Doomguy is decidedly in a heap of trouble. As soon as you set foot in the crate warehouse, all manner of demons begin raining fireballs down on your head, while spectres on the ground clog the escape route sufficiently that you’ll have to deal with at least some of the troublemakers above. Revenants appear early and remain your definitive opponent throughout the level. Ammo is not *tight* but it has its limits, and the more the skeleton and vile traps make you panic, the closer to the ends of your magazines you’ll delve. The level mockingly gives you a berserk pack at some point, beyond which you’ll seldom find an enemy that’s safely disposable with just a medically-enhanced punch to the pixels.
Despite many attempts at this level not actually REACHING the spiral stairs and beacon, it actually is the focus of the map. =P Doomguy presses a switch which activates an antenna, raising it high into the air (cutely, the antenna in question is one of those “skull on a pike” decorations we know and love…) which is definitely progress in a storyline sense, but you then have to extract yourself from the building with your hide intact, and there are three big encounters plus a lot of tense moments between you and the transporter bay. If you don’t feel you’ve really *played* a Doom map unless you’ve beaten it without saving, well, prepare to enjoy a few deaths while you learn your way around the Comms Station.
TERNAL.MID is a strange orchestral melody-theft-athon backed up by a strongarm drum tattoo in 5/4. I think the ideas in the tune are good enough that the file might be worth revisiting to create a better, more satisfying loop. Maybe!