Tristan

Hell Gate The E2M8 stand-in. I'm assuming we keep all the original IWAD maps alongside these, so it's supposed to have the intensity of a boss map without actually being one. "On the Hunt" feels like a good choice here, it's one of the better Doom 1 tracks imo and matches the tone well enough. Hell Keep Genuinely drawing a blank here. Best solution would be to follow the console port's example and throw out the original E3M1 in favour of this, and the untitled track would probably be fine, but if we don't do that, this map would be either before E3M1 or between E3M1 and E3M2, and it's generally better to avoid repeating a track so soon after its previous use, so... "Suspense" could work, I guess? Twilight Descends This would be E4M9 (with secret maps moved to M11 and M12) and Ultimate Doom never repeats tracks in the same episode but... the selection gets cut down so much in episode 4 that it's not even worth keeping the rule. For this map, "Waltz of the Demons" comes to mind first. The Marshes "Sinister." There's no other track in Doom 1 that would work here. Threshold of Pain In theory this is E4M10, so my choice for this is to put "Demons on the Prey" in this map and give E4M8 a different track ("The Demons from Adrian's Pen" maybe). The other 3 are actually Doom II maps so they would use tracks from there instead. The Mansion "DOOM", for the same reason I picked "Sinister" for The Marshes. It's a dark, suspenseful map, and barring "Opening to Hell" which ideally we'd want to keep exclusive to MAP30, nothing else in the D2 soundtrack comes even close. Club Doom The gimmick is ruined since there's no music changers in vanilla Doom, so fuck it, "Running from Evil." Redemption Denied This map goes somewhere between MAP27 and MAP30, so while "Getting Too Tense" and "Shawn's Got the Shotgun" both feel like good picks, neither are viable, which leaves the door wide-open for "Into Sandy's City" to get its much deserved second outing.

Wow, tell us how you really feel. EDIT: I've already gone over why I think deathz0r would have been better off not posting at all (normally making assumptions and giving opinions when you don't actually know anything about the subject at hand - in this case, the contents of myhouse - is met with ridicule, but not this time I guess), but most of the posts in this threadsplit aren't even aimed directly at him so I don't think this is as much of a dogpile as you're making it out to be, but making out people's annoyance at what he said to be basically nothing more than "thou shalt not criticise myhouse" is.. lame frankly, and even though you've crossed it out, it seems clear to me that this what you actually think. Why include it at all otherwise? Also I've had disagreements with Arctangent in the past but she made a lot of valid points here and you ignored all of that and went straight for an attack of "ofc you're joining the dogpile." Honestly? I expect better from you, doubly so considering you're a moderator.

IMO the problem with deathz0r's post is that it's assuming ill intent on the author's part when he admitted in his first post he has no idea what the contents of the mod actually are and has barely read the thread. He hasn't engaged with this at all, he just jumped straight to "OP is a liar." At worst it reads like a deliberate attempt to start shit, mission accomplished I guess.

Nope. People played this because it takes a cutesy mapping concept as old as Doom itself and completely turns it on its head into a unique experience, with fuckloads of mystery surrounding it to draw in others. I mean look at all the spoiler tags on the first 30 pages of this thread. I wouldn't have bothered downloading this if it wasn't for people talking about it everywhere and the cacowards nomination thread turning into nothing but "+1 MyHouse.pk3." You know what? I find the accusations of the OP lying about everything to be just as disrespectful as some people are making out this WAD's existence to be. Based on what? That the story of the WAD is separate from reality? Maybe there's a reason they didn't want to go into explicit real details?

The named characters are fictional but I'm 90% sure it's a sincere tribute. I mean fuck, I even have a suspicion on who Tom/Anna is. But even if it wasn't, who cares? It absolutely does not "undermine the sincerity" of other tribute maps at all, why would it? If I found out this was all an act, I'm not then going to go back to Eviternity MAP26 and be like "I dunno Xaser, I don't think this is very sincere any more?" Or like, "all of THT: Threnody is now meaningless." wtf?

Since MIDIs count as resources, should (some) MIDI threads in Creative Works be moved here? Might have to be on a case-by-case basis but some of the threads, such as mine, Dunn's, or AD_79's are primarily intended as a repository for people to use rather than "hi I made a midi enjoy," so I feel like they're more suited to this subforum now.

