![]() ![]() The show essentially became Bethesda’s second E3, and the company took advantage of that to show off Elder Scrolls Online and Fallout 76 content, and even share news about Arkane’s games in the past. QuakeCon events have in recent years evolved to include much more than id Software’s games. We know it's a got a mysterious Indiana Jones game up its sleeve – but could it be hiding something Quake-y up the other one? Most of the big-ticket events are taking place on the first day, per the schedule above, and one of them, in particular, stands out the most: a Quake 25th anniversary panel with id Software and Wolfenstein developer MachineGames.Ĭould it be that a Quake project from MachineGames is currently in development? The studio has been working on something since Wolfenstein: Youngblood launched in 2019. ![]() But today, as per a specific and updated schedule courtesy of Bethesda, it looks like we could be getting something else, too: a possible Quake project from MachineGames. Instead, it's going to be a digital-only affair called QuakeCon at Home, and it's back on August 19 (with the whole thing set to wrap up on August 21).ĭuring the event, you can expect livestreams featuring updates on existing and upcoming games, tournaments, charity fundraising, puppies, giveaways, and more besides. This year’s QuakeCon will not take place at its usual spot in Dallas. At one point, Gordon says he was offered six figures to take full public responsibility for the OST's failings, an offer he declined.QuakeCon 2021 is coming real soon, and ahead of the now-digital event kicking off, Bethesda has released a schedule that hints MachineGames could be working on Quake. Gordon pursued legal action, but claims settlement negotiations fell apart when he demanded Stratton take the Reddit post down. Gordon claims they ultimately agreed to release a joint statement and was expecting a draft to arrive in his inbox, when he was blindsided by Stratton's publication of an open letter on Reddit instead, over which Gordon says he was harassed, doxxed, and bombarded with emails and phone calls. ![]() "I never quit Doom, I quit a toxic client"įollowing the release, Gordon relates that Stratton scheduled a call with him to discuss the negative feedback to the OST that largely involved Stratton berating and blaming him for its failings. ![]() Mossholder's work, which Gordon says was largely edits of his own original score, ultimately formed the bulk of the final release. However, Gordon goes on to say that Stratton once again got involved in negotiations, adding additional pressure to finish quickly and revealing that audio designer Chad Mossholder had been working on an alternative OST for months. He eventually approached Bethesda directly for a deal, and through multiple communication and contract delays got one for 12 songs, which he crunched to complete on time. Gordon also claims id Software announced the aforementioned Doom Eternal OST without ever having made a deal with him to produce one, and ignored his attempts to make such a deal. When the game and soundtrack finally released, Gordon says he realized they had used almost all of his music, including numerous tracks he had thought had been rejected, but had only paid him for half of it - and as of his post says they have yet to do so. At one point, Gordon claims he went unpaid for 11 months. Gordon also complains of multiple pay issues over his time working on Doom Eternal, including at least one attempt to deny payment because id Software had "changed their mind" and no longer wanted to use the music he had provided, and other delays or deferrals of on-time payment. Gordon notes that all this was punctuated by slow communication from management, him being cut out of meetings about the music, and increasing ostracization from the rest of the team. This resulted, Gordon claims, in severe crunch for him as he worked late nights finalizing music for levels that hadn't been designed yet, only for that music to be thrown out later when it didn't fit the levels made after the fact. Gordon then claims he proposed an alternative scheduling plan to management that would allow him to write broader, reusable themes first that could then be shaped into specific final versions as levels were hammered out, but says that Stratton struck it down. However, he says he lacked direction as to what kind of levels or environments those tracks were meant to cover due to constant development changes and missed milestones. He begins by describing being given tight deadlines for final versions of his promised musical tracks - two finished pieces of level music per month. Mick Gordon alleges crunch and multiple pay issues Now, however, Gordon paints a very different picture. ![]()
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