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My full statement regarding DOOM Eternal

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Re: My full statement regarding DOOM Eternal

#171
post #57

I would expect this story from a struggling indie game dev startup but ID Games, Zenimax, Mick Gordon and Stratton are all huge players in the game dev industry -- thus this looks bad for the industry as a whole. I was always curious about why the Doom Eternal OST never really showed up on Spotify. This story explains that.

> thus this looks bad for the industry as a whole

The industry has almost always been terrible for decades now, this situation is just another drop in the bucket of terrible stories.

Re: My full statement regarding DOOM Eternal

#172

Earlier quoted context omitted.

> It turns it into something like Hotline Miami, where there's a room full of guys who can kill you almost immediately, so you wind up playing the encounter over and over until you have the perfect path of devastation through the enemies. I call it Mario-ization, and I hate it. I also hated Eternal. It wasn't Doom. It was a "first-person jumper." Based on the previous game, I pre-ordered the deluxe whatever version,…

After finishing Gordon's essay, the jagged and at times uneven feel of DOOM Eternal seems to make a lot more sense now. This circular creative process (give me the music so we can design the level ... no, you give me the level design so I can write the music) seems to explain what felt so wrong about DOOM Eternal, this "fantasy platform puzzle" idea that Id was driving toward. I feel the same way about pre-ordering A…

Really? KSP2 is not being made by Squad. Squad got bought by Take-Two and Take-Two is having a different studio build the game... or was until they cancelled the contract and poached most that studio's talent. This is a project that seems like it has a high likelihood of failing to capture what made the original one great. I'd wait to see some demos and lets-plays before putting your money down

Re: My full statement regarding DOOM Eternal

#173

Unfortunately, abusing artists in media companies has become the norm. Hollywood and the Music industry set the example for how to extract maximum value from an artist while keeping them desperate for money. Unfortunately, those Hollywood behaviours seem to have jumped to game development. It's disgusting.

> Unfortunately, abusing artists in media companies has become the norm.

Since the early 1920s.

Re: My full statement regarding DOOM Eternal

#174

Earlier quoted context omitted.

I remember bouncing off DOOM Eternal after a couple hours because all its clever new mechanics were oddly anti-fun and puzzly resource management. Like the creators didn't know what made the predecessor special. I was confused and stopped playing a couple hours in. So I watched the Noclip hoping to understand the design choices better. Marty was disgustingly smug and assured about it all, coming across like a victim…

I found it dull and repetitive, and loved Eternal. I have no idea whether I'm in the minority, but just because someone is a horrible person ethically doesn't mean that their taste in video games is horrible too.

Fair, I can definitely see why players will enjoy one or the other more. They are quite different in what mechanics they tailor for. I was put off by the demeanor of the creative director in the documentary, who it turns out wasn't Marty at all but Hugo Martin.

Re: My full statement regarding DOOM Eternal

#175

Earlier quoted context omitted.

Why would companies go to bat for these execs that are liabilities? Why not pay out the settlement and send Marty to Zenimax's St Helena division to prevent having to pay this sort of thing out again? (or worse, risk the damage of having someone not willing to take hush money like Mr. Gordon).

Because six figures is cheap compared to all the other things they pay for. It happens way more than you think.

And yet, they tried their damnedest to screw Mick out of a similar amount of money.

Which leads me to believe this isn't cheap for them at all.

Re: My full statement regarding DOOM Eternal

#176
It's all "who said what" until Mick shows screenshots of timestamps embedded in the audio files - direct proof that Marty outright lied. This could be important if there is any litigation made against Mick for this post if they attempt to destroy him financially by going to court.

Re: My full statement regarding DOOM Eternal

#177

it was always obvious that DOOM Eternal had a pretty troubled development, what with all the delays, the apparent focus on the novel multiplayer mode that nobody ended up really liking at all, the promised-after-release Dark Souls-style "invasions" system that never ended up materializing, and the general unfocused nature of the final product compared to its predecessor. but getting a peek behind the scenes here is r…

DOOM 2016 got by on its freshness and its tone. The combat mechanics in DOOM Eternal, while having some divisive elements, really pushed the envelope for the series and for FPS games in general. But that was thanks to Hugo Martin, not Marty Stratton.

eh, I definitely saw what DOOM Eternal was going for in terms of gameplay, but I wasn't really a fan of how it turned out in the end. the previous game was definitely a bit barebones as far as innovative gameplay was concerned but that was OK—it was a solid shooter, and a somewhat surprisingly good DOOM game! some people didn't care for the "arena" combat but I loved it, each arena was evocative of a miniature Quake multiplayer encounter! and then when Arcade Mode was added after release, I spent hours perfecting my runs on a few levels. instead of just iterating on the previous game, DOOM Eternal tried a bit too hard to craft a unique "combat puzzle" design ethos, which was alright, but didn't quite click with me.

