WARNING: This article contains spoilers for DOOM 2016 and DOOM: ETERNAL. But who cares about the story anyway, right?
The videogame market has, for many years, engaged in a form of self-referential cyclicality, from indie games hearkening to the minimalist pixel-art design of the medium’s early forebears, to the current wave of PS1 aesthetic resurgence and the much-beloved resurgence of the “boomer shooter”, all the way to the DOOM series’ reflection on nostalgic memories of the hyper-violent and frantic action of 90s FPS titles. This is, of course, nothing unique to video games as one need look no further than the box office hits of modern Hollywood to see that reboots, remakes, and reimaginings are the order of the day.
Enter Jean Baudrillard and his conceptualization of “hyperreality”, the indistinguishable muddling together of reality and the simulated as originally explored in Simulacra and Simulation of The Matrix fame.