Doom: The Dark Ages – Revelations Is 35 Years in the Making, id Software Says, and Arguably their Best Content

Wccftech recently attended an exclusive preview hosted by id Software about the upcoming campaign expansion DLC, Doom: The Dark Ages – Revelations, set to launch on July 7 across all platforms.

Game Director Hugo Martin and Executive Producer Marty Stratton described this expansion of Doom: The Dark Ages as the culmination of 35 years of the Doom franchise history. Though technically classified as a DLC, Revelations delivers a massive, premium standalone-tier experience, offering 10 to 12 hours of gameplay, with Stratton pointing out that some testers took even longer. This scope is equal to both of Doom Eternal's campaign expansions combined, and this DLC also benefited from a full year of development polish.

Mechanical Innovations and Combat Synergy

Revelations maintains Doom's core identity as an aggressive, forward-pushing power fantasy while drastically enhancing opportunities for player expression.

The primary addition to the Slayer's arsenal is the mechanically deep Chain Spear weapon. Progression throughout the entire campaign loop is structurally tethered to upgrading this item. The spear introduces enhanced movement mechanics, including a high-velocity dash and an integrated grapple hook, giving the tankier Slayer seen in Doom: The Dark Ages the mobility of "a monster truck with a jet engine strapped to its back", in the developers' own words.

Its comprehensive upgrade trees unlock unique secondary abilities:

• Stab & Slam: Allows the player to impale targets or crash downward onto groups of demons in a fashion reminiscent of Doom Eternal’s hammer mechanics.
• Spear Throw: Functions as a precision, long-range sniper shot.
• The Slash: A high-skill tactical tool that breaks enemy armor, harvests resources from fodder enemies, and parries incoming melee or projectile attacks with precise timing.

Campaign Layout and Metroidvania Explorations

The campaign features a unique structural dichotomy: the so-called Base Game comprises around 60%, while the remaining 40% is Endgame Content. The environmental maps function as expansive, multi-layered mazes heavily influenced by the looping, non-linear progression and backtracking mechanics of the original 1993 Doom.

The central anchor of this loop is the brand-new Slayer's Hub (contextually, his prison in the DLC's narrative), a massive, fully playable Metroidvania-style space that opens up as players solve environmental puzzles, discover hidden corridors, and collect scattered lore sheets. A new objective wheel interface allows players to easily select and track specific challenges across the changing layouts.

Upon completing the base campaign, players unlock the Master-level difficulty Endgame, which contains entirely original paths through the maps (of which Revelations has six: Proving Grounds, Purgatory, Hell's Core, Chasm of Xal'Goroth, Osseus, and Uprising), Praetor suit challenges, and arcade-style Slayer Trials. Furthermore, hidden throughout the spaces are retro doors leading to classic, playable maps from older Doom games, completely remastered with modern high-end graphics, textures, and material shaders.

Successfully beating all endgame content available in Revelations awards the Astral Key to face off against an Uber Boss. Overcoming this ultimate boss unlocks access to four unique Master Arenas, containing the absolute highest tier of combat challenge id Software has engineered for this DLC. Conquering even these arenas permanently unlocks an assortment of content presets, custom maps, and rewards in the Riptorium, the game’s highly customizable, endless arena mode.

The expansion also introduces a variety of mechanical chess pieces across the arenas. Returning heavy threats include the Arch Vile and the Pain Elemental. They are joined by an entirely new Wizard enemy that dynamically evades player target-locks and continuously buffs or summons reinforcing demons. Additional enemy updates feature the Spectre Whiplash, Purple Hell Knights, and volatile, explosive Zombie variants that act as living environmental hazards. Acoustically, the expansion features a brand-new heavy metal soundtrack produced by the studio Finishing Move, while the dedicated classic retro map arrangements are composed by industry veteran Andrew Hulshult.

Following the presentation, Marty Stratton and Hugo Martin answered many questions about Doom: The Dark Ages – Revelations from the assembled press. Below you'll find the full transcript of their highly detailed talk about this expansion.

Modern Doom is known for its skill-based action. Are there any new opportunities for that skill expression in the DLC?

