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Doom Eternal OST Composer Speaks Out Against Studio Director Marty Stratton

Doom Eternal OST Composer Speaks Out Against Studio Director Marty Stratton

As game development gets ever more challenging, we continue to hear stories about creatives being met with mistreatment. Unfortunately, this seems to be the case for Mick Gordon, composer for Doom Eternal. Gordon has recently released a statement leveling strong allegations against id Software’s studio director Marty Stratton. Gordon claims that he was unjustly blamed for the poor quality of the OST as a result of Stratton’s actions. Amidst a storm of harassment, Gordon has gone on to explain in very clear detail his experience while working on the OST for the popular Doom sequel.

Mick Gordon On Doom Eternal OST and Marty Stratton

Following the massive success of the Doom revival in 2016, plans went into motion to create the sequel, Doom Eternal. A key member of the team was Mick Gordon, who composed the OST for the previous game. However, according to his recent tell-tall, the experience was apparently quite hideous.

Gordon describes how he was constantly mired in setbacks despite the best of intentions. His full statement goes into greater detail, with the issues stemming with a contract with id Software that never finalized. As announcements for the game solidified involving the OST, Gordon pushed himself to work many hours to meet unreasonable deadlines.

Following the game’s release, he finally received a contract and continued to edit tracks based on requests received. Although Gordon managed to finish, he explains that the tracks underwent a harsh transformation due to sound engineer Chad Mossholder. As a result, the OST received severe backlash. But, instead of continuing discussions to address the situation, Marty Stratton allegedly responded with an “open letter” specifically naming Gordon as responsible for the poor quality.

What followed is an absolute hot mess. Gordon received death threats, watched his reputation sour, and still had yet to be properly compensated. Gordon says Stratton’s constant delays and unwillingness to finalize a contract were a likely attempt to get his work without pay. Most alarmingly, he also claims that Stratton offered him a settlement simply to stay quiet about the matter. However, Gordon remains adamant that “the truth is more important”.

Given the strength of Gordon’s statements and the severity of Stratton’s alleged actions, there’s no telling what will happen next. However, this open statement sheds even more light on the difficult conditions faced in games development. The possibility of litigation is high, but for fans, the real disappointment is that Gordon may never write a Doom soundtrack ever again.

Written by Andrew Smith