Quasar

It's a simple equation for me at least. In-game store? No buy.

When I was a teenager I wrote a few experimental pieces of music that I somehow later lost and have never been able to find. One was called "Mind Fantasy" and was just a bunch of highly experimental notation and techniques thrown together. Sounded pretty bad but it had a couple of interesting ideas that moved me a bit further along in discovering what works and what doesn't. The other was a setting of an extremely dark poem I wrote while suffering from clinical depression, called "For Everything I Pay So Dearly". It was completed as a three-movement piano work, though the third movement was actually a drawing made over staff paper of a building with a significant role in my life ablaze in a firestorm. The instructions for the movement were to dump an accelerant on the piano and then light it on fire using a match. Pretty sure performances of that would've been rare. Perhaps some things are better off lost. Worse than that though, I've been unable to locate my original score work for "Les sons de l'ete" for a few years now. I absolutely know I still have it but somehow, every box I look in, it's not there. "Les sons" is alive and well but I'm sad I seem to have misplaced the OG work as it had sentimental value and is some of the only actual evidence that I started it in 1994 (the closest things otherwise are the poems/lyrics I have written on high school notebook paper, and an EZNOTE piano roll file with a timestamp of 1997).

https://doomwiki.org/wiki/The_Doom_Game_Editor

Added the newest part to be finished. This was actually one of the earliest parts I started work on back in 1994. I just put the last few touches on it this morning.

I think I mentioned this on the forums here a very long time ago but, I've been working on a piece of music off and on for almost 30 years called "Les sons de l'été" (which is French for "The Sounds of Summer"). It's a roughly sonata-form piece for a large, but sub-orchestral, chamber ensemble: Vibraphone soloist Flute soloist Piano Strings SATB chorus + boy soprano Extensive use of percussion (idiophone ensemble, timpani, aux, drum kit, etc) It's finally relatively close to being finished after a huge push I've been doing on it since around 2018, at which time I also started dedicating a lot of time to sharpening up my skills and just getting more proficient at putting down the actual ideas I hear in my head. I've just been absorbing anything and everything to do with compositional theory and practice and I guess it paid off a bit (having MuseScore available helped too). Below is my playlist of "complete" portions (I keep tweaking stuff endlessly due to perfectionism) on YouTube. You can read a bit more about the elaborate story it tells (any plain text you see in the score is meant to be projected or otherwise displayed/described to the audience along with the music) in each video and on the playlist page. I have been updating it regularly and I just refreshed all the videos to the newest score revisions last night.

Earth zombies make a dog chew toy squeak sound when you make them accordion, which is literally what happens to somebody in a Looney Tunes short when an anvil falls on top of them. When you grab enemies to do a glory kill, they make (admittedly hilarious, but also tonally goofy) faces. Cacos can eat bombs and blow up their stomachs like dodongos, and spin off into the distance like a deflating balloon if you berserk them. The main character has He-Man muscles, and his evil Marauder counterpart is clearly made like a He-Man action figure that uses all the same body parts and just has a different head. Hopefully this non-exhaustive list helps. Hugo Martin himself cited "Saturday Morning cartoons" as an influence he was trying to consciously channel so there's really nothing to debate.

I'll note that McCandless indicates that Joe Wilcox (Sillysoft) was a "semi-finalist" but that seems difficult to reconcile with the brackets as otherwise known so who knows what he actually meant by that. EDIT: he also claims Merlock had two byes. Then again he spends 90% of his article ribbing on Merlock due to the guy's notorious reputation for self-aggrandizement and trashtalk on Usenet so who knows if that's factual or just meant to make him look worse.

Only for the UK Heats. I have never found a complete bracket for any other portion so far.

They were not, I would argue, the adjustments that were necessary to fix that particular problem. That could have been done with more enemy variety alone, for example, or additional weapons. After the Argent Tower, the only new enemy to appear is the Baron IIRC. Changing the entire combat formula in the way it was done was done because that's what they wanted, not because of external feedback. Whether you think it's good, bad, or something in between, that's for id to own.

It's true and a good point. Sometimes he was a badass. Sometimes he was threatening to crack and go crazy. And sometimes I'd imagine he had to be frightful, because courage isn't the absence of fear, it's the willingness to act despite it. The problem is how a selective attention turned into a feedback loop which eliminated any room for competing interpretations or alternate perspectives from the game's aesthetics and playloop. What were previously spooky or atmospheric moments can no longer fit in because everything must be amped to 11 at all times. It's just an unfortunate set of blinders from my POV.