Hugo Martin: There are tons. We introduce quite a few counters into the combat loop via the spear. I think Doom Eternal, in particular, has a lot of counters in it, like the sticky bomb to the Cacodemon. Certain guns and abilities in Doom Eternal were stronger against certain enemies, which created a little bit more of that rock-paper-scissors combat loop. Mostly, the goal there was always to keep the player thinking. When the player is presented with the opportunity to make choices, they feel engaged. If I choose option A over option B, I'll get a different result, maybe not necessarily better. In the heat of battle, while you're flying around, if you're given the opportunity to make those choices to min-max your DPS, it generally feels really good and engaging for a skill-based action game like Modern Doom.

So, we use the Chain Spear as an opportunity to introduce more of those counters, which I would say on Nightmare difficulty, you're going to really want to take advantage of it. On Hurt Me Plenty, you could kind of just play it any way you want. But as you get up into Ultra-Violent and Nightmare, you're going to really want to look at the skill tree of the spear. Make note of the counters because they're described with each upgrade. The upgrades are enforced, meaning you could purchase any upgrade you want.

As you play through the DLC, if you don't invest in 'Stab', you don't have to buy it at all. But ultimately, by the end of Revelations, you're going to have enough currency to be able to unlock all of it. I think the best players will want to have access to all the tools. A couple of highlights would be that the spear throw, for example, is really good against flying enemies. So when you see a Pain Elemental or a Cacodemon come into the gameplay space, you're going to want to use the throw. The base throw is good against them. An upgraded throw can allow you to shatter their energy walls that the Cacodemon throws at you.

If you have an upgraded spear throw and you've invested in it, you'll be able to shatter them, and each time you break one, it creates an AoE blast. It'll hit the Cacodemon, and one or two will definitely put them into a stagger or a stun state where you'll be able to execute them if you're close enough. Then, with the upgraded meat hook, you can actually teleport almost lightning fast to the AI and perform an execution. With that execution, you get an AoE blast that will create a heavy falter to any of the nearby AI. That is also an upgrade. Just right there between 'stab' and the 'meat hook', you'll see a lot of opportunities for counters and skill expression.

You're constantly making choices with the spear. Another really good one would be 'stab' out of the box. Most of them out of the box have a counter built into them, and then through the upgrades, you can enhance those counters or add to them.

Marty Stratton: Stab is really good against melee enemies. You figure if it's a stab, the enemy has got to be close.

Hugo Martin: In risk-reward, a lot of the AI have a pretty good whack if you get close to them. The fact that the stab gives you a good counter to some of those AI, like the Agodon or the Baron. These are pretty threatening characters, and you really have to be on your game when it comes to the parries and the slashes. If you could slip in a stab, it's generally pretty good. With an upgrade, you'll be able to counter the evasive AI. We have a lot of evasive AI in the DLC that really pushes the player around. Players are going to need to use the meat hook and the traversal abilities of the spear to catch up to them, because the longer they stay alive, the more AI they summon or buff. We have a couple of them in Revelations this time, and it really adds a lot of dynamic movement into the combat loop.

The spear is full of traversal capabilities, so those two things go together really well. But they're going to be pesky, and you're going to want to kill them fast. If you upgrade the stab, you'll be able to stun them. You don't really hurt them so much as you hold them in place a little bit longer, creating a bigger window for yourself to be able to DPS them down using melee and different tools in combination with the guns.

For one last highlight, I encourage everyone to read the spear's upgrade tree. One other one that I personally love is the spear throw to the demon's heads, which is generally stronger. With an upgrade, you actually get a splinter. This is similar to the Shredder, where when you fill an enemy full of stakes, if you hit him with a shield throw, the stakes explode, he becomes like a pincushion, and does massive damage to all the AI around him. You can create that with one headshot of the spear throw. It's not as many stakes, but it's equally as powerful and super satisfying to do in the middle of combat. You're basically always looking for an opportunity to land that when there's a bunch of AI around, because you could really stack damage and do AoE damage to a ton of AI.

Most of, if not all, the skill expression opportunities in the DLC come through the spear. The spear is super deep, though you're not going to get it right away. Out of the box on your first level, you're going to think the shield is better. Just stick with it; it really rewards the time you put in. The more you invest in it, the deeper it gets, and the more fun it is to use. In Doom Eternal, out of the box, the meat hook was a grapple hook traversal tool. There's more nuance to it this time around.

