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  • 7_Banner2019.jpg?_cb=1575336776

  • Espi Award - For lifetime achievement


    6_espi.png?_cb=1544228975James "@Jimmy" Paddock


    “…Id Software for this great game, CodeImp for Doom Builder, and Jimmy for the MIDIs” – every textfile ever


    When your name appears in the credits for droves of PWADs year after year, do you really need an introduction? How about this, then: Plutonia 2, Speed of Doom, Reverie, Back to Saturn X, Community Chest 4, Forsaken Overlook, Hellbound, Monster Hunter Ltd., Resurgence, Valiant, Skulldash, Nova 2, Mutiny, Demonastery, Doom 404, Mayhem 2018, Eviternity, Sigil. That’s a partial (VERY partial) list of Doom creations that have relied on Jimmy’s music.



    During the 1990s, there were a small but prolific handful of Doom composers—notably Tom Mustaine, Jeremy Doyle, David “Tolwyn” Shaw, and Mark Klem—whose music fueled all of the major projects. It’s hard to overstate how important a good soundtrack is for any video game; it’s an essential component of the “gamefeel,” and a huge part of what people remember after they’ve finished playing. And once Klem and the rest moved on from the Doom community, they left an emptiness in their wake. A handful of original tracks cropped up throughout the 2000s, including the soundtracks for Vile Flesh and Equinox—both of which were composed by the mapper, who just happened to be multitalented. But for the most part, the period from 1999 to 2008 was a musical dead zone; if you wanted a soundtrack, you were just going to have to rip it in bits and pieces from Ultimate Doom, Evilution, Rise of the Triad, Duke Nukem 3D, and whatever else was lying around.


    Then in 2008, Jimmy popped up practically out of nowhere with a thread full of cool MIDI tracks that were available for anyone to use. It was a godsend. Within a few months, the Plutonia 2 team had tapped him to write music for the megawad (along with fellow newcomer Stewboy and a handful of other people), for which he composed the lion’s share of the tracks. The rest is history.


    Jimmy’s work gained popularity gradually over the next few years, beginning with music in the two Claustrophobia 1024 megawads. He hit full throttle in 2010 and 2011 with his compositions for Speed of Doom, Jenesis, and Reverie, and by the time BTSX rolled around, he and Stewboy were already the go-to composers for an entire new wave of Doom music. As of 2019, Jimmy is without a doubt the most prolific Doom composer ever, with nearly 600 tracks to his name. My personal favorite is still "Voyage" from Jenesis, but you could pick out dozens of outstanding, widely beloved tracks from his oeuvre: the iconic “Astral Dreadnought” and “Become the Hunted,” the sinister “Baron’s Province” and “Sunset Over Babylon,” the moody “Fallen Sun,” the more mature and complex “Weather Warning” and “Escape Velocity,” the 44-minute rock epic “The Godhood Suite,” and plenty more.


    Jimmy’s music takes its inspiration from a variety of sources, including electronic rock, prog rock, and classic action-oriented console game soundtracks, and it’s a pretty far cry from the sort of grungy, simple hard rock that people associated with Doom in the 1990s. For years, he had to put up with crap from people who tried to claim that his music was “not Doom.” By the mid-2010s, those complaints had been steamrolled by all the people elbowing each other to get Jimmy’s music in their megawads. And as if we needed any final validation, it surely came this year when John Romero contacted him and asked to use a selection of his tracks in Sigil. It can’t get any more official than that. Jimmy’s music is Doom. For his musical contributions alone, Jimmy is a load-bearing pillar of the Doom community. For that alone, he would be more than deserving of the most prestigious award we've got.


    So let’s talk about everything else he’s done.




    Jimmy has won three Cacowards for his mapping, one for the modern-classic megawad Jenesis and two as the project leader and one of the primary mappers for The Adventures of Square, a game that has set a new gold standard for total conversions and helped to define the ethos of many subsequent GZDoom projects. This is to say nothing of the maps he’s contributed to various other major releases, from the second ZDoom Community Map Project to 50 Shades of Graytall to Eviternity. He created A Boy and His Barrel, a fun-loving dramedy that invented a completely new gameplay type, all in the name of protecting the goo-filled barrel of your dreams. Last year he stunned everyone by creating a three-episode Ultimate Doom megawad called Deathless in a total of nine days, a feat that could only be pulled off successfully by a total madman with a ton of experience. Then this year, he followed it up with a really neat experimental Heretic-meets-Hexen speed episode called Faithless.


