His music is defining - and much like Bobby Prince’s music was synonymous with the original DOOM games from the 90s, Mick’s unique style and sound have become synonymous with our latest projects. Mick has had near limitless creative autonomy over music composition and mixing in our recent DOOM games, and I think the results have been tremendous. Our challenges have never been a matter of creative differences. When asked on social media about his future with DOOM, Mick has replied, “doubt we’ll work together again.” This was surprising to see, as we have never discussed ending our collaboration with him until now - but his statement does highlight a complicated relationship. We’ve enjoyed an amazingly open and honest relationship with our fans, so given your passion on this topic and the depth of misunderstanding, I’m compelled to present the entire story. I feel it is my responsibility to respond on their behalf. What has become unacceptable to me are the direct and personal attacks on our Lead Audio Designer - particularly considering his outstanding contributions to the game – as well as the damage this mischaracterization is doing to the many talented people who have contributed to the game and continue to support it. Others have speculated that Mick wasn’t given the time or creative freedom to deliver something different or better. Some have suggested that we’ve been careless with or disrespectful of the game music. While many fans like the OST, there is speculation and criticism around the fact that the game’s talented and popular composer, Mick Gordon, edited and “mixed” only 12 of the 59 tracks on the OST - the remainder being edited by our Lead Audio Designer here at id. Over the past couple weeks, I’ve seen lots of discussion centered around the release of the DOOM Eternal Original Game Soundtrack (OST). An open letter to the incredible DOOM community.

Crack status doom