As I said, if you meet a hook to a character that's stunned, you'll teleport to them and do a massive AoE blast when you perform your execution. As you upgrade that, you can do that even faster, which feels amazing. You can also orbit around the AI. If you meat hook to them and then hold down the button a second time, you'll actually lock on, Z-target the character, and orbit around them. When used in conjunction with certain upgrades from the base game on the guns, that will actually charge the heat blast. So you could perform a combo. That will also charge the haste upgrade to the Skull Crusher. These are great metas that are built into it. The meat hook automatically out of the box works with the ricochet from the Shredder, for example. One of my favorite things is that it brings movement tech into the Dark Ages combat loop. That's the major skill expression right there. The dash is shorter than Eternal, but it's still just as effective. The distance isn't as long, but the hook itself has a little bit more depth to it. If you push up, you'll obviously go higher, but you will not go as far.

If you push to the right or the left of the character, you'll travel a much greater distance. Just that little nuance alone feels so satisfying. It's present in Doom Eternal's meat hook, but I think it's more pronounced this time around. So, if I want to really reposition myself on the battlefield during some of the hardest encounters, especially in the endgame where movement is critical, then I would swing to the right or the left of the characters. Between that jump and the dashes, I could literally immediately reposition myself all the way on the other side of the battlefield.

Or if I just go up in the air and want to maintain a certain amount of elevation, with a certain upgrade, I can recharge the meat hook. You're not allowed to do that out of the box; you have to invest in endgame progression to do that. But once you unlock that ability, that's when you could really start bunny hopping through the space, and the encounters are designed for that because we're assuming you're going to be able to do these things. There is a ton of AI in those fights, and then really the final test will be in the Riptorium. Anyway, that was a lot. It's just worth your time to invest in it.

Marty Stratton: Very true. Everybody who loved the meat hook from Eternal, imagine now you don't have to have the Super Shotgun out. You can shoot the weapon in your right hand with any weapon while comboing, but then there's ones like Accelerator and Skull Crusher that have the advantages of giving you buffs while you're comboing.

Did Doom 2016 or Doom Eternal influence this DLC in any way?

Marty Stratton: The answer is absolutely yes in so many ways. Everything that Hugo just talked about from a skill expression perspective are influences from Doom Eternal. I really want to highlight the spear and the difference between the meat hook on the Super Shotgun in Doom Eternal versus using the chain spear and having that off-hand weapon. Your first playthrough, you're kind of getting some of that stuff, but truly, when you say there is so much depth there, you're learning on a second or third playthrough like, "Oh my god, I wish I had known that on my first playthrough." It's not until the endgame, which is about 40% of the experience.

You have the base campaign, then we have the endgame, and I think it's not until the endgame that you really start realizing everything it can do, how it all gets put together, and you start actually instinctively doing it. Regarding the 2016 influence, what I love about it is the way Hugo and the team have pulled together the lore from things present in 2016 that people have had questions about. Doom is about unbelievable guns against crazy demons, the combat, and everything is so deep. But over the last 12 years, as we've been building this modern trilogy, it really is fun to sit back and watch the game's opening cinematic with the council, and then follow it all the way through to the end of the game.

I don't want to give too many spoilers, but it's so amazing to me that the trilogy has come so far in creating this hero people care about, going all the way back to even the '93 stuff. It really sets a lot of things in their place, and it's super fun from that perspective to see so much stuff come together.

Hugo Martin: From the beginning, Doom 2016 was written to feel like it was trying to connect all of Doom's canon, from Doom 64 when he made the choice to stay in hell, to Doom 1 and 2 and the events of those games. It was always meant to be a celebration of the brand. We even included the comic line 'Rip and Tear' in the opening line from 2016. To be able to make this DLC, as Marty said, and have some cinematics that we've been talking about since the codex of Doom 2016, is incredibly satisfying. Some of this content is 12 years, honestly some of it is 30-plus years in the making. If you're a fan of Doom, not just a fan of Dark Ages, but you're a fan of Eternal, 2016, or classic Doom, I think there's something in the DLC for everyone. It really does pull it all together, and it was really fun to do. Long time coming.

When we talk about the skill expression, there is so much depth, and the endgame content is really touching a rung of challenge that I don't think the Dark Ages base game hit. But we still have all of the sliders that people have come to love and that we've won awards for. All of that is still there. So if you loved 2016 or you loved Eternal, don't let any of the depth or the skill set hold you back. Everything is right there at your fingertips, so you can have whatever experience you want with this. It really touches that high bar for those ultra-skilled players, for sure.

