Here's some pics from my WIP, Antiquity. I'm planning on it being a wad focusing on action-adventure elements with puzzle-solving, breakable vases with goodies inside, new weapon graphics with tweaked behaviors, and an ancient Mesopotamian/Mediterranean theme.
@ChrisJEPlace that phone is adorable!
This would be really cool! I've heard that UDB's developers aren't interested because they don't think there'd be anyone who would want to do this, but I think it'd be an amazing thing to try out.
@Dusk-Iv Thanks! I hadn't mentioned it here, but Antiquity is definitely targeting Doom Retro-specific features, though all of these are aesthetics-only (for now). The wad should work in anything that can run MBF21, but the dream is to make the Doom Retro analogue to Heartland.
Another thread got me thinking about Frequency Modulation Synthesis (or FM Synth) and how much I appreciate that specific sound. If you've ever played an old DOS game or a Sega Genesis game (and I bet many of you here have) then you know exactly what kind of sound I'm talking about: that specific type of synthetic sound that comes from the most primitive of waveforms, tweaked and modulated to make interesting sounds, then put all together to make something that sounds deep and interesting and yet completely detached from what we consider to be "real."
Yamaha, the world's largest manufacturer of musical equipment, is particularly tied deeply into this sound, as their family of sound chips were used very widely across personal computers, arcade game cabinets, video game consoles, and even real "big boy" synths. I'd like to share some of my favorite sounds to come from the family of Yamaha FM Synths with you all.
"Spinner" by Jesper Kyd, from Red Zone, on the Yamaha YM2612 "OPN2" (This song actually got reimagined a couple of times by Kyd over the years; you might recognize this as "Apocalypse" from Hitman: Blood Money.)
Red Zone-Spinner – 05:12
— PsychOut1
"Asteroid Dance 2" by Alexander Brandon, from Tyrian, on the Yamaha YM3812 "OPL2" (The legendary Alex Brandon's first professional gig, and imo it holds up against his most popular work to this day.)
DOS Tyrian: Asteroid Dance 2 - Oscilloscope View – 03:27
— Ostra Diemgi
"Wondering About My Loved Ones" by Bobby Prince, from Wolfenstein 3D, on the Yamaha YM3812 "OPL2" (I love how melancholy and wistful this is, and imo it really does sound best in FM Synth form. I haven't heard a single good cover or "glow-up" of this.)
Wolfenstein 3D - Wondering About My Loved Ones – 01:12
— SpeakerSoundtracks
"Hacking" by Ryu Takami, from EVE: Burst Error, on the Yamaha YM2608 "OPNA" (What a meaty bass riff! Love the Morse code-esque beeping rhythm, and that melody definitely sounds like Ace Attorney's progenitor.)
EVE Burst Error (PC-98) - Hacking – 03:31
— ARCH .5
"Opening" by Ryu Umemoto, from Yu-No: A Girl Who Chants Love At The Bound Of This World, on the Yamaha YM2608 "OPNA" (Umemoto is imo the most criminally slept-on video game composer of all time; all of his work is incredible and nearly all of it remains unheard of in Western ears.)
YU-NO - Opening (YM2608) Oscilloscope View – 02:46
— PC-98 Love
"Intro" by either Tim Ries or Greg LoPiccolo, from System Shock, on the ESS Technology ESS1688 "OPL3 clone" (This particular version isn't rendered on a Yamaha chip but a workalike clone of one. It has its pecularities which up making this song sound even more brutally sharp and electronic.)
System Shock Intro Theme - Floppy Version (HD) – 01:52
— blade
Anyone else in love with this sound? I'd love to hear what you guys have to share!
This looks awesome! I love the highly saturated colors, this feels very video-gamey and arcade-y, which is always fun to have in Doom (a game that normally trades in subtler more earthy tones). I'm taking a break from Doom modding right now but I definitely want to submit something to this.
Some of my favorite WADs:
I haven't played Doom 3 in years but I didn't think the flashlight mechanic was anywhere near as bad as people made it out to be. There's a few situations where you need to juggle flashlight and gun to see anything, but at that point you should be relying on sound cues to gauge where enemies are. Doom 3 (and specifically how it played a lot with light and shadow) is a big influence on my own design projects.