Decoy

I admit that I also misinterpreted your earlier post as being dismissive, but yeah I'm fully with you on this. I love it when Doom WADs throw out the combat and go all out with the atmosphere/exploration aspect and I'm surprised at how popular this WAD has become. I genuinely wonder how much traction this would have gotten if it released 5 or 10 years ago, because as others have said, this is far from the first time that the boundary has been pushed, but I think it's fair to say nothing (that I can think of) has done it quite like myhouse, and nothing generated this much hype and discussion, but I can't help but noticed that WADs like Grove and The Given are seeing a bit of a resurgence in popularity lately. Perhaps we have some certain Doomtubers to thank for that, but it does indicate that maybe there's just a greater interest in the community now for WADs that really deviate from the norms.

I guess the disappointment for me is that I'd hoped that the rabbit-hole really was as deep as we thought it was and it seems that isn't the case(?). All that aside, this is probably the closest I've seen to what I could call my dream doom mod. What this WAD does is something I've wanted to see in Doom for a long time, and probably would have made myself if I were a more proactive modder and actually had a brain! I'm somewhat familiar already with the liminal spaces aesthetic although not super knowlegeable about it. I recognised many of the places present but it didn't detract from the experience. To the author, whoever you may be, and their collaborators: Thank you.

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I guess since we're looking at letters, I had a go at some manual anagram solving yesterday on "thelostrevenenat martyrmax jeresey." These three people are in the credits file but I don't think anyone has ever heard of them? Searching the names turns nothing up on Google other than this thread. If these are also fictional people then the mispellings "revenenat" and "jeresey" probably mean something. I didn't get very far but I tried a few different ideas, results below:

Doom 2 In Name Only was featured in PC Gamer, RPS, Kotaku about a month after its release in 2014. I'm not sure why this WAD in particular was the one to get the media coverage, and frankly I wish it hadn't been, but this was just after the very first teaser for Doom 2016 at that year's E3, so there was a lot of hype around Doom even then.

I think it's a pretty big hint drop when there's already been anagrams cropping up! I used to be a bit of a cringelord and would watch a lot of five nights at freddy's (and stuff like it) theory videos. Before it went completely off the rails I was fascinated by the series' lore, and one of the constant things throughout all of it was that most of the time, if something seems like it could be a coincidence, it probably isn't. Everything going on here is reminding me of those days, trying to piece together the unanswered questions of a game about a fucking robot bear. Or a cutesy visual novel, you get the idea... I haven't read through the entire thread yet but I'm slowly getting engrossed by all this, it's fascinating. If I'd been paying attention from the start, I'd probably be doing the same thing as Not Jabba right now. FWIW having read through the journal I'm on board with the Alfonzo theory. He has mentioned before that he's a writer. Oh one other thing that may also have been mentioned so apologies if so but since the google drive pictures were brought up:

I'm grateful for this thread because I get to talk about a map I loved but pretty much everyone else hates AFAIK. So it'll seem like a strange pick but... My favourite map as a kid was Lunar Mining Project, map23 of TNT Evilution. Hear me out here, it was precisely for this reason that the thread is about. This map gave off a real sense of place that I didn't really pick up on to the same extent in any other map. When I had killed everything in the level, I would often just stay wandering around the long, empty corridors for ages, wondering about the lives of the people who lived and worked at this place, the sleeping quarters along the corridors help hugely in making this feel like a place that was actually lived in. I liked the big open area that you can see from basically everywhere when you're in the base, the large control room through the yellow door, and those small pod things in the middle of said room. The caves were also really fun to explore, albeit a bit scary! The caveat to this is that I grew up with the PlayStation version, and Lunar Mining Project is one of the first examples that come to mind when I say Master Levels and TNT really feel like they were meant for this port, many of the levels that made it to the PSX benefit a lot from the atmosphere shift, more so than most of Doom 1/2 and the small handful of Plutonia maps that were also ported. If you don't particularly like the original map but enjoy levels that emphasise atmosphere, I'd urge you to check this video out: I mean goddamn, just listen to that music. Leaving D_AMPIE with this map on the PC original was a fucking crime. I associate Aubrey Hodges' "Breath of Horror" more with this map than any of the other maps it's used in (for reference, that's Deimos Anomaly, Perfect Hatred, and 'O' of Destruction). If I could have done one more MIDI for the TNT MIDI Pack, I would have liked to have done a track for this level. It's not perfect by any means, but I think it's a very misunderstood map! EDIT: And yeah, it's the Doom 1 Episode 3 sky, which is never actually used for those maps on the PSX version! They all used the famous fire sky instead. This map, and the following map "Quarry" are the only two it appears on, so that also helped with making this level feel truly special.