For the influencers, streamers, Doomtubers, and action game aficionados out there, I would ask that you not increase the sliders' difficulty on your first playthrough. Do whatever you want with your game, but sometimes I'll watch people on stream and they'll immediately crank it up, and I'm like, "You don't even really know the game yet." Then they're giving feedback based on 2x damage, and I'm like, I don't know that you're ready for that yet.

The classic Doom levels are very interesting. How do they change in Revelations with the modern gameplay? And do they retcon or reframe anything story-wise from the original games?

Hugo Martin: I hate the word retcon. Whenever we hear that, I always feel like I'm in trouble.

Marty Stratton: You're like, "We didn't change anything. It's all biblically accurate. It's all canon."

Hugo Martin: Actually, it's very accurate, frustratingly so sometimes. I think the ceilings are a little bit low for the Mancubus here and there; his head is like an inch from the ceiling, which visually looks odd. We tried to stay as close to the originals as we could. I think it's mostly Doom 2, but they're great, really fun, and somewhat connected to the fiction. You'll see when you play that there are what we call nightmare levels, and those are somewhat associated with '93's Doom, but they're original. You'll see it's more about who he was before he was the Slayer. He was a Marine, and you'll see. As part of the endgame, you can unlock classic levels, which are accessed via these retro doors that you see throughout the space. Everything is locked behind what we call a master key. As you complete each level, you're building this master key.

Once you've completed all the levels of the base game and beaten all the bosses, the master key is complete, and then you can re-traverse through the levels that you played via the hub, which unlocks all-new paths. This isn't just a rehash of existing spaces with new combat. These are new experiences, new geometry, new spaces, new combat trials, classic levels, and a ton of stuff like Praetor suit encounters. It's really satisfying, and all of that stuff is set to a greater difficulty. Classic levels are a part of that experience. It's a little different from the ones we did in 2016, where you pulled a lever and entered the classic levels. Those were more of the original pixel art feel, like you were going into the past. These are modern graphics, modern interpretations of those textures with modern lighting, rendering, and material shaders. So it's this cool in-between between the classic level art and modern rendering.

How about swapping between the spear and the shield? Could you please explain that a little bit more?

Hugo Martin: You can quick-switch between the two tools. We brought back quick-switching for the weapons for about a week, and it's horrible. It breaks the game, and it just doesn't feel good. We do allow you to quick-switch between the shield and the spear. The endgame section has its own set of upgrades. There's a tier of abilities that you cannot unlock on the spear until you get to the endgame, which are marked in red. There's a red currency around all the endgame spaces that you'll collect to purchase those endgame abilities.

Among them is an upgrade that enables quick switching. There are some abilities that steer into the quick-switching of the spear and the shield—like certain actions that you can perform can also apply to the enhanced abilities of the shield, and we are steering into that just a little bit, and it's very satisfying. All the quick-switching happens between those two tools in your left hand.

Marty Stratton: And that is only once you get the shield back, which you don't have immediately.

Hugo Martin: You don't have it right away.

Marty Stratton: It's worth noting that the shield is damaged, so not all of the abilities through the base game are active on the shield. You have all the abilities, but you don't have all the upgrades. It's for balance reasons fictionally. Your shield got crushed, and it is not until the end of the base game that you will get all of the power of your shield back. It is also worth noting, and I've already mentioned this on a stream, that we are rebalancing two elements from the shield that will also apply to the base game.

What we've seen from the Riptorium and a lot of the Ultra Nightmare players and speedrunners is that Heaven Splitter was a bit OP. The stunlock times with the Heaven Splitter needed to be brought in for the DLC and also for the base game. Some of the power of the mace against super heavies was a bit high. You could delete a Komodo with like two strikes, which was getting a little bit out of hand. Those two things have been rebalanced a bit for both the base game and the DLC, which will feel good because the combat loop holds its integrity and is just a bit more balanced.

Hugo Martin: We're asking you to do all these things and learn all these metas, and then you pick up the mace and just delete something. There was a crack in the fun zone; we sealed it up.

Looking back at the reception to Dark Ages, what piece of player feedback surprised you most? And did any of that influence Revelations? Also, any more dragons?