    Jimmy’s a bit of a polyglot, and music and level design are not, in fact, the extent of his talents. He’s created at least two texture packs, Jimmy-tex and Zoon-tex, and plenty of other stray contributions to Doomworld’s main texture jam thread (which he started). Although Jimmy has made the move to taking paid commissions for his music in the last year—quite justifiably, after all he’s already done for us—his texture work, like most of his music, has been given freely in the spirit of “here, have some cool stuff I made.” And in a nutshell, that’s the great thing about Jimmy. He has always approached Doom as a community, contributing constantly and with boundless enthusiasm, offering every part of his considerable talents so that other people can ride on his shoulders. He gave us Jimmy’s Jukebox, which offers an enormous on-demand music selection for anyone who wants to switch up the soundtrack of their favorite megawad. He spearheaded music composition community projects to create soundtracks for Plutonia, Revolution!, and The Rebirth, three great classic megawads that lacked custom music. But perhaps the most Jimmy thing he’s ever done was to create The Joy of Mapping, a workshop series geared toward helping new mappers understand the basics of whatever map format they choose and discover the fun of Doom as an art medium.




    Every Espi recipient has left an indelible impression on the Doom community, but of all the people we’ve awarded, Jimmy’s impression might be the most personal. He’s just always been there for people. He’s absurdly skilled at practically everything, but he’s also a fantastic person who’s made sure those skills have benefitted others whenever possible.


    We as a community wouldn’t be the same without him.


    - @Not Jabba

  • 2019 Cacowards


    Espi Award for Lifetime Achievement

    • James "Jimmy" Paddock


    Top Ten - Page 1

    • Eviternity
    • Verdant Citadel
    • Paradise


    Top Ten - Page 2

    • Hell-Forged
    • Finely Crafted Fetish Film
    • Hocus Pocus Doom
    • Shotgun Symphony


    Top Ten - Page 3

    • Lost Civilization
    • Remnant
    • The Wayfarer


    Runner-Up Spotlight

    • Sigil
    • Doom 3: Phobos


    Multiplayer Awards

    • 32in24-17
    • NeonDM


    Gameplay Mod Awards

    • Doom 4 Vanilla
    • Lt. Typhon


    Other Awards

    • Mordeth Award
      • Sonic Robo Blast 2
    • Spaceship of Theseus
      • Hedon
    • Codeaward
      • Doom Neural Upscale 2X
    • Machaward
      • Mikoportals
    • Creator of the Year
      • Ola "ukiro" Björling


    This July, Tim Willits stunned the faithful by announcing that he was leaving id Software after 24 years. This was noteworthy in part because Willits was one of only two "old school" id employees remaining at the company (well, three if you count id mom Donna Jackson). Although Willits wasn't present for the original halcyon days of Doom and Doom 2, he did join in time for Ultimate Doom, the Master Levels, and obviously, Quake and beyond. His departure leaves Kevin Cloud as the last man standing.


    Willits joined id in 1995 through a vaguely confusing series of events that involved working at Rogue Entertainment, who rented a suite down the hall from id Software in the infamous Black Cube, on the FPS-RPG "Strife", which was produced by id Software. Originally Willits seems to have been a hired hand to help a distressed project over the finish line, but as Masters of Doom put it, "he overachieved as best he could" and soon got hired at id full time. This impressed your 17 year old humble webmaster enough to list Willits at #10 on his list of the ten best mappers of all time (as of 1998).


    Willits's classic-Doom community output was over by this point. The bulk of his output was in the Raven series, co-authored by his sister, Theresa Chasar; Chasar also apparently co-created E4M5: They Will Repent in The Ultimate Doom, which has led Doomers over the years to wonder how much credit she ought to be receiving for his early output. (Chasar also appears as a named character in the Tim Willits-designed Doom 3, where her head is torn off within 10 seconds, so there's that.)


    In the years following, Willits was a company guy, doing press as needed but otherwise keeping a pretty low profile. One of the few exceptions was on the rare occasion that Willits raised the ire of the old id guys, most notably back in 2017 when Willits claimed to have invented the idea of dedicated deathmatch maps, leading to a shower of boos from John Romero, American McGee, John Carmack, and Tom Hall.


    Those sorts of comments didn't do much to help the general impression that Willits had strayed from his roots as a designer - he had long been the studio director at id Software since the not terribly well received RAGE, which he headed up as creative director; few on the outside seemed to know how much, if any, design work he was doing anymore on projects he headed up like Quake Champions. The news that he'll be joining the C-suite at Saber Interactive as "Chief Creative Officer" suggests his trajectory towards being more of a suit is well under way (and not the Goldy Gopher kind).