Read on Twitter
Having completed #DOOMEternal: #TheAncientGods in its entirety, I will give a moment to voice my opinions of the music tracks featured in its levels.
All in all. Have to say that I'm really not that impressed.
All in all. Have to say that I'm really not that impressed.
In general, I found a lot of the tracks sounded excessively dim, to the degree that they often faded away into the background, drowned out by the noises of general combat.
I'm unsure whether this was a deliberate choice on the composer's end or an instance of poor track mixing.
I'm unsure whether this was a deliberate choice on the composer's end or an instance of poor track mixing.
As for the tracks themselves, I find that their quality deteriorates with each subsequent level: UAC Atlantica Facility provides a fairly strong and energetic start, Blood Swamps a rhythmic yet lacklustre middle, and The Holt with a mushy, discordant mess of a conclusion.
The biggest problem I find with the tracks is that there aren't any standout/recognisable verses/choruses that I can recall from memory; no signature riffs like the ones featured in Rip & Tear, Flesh & Metal, BFG Division, The Only Thing They Fear is You, or Meathook.
Probably the only tracks I can recall bits and pieces of from memory are UAC Atlantica and The Holt.
The former because someone pointed out how it kinda sounds like Verbalase's Darkseid beatbox.
The latter because part of its sounds have been aped from the Urdak's tracks.
The former because someone pointed out how it kinda sounds like Verbalase's Darkseid beatbox.
The latter because part of its sounds have been aped from the Urdak's tracks.
Sure, the music is energetic enough to complement the fighting, and they have some rudimentary transitions from moments of calm to combat encounters. But it doesn't exactly *elevate* the gameplay experience by working as an integral aspect of the combat encounters.
Finally, this will more than likely be the nuclear take of this thread, and I would like to emphasize how I desire no displeasure or ill fortune upon the individuals I mention:
As cynical as it sounds, I am now fully convinced that the new composers (specifically Hulshult) were brought on purely to pander to the #DOOM community and placate their... enflamed disappointment towards Id/Bethesda forcibly ejecting Mick Gordon from Eternal's development.
And yes, I'm aware that these composers are very talented in their own right.
Despite that, I still find it funny how, for as much as it was purported that they were ordered *not* to imitate Mick's style, it certainly sounds like a poor man's version of his work.
Despite that, I still find it funny how, for as much as it was purported that they were ordered *not* to imitate Mick's style, it certainly sounds like a poor man's version of his work.
In conclusion, the music of The Ancient Gods achieves the same purpose and follows similar disciplines as the music that came before it, but not in a standout or exceptional manner that allows it to become memorable or go beyond simply complementing the gameplay.
And that's all there is to it.
Adequately present at best, painfully average at worst. Worthy of neither outstanding praise nor derisive scorn.
Adequately present at best, painfully average at worst. Worthy of neither outstanding praise nor derisive scorn.