Hugo Martin: No. The dragon's dead, spoiler, so he's not in there. There are no Atlan sections either. We just wanted to focus on the Slayer; this is very much the Slayer's story. The one piece of feedback that I noticed that influenced tons of things for combat and story was the opportunity to reintroduce some movement tech encounters. I think Doom Eternal players really enjoyed the counters and the movement tech from Doom Eternal. We figured out a way to introduce it to Dark Ages, where it didn't disrupt the loop: you're still the tank. If you're a fan of Dark Ages, that combat loop is very much intact, and you could use the shield the whole time if you want to. From a storytelling perspective, I actually found that finding ways to weave the narrative into the gameplay where the story is more felt than watched was a big note to myself.

You'll see when you play Revelations that you feel the story more than you watch it , whereas in the base game, it was more bookended by cinematics. There are plenty of cinematics, but there are more first-person cinematics in the DLC, so that way it's more of an experience for the player, a little bit more immersive storytelling. Really quick, from the level design and exploration perspective: you guys don't like when we mark the secrets. They're not marked this time. So don't complain that they don't have a lot of secrets in the levels; they're loaded with secrets, you're just going to have to search for them this time.

The Doom Guy's face is shown extensively throughout the Dark Ages and even more so in the upcoming DLC. I'd love to know what kind of thought goes into deciding when, how, and why a character like this shows emotion. I remember seeing a few terrific moments like this in the base game.

Hugo Martin: We always say it's like a Friday the 13th movie: he's Jason Voorhees, and the demons are the camp counselors. That's kind of how we look at him. It's always very interesting to get a sense of what's happening behind the eyes with characters like Jason Voorhees and Michael Myers. You can't do it too much. Obviously, Doom Guy already has an established past, so we're allowed to do a little bit more because we all know about his bunny—which, by the way, we did not retcon the fiction of the actual bunny. Read the codex, you'll see we do go into detail about the origins of Daisy. Given that it's a character who already has a background from the original Doom and the novels, we are able to explore a bit more than you might with a Jason Voorhees. But we think that's what makes the Doomslayer so compelling. We just agree that you can't overdo it with the talking and the emotions. We have to show a lot of restraint; otherwise, I think we'll jump the shark with that stuff.

Is the base DLC 10 to 12 hours long, or does that time include the endgame DLC?

Hugo Martin: It is 10 to 12 hours long, including the endgame.

Marty Stratton: And we've seen people go longer. Estimating game time is such a wild endeavor, just based on the skill setting people use or their experience with it. But I've seen people up to 14 hours on a first playthrough if they're really challenging themselves, so it's very meaty.

Did you go into this with the plan to create such a large expansion, or is it a happy byproduct of all your ideas? Also, what did you want to achieve with Revelations?

Hugo Martin: I wanted to make it feel like a complete experience. I think that we learned with Ancient Gods that if they're too short, it's hard from a gameplay perspective. You want to introduce a tool, invest in it, progress it, unlock its power, and then have time to master it. But if it's too short, that feels kind of rushed, and you get a little short-changed on the depth. The same goes for the story, to be able to tell a complete arc of something. Honestly, the same kind of goes for everything, so this felt like the right size for a Doom DLC.

Marty Stratton: As soon as you're trying to incorporate so much stuff across the fiction and the lore, as a complete package, it would be very difficult to do that in just a few hours because you really do want that arc to have weight and meaning. When it just goes by super quick, it doesn't have the same impact.

Hugo Martin: We did have a lot of ideas, though, and in part it was a byproduct of that, and we got them all in there.

From a level design perspective, how are you making Revelations feel distinct while still preserving the identity and momentum players associate with modern Doom?

Hugo Martin: It's really the most like the original; we're constantly measuring ourselves against '93's Doom. The way the levels are designed, it's the best, it doesn't get better than that. The backtracking, the maze-like levels, the way you unlock spaces and they expand in interesting ways. They have these mini-hubs and sections of the map that you crisscross several times, and eventually, you just master the space. That's what the hub feels like, and I can't say enough. Big shout out to all the level designers and Brandon Sehr, who's our level design director. I would say the DLC really does feel like the culmination not only of the narrative over the last 12 years, but also of the technology that has enabled us to create this kind of experience.