one specific part that stuck out like a sore thumb to me—despite being ultimately a pretty minor thing—was that part where there's goop on the ground that prevents you from jumping. when I got to that part, I was like, oh neat, ok, here's a new gameplay element. now I'm gonna have to consider if there's goop on the ground in combat encounters or something going forward, cool. but no, instead, it was just used in that one sequence so you have to trudge through some goop and avoid a few stationary tentacle monsters, and then it never appears again. this stuck with me because it shows how far they've strayed from the classic DOOM design ethos, of giving level-builders tools to design interesting experiences. instead everything felt very setpiecey, very specifically-designed-for-this-encounter.

the lore stuff too felt overwrought as well—I really enjoyed how DOOM (2016) felt in that regard, it felt like you just got plopped into (the cancelled) DOOM 4, but instead of becoming immersed and participatory in the story, Doomguy didn't give a shit about anything except, goddammit, these moron scientists in yet another alternate universe once again did experiments with Hell shit and whoops yet another demonic invasion has arrived as a result—well, you know what to do, time to kick some demon ass regardless, it's what you do best! it was a good twist on the Half-Life 2 worldbuilding formula, sort of leaning on the fourth wall without totally breaking it, recognizing that players don't want a Half-Life-style DOOM 3 again, but rather, they just want to shoot some damn demons.

but then DOOM Eternal decided to play it straight and make all this overwrought lore and crap that I just could not for the life of me be arsed to care about at all. and they could've toned down the fanservice in the hub world to about 20% of what they shipped and it would've been nice without being over-the-top.

Re: My full statement regarding DOOM Eternal

#178
This Mick Gordon guy has to be the most patient, understanding and abuse-tolerant person on the planet. Even after getting screwed over 30 times in a row he still was hopeful for a reasonable ending. I express that as a compliment, even if in the real world it works against you.

It's not the main topic, but I like to call out attention to this:

"incidences of online abuse escalated at an alarming rate as Marty’s Reddit post led to frustration over my alleged professional failure, and toxic gamers grew openly aggressive.

They shared my personal details via message boards, including Reddit, which meant that abusers could now reach me in more ways than ever. They email-bombed my inboxes, crashing the server and clogging my messaging services, crippling my ability to communicate. They harassed my other clients with attempts to get me fired from their projects. They called my phone numbers around the clock, screaming messages full of abuse.

I began receiving specific expressions of violence, the content so vivid it made me sick. The torrent of abuse telling me how to kill myself, how I’d be mutilated, how they would circulate photos of my body to traumatise my family, how my family would be murdered, how they’d hurt my animals, how they’d shoot up any event I attended, how I’d be raped to death, really started to wear me down in ways I couldn’t previously imagine."

I'm strongly against authoritarian overreach and used to consider trolling a "fact of life", nothing requiring intervention. I no longer believe that. We're talking about a disappointing audio track for a stupid game yet the man and his family have to fear for their lives. And surely Mr Manager Marty looks at it with approval.

A line has to be drawn in the sand. There must be a cost to such threats. A massive fine or some short prison time. Further, those enabling and launching the mob, even if unknowingly, need to carry responsibility too. This isn't just defamation, it spills over into real world danger.

Re: My full statement regarding DOOM Eternal

#179

I don't do much contract work or deal with the video game industry at all, so I'm wondering was Mick just being overly understanding here about the payment issues? Someone refusing to pay me for work would instantly shut down any work I do with them. And my head nearly exploded when I read the part about how they secretly published a soundtrack that they didn't pay for, and then agreed to be pay for it only if he did…

Sounds like he let he guard down due to having a prior relationship with iD.

Re: My full statement regarding DOOM Eternal

#180

This Marty person seems like a full on psychopath. I always wonder with stories like these how the lawyers feel after a day’s work. Like, “hi daddy, how was work?” - “oh it was fantastic, we strong armed an independent musician into getting screwed over by our client, an ambitious psychopath!” -hugs-

I blame everything but the lawyers. A functional and just legal system depends on both parties having effective legal representation. Our current system falls far short of that ideal but I never feel that lawyers are the issue. It's the system itself, as well as the Zenimaxes and Martys of the world, that I blame.

It's worth noting as well that the decision to settle is (at least nominally) reserved solely to the client. If Marty/id/Zenimax say no settlement, hold the line then ultimately the outside law firm can't do much to wrap things up. They can drop the client, but that has issues of its own. I think corporate law uses the rationale about legal representation to shield itself from much soul-searching around bad behavior, but that's another discussion and the underlying principle is certainly true.
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