Mick Gordon.. legal issues with Marty Stratton
1. only casuals play id games with the soundtrack on.
2. having said that, as an ex- music professional, i'm divided between these two guys. I have no problem imagining corporate insanity of the "a team of 9 mothers can deliver 1 baby each month" type, but then reading Mick's response i'm seeing a lot of meaningless statements, when he insists he's going to be very specific. Things like (paraphrasing) "i didn't yet know the mood of a level or what a boss's background lore was". This stinks of
auteur, frankly; if you are shown a level and you can imagine a track based on the visuals that you see, great. If you are NOT shown a level, but just told "there will be bouncy platforms here", then just use that as you cue. No, you don't need to see the final level fully polished, just to be able to deliver a competent product. Hey, you know, maybe
ask questions, but in the end just write the goddamn music, if they don't like how it doesnt 100% fit the level design, it's because they never showed you the level design, but don't sit on it
when you are paid to meet a schedule.
In the world of music business, when you are being paid, if the choice is between delivering what is artistic, and what gets you paid, you ALWAYS DELIVER WHAT GETS YOU PAID. It is the responsibility of the person paying for it, to decide if they want or not something artistic.
I think the problem here is that Mick got a ton of recognition for the (to me, nothing special) soundtrack on Doom 2016, that he now saw himself recruited to yet again deliver a product "as good, as he is being told the 2016 one was". Yeah, no.
Even if, he was supposed to work within a set of constraints that did not exist in the 2016 production, well, that's your job. The only reason you aren't doing it to the statisfaction of your employer is because you're a big fat
Auteur.
bonus: THE best version of E1M1 you will ever hear