I think it's arguably the best content we've ever made for that reason: 12 years' worth of work and research coming together to make this experience feel really good. A big part of that was the levels, particularly the hub. By the endgame, you'll have unlocked, expanded, and mastered this huge space, and it's full of lore and secrets, constantly rewarding you. That was a big theme for us going all the way back to Eternal: make everything worth your time to master. The more you invest in it, the better it feels, and the hub totally works that way. So, a lot of backtracking like the original '93 Doom.

In terms of making it feel fresh, we just want it to feel just as good. In our pursuit of trying to make it feel as good as those original maps, I guess we end up with something that feels original. But we're always chasing the original Doom creators when it comes to level design because that stuff was so good.

Marty Stratton: I think the team's gotten really good with the pacing of things, even in the hub. The hub is unlike anything we've done before. It's really fun. For the type of games we've made, it is very different and the pacing works out really well, too, because there's even some combat encounters in the hub and stuff like that. It's not like you're just wandering around this space and you're not doing anything; you're still having combat. The pacing really works out well between the puzzles and the exploration.

Hugo Martin: It's a huge evolution from Eternal. Eternal had a lot of fun stuff, Easter eggs, and unlocks, but this one is a fully playable space with re-traversal, keys, and doors. It's the Metroidvania in Purgatory, which is the hub, and it's massive and really impressive.

Is this the end of the Dark Ages storyline, or will we see more from this era in the future?

Marty Stratton: I can't answer that, not allowed. I don't think we like to say it's the end of anything. There's just so much here now from the palette of paints probably more as far as the Slayer goes. But there's some catharsis in this. You're not going to get done with this and just be left on a cliffhanger, really. It does a lot for the whole trilogy.

Hugo Martin: It has a satisfying ending, but as fans will see, we don't quite connect to the discovery of the soul factory in Necravol as written in the history of the Sentinels codex entries from Doom Eternal. We're leading up to that, and you'll see how all that goes. There are certain events, so it's like another few more chapters in the history of the Sentinels and the Chronicles of the Slayer and his time with the Sentinels on Argent D'Nur, but we don't quite bring it all the way to the point where they entomb him or capture him in that tomb that leads up to 2016 or even some of the events of the Civil War. But you'll see there's a lot in there. I would recommend that those who are into the lore and storyline reread the history of the Sentinels from Doom Eternal. God knows we read it a bajillion times during the making of this, so no one can say we're retconning anything.

There's been a lot of debate online about some of that stuff, like the planet of Helebore versus the lost city of Helebore, because we call Helebore the planet and the lost city is an unnamed city in Helebore, so there are some things there that we were wrongfully accused of. But it definitely moves the story along and, as Marty said, it has a satisfying resolution in the end, but there is more story to tell. You could literally jump into another game from the ending of this pretty easily, and the end of Doom Eternal is very much left open for a lot of exploration and what happened before Doom 2016.

Was injecting some of Eternal's acrobatics back into the tankier gameplay of Dark Ages a decision made following post-launch feedback, or was that a logical next step for the game you always had in mind?

Hugo Martin: Logical next step. Whether it's the story of Dark Ages, it's not like we're making this up as we go along. We had this fiction, this world planned all along. The dream was to be able to make three games, and we wanted each one of them to be different. We talked about a medieval Doom, a heavy tankier Slayer. While we were making Eternal, that was really inspired by Frank Miller's Dark Knight Returns and, honestly, Batman: Year One. When it came from the gameplay perspective, Dark Ages really feels like a new game entirely. It's so different than 2016 and Eternal that it only makes sense that it feels like what Eternal was for 2016. So it takes what was established in Dark Ages and pluses it.

Oftentimes, because you've already come into the Dark Ages DLC having mastered the loop we established in the base game, we're going to start adding things to it, and that will naturally make it feel like there's a bit more depth. Some would say it gets a little bit more complex, which it does, with more depth and more opportunities for skill expression. There are more things for you to consider, more choices to make, but that was always planned to build on top of the base game, which kind of does make it feel like it's the Eternal to 2016.

We're really excited about it. Again, it wraps up everything, and you're always looking back at what you made before. So there are elements of the hammer from The Ancient Gods in there, there's obviously the meat hook stuff in there, and there's lore in there going all the way back to 2016. It really is a celebration of all the games.

Thank you for your time.

Follow Wccftech on Google to get more of our news coverage in your feeds.