My guess it that the link breaks because the showthread URLs were for the old forum software, but since the thread id is still there, the working link should be this: https://www.doomworld.com/forum/topic/31570 Unfortunately the thread is hidden now - Community Chest used to have its own subforum so I guess that's where it is...

AI just regurgitates whatever it's been trained on, so no it won't.

Big thoughts on this because I was actually thinking about it recently and for probably obvious reasons it's a topic I'm a little bit passionate about. So, IMO as a general overview you can break the history of the Doom community's music history into 4 eras. This isn't comprehensive by any means so there's plenty more stuff you could add: 1. The OGs (mid 90s) As others have mentioned, the OG community composers were basically the TeamTNT guys, particularly Mark Klem, David "Tolywn" Shaw, and Jeremy Doyle with the the soundtracks to Memento Mori 1&2, Requiem, Icarus, STRAIN, GothicDM... a lot of the WADs best remembered from that period have music from these guys, and a lot of that material still sees regular use in Doom maps today. IMO, this era best defines the basics of Doom music with soundtracks made up of rock and metal as well as sinister more ambient works in the same way that the Doom 1 soundtrack was, but much more refined than the Prince stuff. 2. Dedge (most of the 00s) After the OGs moved on, there's a definite wilderness period where all the popular WADs use IWAD tracks, MIDI covers of music from other games, or stuff from the aforementioned 90s WADs. Original soundtracks were pretty rare in this era. Hell Revealed II is probably the most prominent exception, but only Metabolist's tracks are truly original, Thyrbse's tracks were written in the 90s iirc, and for at least 10 years after HR2 was released, he wasn't even credited for them. Beyond that, there's also pcorf's work on his WADs like 2002ADO, and that's kinda it other than one-offs like The Mucus Flow by B.P.R.D. 3. Resurgence (2008-201x) I'd say this era started with Plutonia 2, three newcomers - James @Jimmy Paddock, Stuart @stewboy Rynn, Jamie Robertson - revived the music scene, and the former two stuck around to make sure it didn't die off again. Thank fuck for Plutonia 2! This is quite a stretched out period in contrast to the previous one, slowly evolving as the music scene grew. In 2010 there was Speed of Doom, featuring more new music from Jimmy and stewboy. By the way this is where we really start to see a stylistic shift. Jimmy is probably the most versatile composer in the community, but I think his best known output, including that of this era continues that rock/metal/sinister ambience norm that was established by the OGs and Doom 1, while also introducing his influences from progressive metal and electronic music, you see this prominently throughout BTSX E1. Early stewboy wasn't as far removed from this norm as he later became, but tracks like "Stars" showed us that Doom music can be quite beautiful/uplifiting too - and as a composer myself, that's something I'm thankful for. Other composers at the start of the resurgence - @esselfortium, although not the most prolific on the MIDI side, her fantastic atmospheric/rock tracks are like the heartbeat of BTSX, 'Waiting' is one of the greatest pieces of music ever composed for this game. Also @PRIMEVAL, who appeared in around 2011 with contributions to the soundtracks of PRCP and Reverie, as well as the later Unholy Realms (2013) and Resurgence (2014). He's moved on to writing non-MIDI tracks for various retro FPS games now, and honestly, that's where he really shines. In early 2013, Jimmy started the Plutonia MIDI Pack project, this is where people like @Bucket, @Lippeth, @Varis Alpha, Ribbiks, and myself started to hit the scene. I know some of them did stuff before this, but for me that project is how I got into writing music in the first place and Jimmy knows how grateful I am for that. In 2014, myself, Varis Alpha and Bucket wrote the soundtrack for TNT: Revilution alongside Myhrgarok, whose tracks never made it to the eventual final release in 2017, as well as returning OG @JDoyle. In 2016, Ancient Aliens with its 100% stewboy soundtrack... oh god. I've always held the belief that you can kinda get away with anything musically when it comes to Doom, there's so much variation in what mappers are making, that to an extent we can just do whatever the fuck we want and it'll probably work. I can't think of any other WAD that best exemplifies this than Ancient Aliens. Its soundtrack is incredible. It's absolutely nothing like what Bobby Prince did, what the OGs did, but it doesn't need to be, nor should it be. It's probably my favourite Doom OST ever and that's not exactly an unpopular opinion. Side note, I never see 'Moonwalk' (MAP14) get any appreciation, understandable given how goddamn good the AA OST as a whole is, but I always felt like that track is quite underrated and this is like the only chance I'll get to mention that so here we are lol Other notable composers from this period: yakfak/zan-zan-zawa veia, Alfonzo, Xaser, Mr. Freeze. 4. jesus christ what is happening (approx. 2018-present day) It's been pretty obvious that the new Doom games breathed a lot of new life into the community. Around the end of the last decade I noticed that there's a lot more composers in the community than there were when even I started, which isn't even that long ago in the grand scheme of things. This was reflected in the wave of new community MIDI packs. For context, in 2013 there was the previously mentioned Plutonia pack, then Revolution! in 2016, Rebirth started in 2017 (finished '19). This was followed by the Raven pack for Heretic in 2020 and then... Ultimate Doom, Doom II, TNT, Master Levels, No Rest for the Living in 2021 alone. Yeah no big deal, just the community dropping like 100+ new MIDIs in a year. Kudos to @continuum.mid, @Doomkid, @Peter and @Cammy for spearheading these. Alright ngl it's 6am and I'm tired so I'm stopping this post here. If for some reason someone wants me to talk about anything else on this topic or explain further, I'll gladly do so! One last thing, I want to give a special mention to @Joshy and @valkiriforce. I'm not sure they've ever gotten any credit for this but I believe these two, as well as the musicians, helped a lot in developing the new PWAD music scene during the early 2010s. PRCP, Speed of Doom, Doom Core, Reverie, Resurgence, Akeldama... all of these WADs contain mostly original music, and in a time where that really wasn't the norm.

