Pay disputes, project uncertainty, and an overly chaotic atmosphere compounded the stress. "By the end of the project, I’d delivered more than double the minutes stated in the contract. Then, just six weeks prior to the release date, DOOM Eternal got pushed to the following year.Įventually, Gordon finished the project and was paid, but he says there were still more woes on the horizon. Then by October of that year, he says he still hadn't received the materials needed to finish the score, hadn't been paid since January and was rebuffed when discussing a contract for the soundtrack. In fact, we hadn’t talked about the scope, the timeframe, or whether it was even feasible." He adds that the first he learned of the soundtrack was in the media, and that the lack of a contract to produce the soundtrack also became an issue. The standalone OST wasn’t in production, and I hadn’t been offered a contract to produce it. Gordon says, "Pre-orders went on sale immediately, a severe issue because customers were putting money down for a Collector’s Edition item that had no way of materializing. Then, things took a turn for the worse with the E3 announcement that the DOOM Eternal soundtrack would be released in 2019. So that led to more time lobbying to show that the 30 second allocation wasn't enough.Įlsewhere within his statement, Gordon calls out pay issues over usage in promotional events, delayed approvals that often left him hanging on the next step and increased scorn from management leading to more friction. The composer also cited major oversights in the music budget, saying that as stages of the game grew in size beyond what had been anticipated, there were periods where hour-long levels had been allocated just 30 seconds of allocation music. Gordon says that left him in the position of having to deal with the schedule as it was, ultimately having to use his imagination to create music for score levels that he wasn't able to see as of yet, and that led to his compositions often getting trashed as they didn't match up once things were eventually finished, which he says led to urgent rewrites. That plan was struck down by Stratton, he said. So he says he proposed a schedule change, noting that attempting to create while using guesswork would only lead to future rejections, demands and rewrites to a schedule that already had no wiggle room. Within the first two months, it became clear to Gordon that the schedule wasn't going to work and that without the necessary materials available, starting on music was difficult. Gordon also claims that a contract delay from id Software also put him behind schedule almost immediately, while a two-week marketing interruption turned into six weeks. He also added that matching the music to gameplay was of importance, but difficulties emerged early on where he wasn't granted the materials in a timely manner. It is a defence, not an unprovoked attack, issued with extreme reluctance only after all other attempts to resolve the matter have failed." He adds that part of the reasoning for posting the statement is to "prevent vague statements from turning into rumours and speculation."īreaking down some of the initial issues, Gordon reveals that when he was brought on board, he was handed a schedule that required two levels scored per month, something that while not impossible left little margin for alteration. In releasing this statement, I’m exercising my right to defend myself. The composer goes on to add, "Marty’s Reddit post severely impacted both my professional and personal reputation.
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