![]() ![]() It'll come to platforms including Spotify and iTunes in the coming weeks, Id Software announced. The Doom Eternal OST was released for owners of the collector's edition over the weekend. Gordon hasn't made an official statement on his involvement in any future Doom games, but a screenshot of a supposed private message shared by one Reddit user quotes him as saying "doubt we'll work together again." Take screenshots of conversations with a healthy helping of salt, of course. It’s all I do, it’s all I have and I pour my heart and soul into it." They say he's still trying to understand the situation himself and didn't have anything further to say on the subject. It seems that even Gordon is unsure what happened, or at least isn't able to share. He tells PC Gamer that "I take a lot of pride in my work. Gordon doesn't sound too pleased with the situation. Whether or not you can hear the difference, it seems you can at least see it. the original with more definition /TCJRdOe1Yf- Doominal Crossing Remastered ApTo see this content please enable targeting cookies. Notice how the wavelengths in BFG 2020 form a nearly perfectly straight bar vs. the BFG 2020 remix on Eternal's soundtrack from today (right). ![]() At one point, Gordon says he was offered six figures to take full public responsibility for the OST's failings, an offer he declined.Here's a comparison between the original BFG Division from Doom 2016's official soundtrack (left) vs. Gordon pursued legal action, but claims settlement negotiations fell apart when he demanded Stratton take the Reddit post down. Gordon claims they ultimately agreed to release a joint statement and was expecting a draft to arrive in his inbox, when he was blindsided by Stratton's publication of an open letter on Reddit instead, over which Gordon says he was harassed, doxxed, and bombarded with emails and phone calls. "I never quit Doom, I quit a toxic client"įollowing the release, Gordon relates that Stratton scheduled a call with him to discuss the negative feedback to the OST that largely involved Stratton berating and blaming him for its failings. Mossholder's work, which Gordon says was largely edits of his own original score, ultimately formed the bulk of the final release. However, Gordon goes on to say that Stratton once again got involved in negotiations, adding additional pressure to finish quickly and revealing that audio designer Chad Mossholder had been working on an alternative OST for months. He eventually approached Bethesda directly for a deal, and through multiple communication and contract delays got one for 12 songs, which he crunched to complete on time. Gordon also claims id Software announced the aforementioned Doom Eternal OST without ever having made a deal with him to produce one, and ignored his attempts to make such a deal. When the game and soundtrack finally released, Gordon says he realized they had used almost all of his music, including numerous tracks he had thought had been rejected, but had only paid him for half of it - and as of his post says they have yet to do so. ![]() At one point, Gordon claims he went unpaid for 11 months. Gordon also complains of multiple pay issues over his time working on Doom Eternal, including at least one attempt to deny payment because id Software had "changed their mind" and no longer wanted to use the music he had provided, and other delays or deferrals of on-time payment. Gordon notes that all this was punctuated by slow communication from management, him being cut out of meetings about the music, and increasing ostracization from the rest of the team. This resulted, Gordon claims, in severe crunch for him as he worked late nights finalizing music for levels that hadn't been designed yet, only for that music to be thrown out later when it didn't fit the levels made after the fact. Gordon then claims he proposed an alternative scheduling plan to management that would allow him to write broader, reusable themes first that could then be shaped into specific final versions as levels were hammered out, but says that Stratton struck it down. However, he says he lacked direction as to what kind of levels or environments those tracks were meant to cover due to constant development changes and missed milestones. He begins by describing being given tight deadlines for final versions of his promised musical tracks - two finished pieces of level music per month. Mick Gordon alleges crunch and multiple pay issues Now, however, Gordon paints a very different picture.
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