Eternal is in the season 3 trailer (0:06) so I guess it'll be covered soon

Basic music changes are possible in modern Boom-compatible ports through the use of MUSINFO lumps. An example of this is at the very start of Ancient Aliens, where the ambience from the start area is replaced by the MIDI music track after you smoke the pipe and the map properly begins. On the GZDoom side, this is even easier as the same thing can be achieved SetMusic scripts, seen in projects like Elementalism, which (shameless plug) the last level of each episode has separate music tracks for the boss fights and the rest of the level. In the Earth boss fight, the boss track itself is divided into two sections in-game to line up with the main fight and the final phase. Generally, outside of GZDoom, maps with multiple music tracks have always been kinda rare but I feel like it's become more commonplace in the last few years (1) (2) (3) (wtf). A more advanced thing, and maybe what you're describing, would be adaptive music - where music responds to specific events, like this, but I don't think a proper implementation of this is possible even in GZDoom, which is a shame because I'd like to make stuff like this.

now approaching 11 years, that number has grown to something like 9 maps (3 collabs) and apparently 57 MIDIs not counting covers/remixes, so on average that's 0.82 maps and 5.18 MIDIs per year. idk man it's not much better

I've nothing against trackers, but I've never had any interest in making them, it's a middle ground between MIDI and full audio that I'm honestly just not bothered about! To answer the thread question, the latter - MP3s would probably sound weird in something like Memento Mori, MIDIs would sound ridiculous in Elementalism, it really depends on what the WAD needs from a general feel/aesthetic point of view. PSX Doom showed that full audio can work on the IWAD levels, but the maps themselves are modified to feel a lot more atmospheric regardless of music with the darker, coloured lighting, reverbs, and so on. If you slapped PSX music on top of the original PC maps, the effect wouldn't work nearly as well.

I was leading this before cannonball, so it probably would have released in 2015 and sucked! @cannonball fwiw I still think I made the right decision handing over to you, don't be too hard on yourself <3

NEW DOBU!

Well, a not insignificant number of people complained that Eviternity becomes too slaughtery in its last chapter (fwiw I don't agree, and I'm not big on slaughter), 3 out of those 5 maps have less than 500 monsters. MAP27 doesn't even have 300. It's a completely meaningless stat considering you could just have an encounter with 5000 zombiemen, but I can't shake the idea that once you go above 300-400 monsters, people will start rolling their eyes before even playing a second of the map because of some baseless assumption that's been made from what the extended HUD shows. Maybe I'm wrong about this though, I'd like to be!