10.4225/55/59ed513f8b470
Barnabas Smith
Barnabas
Smith
Rip & Tear: Deconstructing the Technological and Musical Composition of Mick Gordon's Score for DOOM (2016)
The University of Adelaide
2017
video games
musicology
Technological progress
compositional analysis
Australasian region
Musicology and Ethnomusicology
Computer Gaming and Animation
2017-10-23 02:17:33
Journal contribution
https://adelaide.figshare.com/articles/journal_contribution/Rip_Tear_Deconstructing_the_Technological_and_Musical_Composition_of_Mick_Gordon_s_Score_for_DOOM_2016_/5526751
Paper presented at, and published in, the proceedings of, the Australasian Computer Music Conference 2017.<div><br></div><div>Abstract:</div><div>
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<p>The earliest mainstream examples of the first-person
shooter game can be traced to the early to mid 1990s,
during which one company above most others cultivated
a genre that continues to dominant the global video
games market. id Software was founded by John
Carmack and John Romero, and of all their video games
it is perhaps the 1993 DOOM that has been most
influential and celebrated. Advancements in
technological game development and creativity afforded
DOOM exhilarating gameplay, killing monstrous
enemies, spurred on by a synthesized, metal-infused
soundtrack by Bobby Prince. The 2016 reboot of the
serious, similarly titled DOOM, had one of the strongest
legacies to live up to in the gaming world. To both
respect the series’ lineage and give this new game a
distinguishing identity, composer Mick Gordon
developed unique technical and musical processes based
on a philosophy of energy passing through objects, and
so doing, corrupt them. </p>
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