It'll vary in the eye of the beholder. I just know for me, some areas just gave me the creeps. I still dislike that dark maze area of Halls of the Damned, it creeps me out completely. Also, the baron's roar was something else. That corner in Deimos Lab where you see the baron pic and then there's a baron around the corner comes to mind as intimidating/dreadful. Other parts of that level were also spooky, with the flashing lights at the beginning for example.

They also made these, back in the day:

And the thing is, the originals were never intended as "cartoony." They weren't afraid to use primary colors, or to throw in some sick humor like a rabbit head on a spike being your "pet rabbit Daisy" but absolutely none of it was ever employed in a way meant to make you take the game's world less seriously. There was in fact a quite troubling deliberate effort in the marketing of both 2016 and even more in Eternal to recontextualize the series as "always having been about" the themes present in the new game, rather than those being the innovations of the newer games' creators. This got bad to such an extent that I started adding content to the Doom Wiki to ensure that the erasure of history wasn't being parroted there. In particular, this quote from Kevin Cloud in the ''Doom Survivor's Strategies and Secrets" official guide was quite informative and almost the exact opposite of something that Hugo tried to assert at one point: This was while Hugo was claiming that Doom has always been about the power fantasy and a roid-raging hero who is never afraid of anything. In 1993, Doom was scary as fuck. I know that's impossible for the kids to conceive of these days. People said the same thing about corny old Universal monster films though. People fainted in the theaters back then. Now they look ridiculous to us because our imaginations are blown out from decades of high-fidelity media exposure.

Coincidental in that the Icon of Sin is based on the sabbatical goat, which is also a representation of Baphomet; thus, its shape is due to that of a goat's skull. But then again some occultists think the resemblance of the uterus to such is exemplary of the principle of "as above, so below," which is associated with Baphomet, so, think whatever you will about that I guess! *laughs*

Credit sure, but permission, no. Lobotomy doesn't exist since 1999. In addition, most if not all of id Software's contractual agreements for production of console versions of their games assigned ALL IP rights back to id Software. This is why we were able to do the Doom 64 remaster, and include Quake 64 with the Quake 1 remaster. Otherwise there'd have likely been all kinds of annoying obstacles that would have killed those efforts before they started.

That line is from me, and there is not any actual limit there. It would allocate more than 64 KB if it didn't literally check, "is this going to be 64K?" and error out if it would be. Nothing about the code wouldn't work otherwise. I don't know that Doom itself was ever fully compiled as real mode and that probably deserves clarification, but it's quite likely this code was imported from somewhere (Shadowcaster/Raven Engine???) that was.

I can't say too much about it but I can confirm that NEW.WAD's association with Doom's development resources predates the Mac version and has no relationship to it in particular. At least I know what it is now, that was driving me crazy previously.

"Erase" makes me think of ancient tape drives. Or not so ancient ones because some backup systems still use those.

The prescient part of the movie was its obvious Bill Gates & Microsoft expy possessing the power to reach into literally any system at any time and control the software being run, the data being used, and monitor the communications in progress. Ya know given how they can do any of that stuff now and we just trust them to not abuse it too much.

1. Punch damage is set to 1000, so it is always an instant kill on any unmodded enemy that can be punched. 2. Setup some character somewhere with a dialog sequence that continues to give the player more stamina/accuracy vouchers, and the trainers should accept them since they have dialog states in their conversations already to do so.

Absolutely anything with "superheroes" or comicbook "characters" in it, if it was made after the Nolan Batman movies. Those were the last ones to have any pretense of art versus mass-produced schlock.

Doom Bible. The original plan was for six episodes, and the first three were: Darkside Base (Evil Unleashed / All Hell Breaks Loose), Hell (Lost in Hell / To Hell and Back), Lightside Base (Knee-Deep in the Dead). "Darkside" and "Lightside" refer to the two sides of the tidally locked planet Tei Tenga. In fact the levels are still in this ordering as of the press release version of Doom, with an eventual E3 level occupying an E2 mapslot and vice versa.

Very nice. Only the very beginning felt a little tentative to me but for the rest of it I felt like I could forget it wasn't originally composed for that ensemble.

The billionaires, particularly the ones running the advertising industry, have said "fun time is over". All there is to it really.

Dunning-Kruger effect much?