and speak with project lead Jakub Rokosz at PAX East.
The game takes place in a “beyond post-apocalyptic” future where mankind is slowly rebuilding. The plateau of Peh begins our story, and players get to explore the Empire of Vetrall throughout the campaign. We were placed in the game as protagonist Teriel the thief, but were informed that Fool's Theory also intends to allow players to choose their own character when the game is complete. Teriel is possessed by a demon, Artanak, who has an agenda of his own. The demon and its host work together to learn about the Empire of Vetrall, aiming to discover much about the ancient world and its secrets. Gamers can expect about 10 hours of campaign play with many more added, assuming all the side quests and adventures are also completed.
Torn Banner's Mirage: Arcane Warfare made its inaugural press tour at GDC a few weeks ago, but we weren't allowed to play it until last weekend's PAX East. Previewing a mechanically deep game from a show floor environment is always difficult – you've got a few minutes to figure out the controls, and it's normally just enough to get a good “base feeling” for the heart of the game. That's it, though, and there's little to be learned in the form of combat or mechanics intricacies.
We previewed Mirage: Arcane Warfare gameplay at PAX East in a full multiplayer match, managing to play each class at least once between the two of us. One class remained locked, but the rest were open to play.
The games industry moves in trends – RTS, MMOs, shooters, space sims – but the industry's also big, and one segment that's developed a new trend is the indie games market. The current trajectory of indie games is a retro one – using graphics that resemble the classic 8- and 16-bit games of old, particularly games like Nidhogg, Kingdom, and Organ Trail.
Mages of Mystralia doesn't go down to 8-bit to accomplish its goals of revitalizing nostalgic titles. Mystralia looks to recapture the spirit of older games – specifically the Zelda games, taking artistic cues from Windwaker and differentiating for originality. We had the opportunity to preview Mages of Mystralia while at PAX East, reminded of a more “intellectual” Magicka fused with Windwaker elements.
We spoke exclusively with the Creative Assembly team about its game engine optimization for the upcoming Total War: Warhammer. Major moves to optimize and refactor the game engine include DirectX 12 integration, better CPU thread management (decoupling the logic and render threads), and GPU-assigned processing to lighten the CPU load.
The interview with Al Bickham, Studio Communications Manager at Creative Assembly, can be found in its entirety below. We hope to soon visit the topic of DirectX 12 support within the Total War: Warhammer engine.
Master of Orion (affectionately, “MoO”) has a decades-long history in the 4X gaming space. The title first shipped in 1993 under pre-bankruptcy publisher Atari, who have since sold the rights to Wargaming.net. Wargaming.net has proliferated through the market with its F2P “World of [Vehicles]” games (fill in the blank – Tanks, Warships, Ponies), but has an even longer history with more traditionally developed and released strategy titles. The company's legacy dates back to 1998 and its Massive Assault series of strategy games.
Today's emerging information on Master of Orion focuses on the game's espionage and economic victory mechanics, new milestones that will be available in the third phase of early access (freshly launched). The MoO team will also be rolling-out the Silicoid and Darlok races, bringing the re-imagined title back up to the original ten races of MoO. A few leaders of the game's ten races include Alan Tudyk (Wash, Firefly), John de Lancie (Q, TNG), Nolan North (Uncharted), Mark Hamill (Luke, Star Wars), and more. Michael Dorn (Worf, Star Trek: TNG) narrates the game.
Industry luminary Warren Spector helmed the keynote at the East Coast Game Conference yesterday in Raleigh. Readers of our Star Citizen (Chris Roberts) and Shroud of the Avatar (Richard Garriott) content are already familiar with Origin, the studio responsible for effectively inventing MMOs, early game graphics technologies, and pioneering PC mechanics. Spector was employee number twenty-six at Origin Systems – a self-described “old-timer” when compared against the studio's maximum 350 employee count – and has a history developing seminal games.
Spector worked at Origin with Richard Garriott, Chris Roberts, Dallas Snell, Starr Long, and other recognized industry veterans. In our interview with Warren Spector, we talk about what it was like working at Origin, behind-the-scenes stories, and throw-in a brief question about System Shock 3.
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