Some of my favorite WADs:
Eviternity's balanced pretty well along both the pistol-start and the continuous-play angles, and I think having the wad split up into small episodes really helps with that
The backpack tends to be relegated to a sometimes thing because having a halved ammo count means that the player must move around more; they can't stockpile ammo and sit behind a door to cheese encounters as easily.
Personally I think the pump-action shotgun doesn't really get the attention it deserves. The super shotgun supercedes it in a lot of wads and its practically a necessity against all the higher-tier, more interesting enemies like mancubi, arachnotrons, etc. However, the pump-action feels particularly nice to use against lower-tier enemies (zombies, imps, lost souls, pinkies, revenants are at the upper limit here); it has a nice rhythm to it especially when you're progressing down a path. The problem is that once you have higher-tier weapons, players will invariably use those weapons against lower-tier enemies. Lining up multikills on imps and zombies with the super shotgun is fun (and in Doom Retro if you hit a zombie or imp at point-blank with the super shotgun they gib), though it's not the same as the simple rhythmic blam-kachk of the pump-action.
@ChrisJEPlace that phone is adorable!
Another thread got me thinking about Frequency Modulation Synthesis (or FM Synth) and how much I appreciate that specific sound. If you've ever played an old DOS game or a Sega Genesis game (and I bet many of you here have) then you know exactly what kind of sound I'm talking about: that specific type of synthetic sound that comes from the most primitive of waveforms, tweaked and modulated to make interesting sounds, then put all together to make something that sounds deep and interesting and yet completely detached from what we consider to be "real."
Yamaha, the world's largest manufacturer of musical equipment, is particularly tied deeply into this sound, as their family of sound chips were used very widely across personal computers, arcade game cabinets, video game consoles, and even real "big boy" synths. I'd like to share some of my favorite sounds to come from the family of Yamaha FM Synths with you all.
"Spinner" by Jesper Kyd, from Red Zone, on the Yamaha YM2612 "OPN2" (This song actually got reimagined a couple of times by Kyd over the years; you might recognize this as "Apocalypse" from Hitman: Blood Money.)
Red Zone-Spinner – 05:12
— PsychOut1
"Asteroid Dance 2" by Alexander Brandon, from Tyrian, on the Yamaha YM3812 "OPL2" (The legendary Alex Brandon's first professional gig, and imo it holds up against his most popular work to this day.)
DOS Tyrian: Asteroid Dance 2 - Oscilloscope View – 03:27
— Ostra Diemgi
"Wondering About My Loved Ones" by Bobby Prince, from Wolfenstein 3D, on the Yamaha YM3812 "OPL2" (I love how melancholy and wistful this is, and imo it really does sound best in FM Synth form. I haven't heard a single good cover or "glow-up" of this.)
Wolfenstein 3D - Wondering About My Loved Ones – 01:12
— SpeakerSoundtracks
"Hacking" by Ryu Takami, from EVE: Burst Error, on the Yamaha YM2608 "OPNA" (What a meaty bass riff! Love the Morse code-esque beeping rhythm, and that melody definitely sounds like Ace Attorney's progenitor.)
EVE Burst Error (PC-98) - Hacking – 03:31
— ARCH .5
"Opening" by Ryu Umemoto, from Yu-No: A Girl Who Chants Love At The Bound Of This World, on the Yamaha YM2608 "OPNA" (Umemoto is imo the most criminally slept-on video game composer of all time; all of his work is incredible and nearly all of it remains unheard of in Western ears.)
YU-NO - Opening (YM2608) Oscilloscope View – 02:46
— PC-98 Love
"Intro" by either Tim Ries or Greg LoPiccolo, from System Shock, on the ESS Technology ESS1688 "OPL3 clone" (This particular version isn't rendered on a Yamaha chip but a workalike clone of one. It has its pecularities which up making this song sound even more brutally sharp and electronic.)
System Shock Intro Theme - Floppy Version (HD) – 01:52
— blade
Anyone else in love with this sound? I'd love to hear what you guys have to share!
way old thread but: That Desire track isn't a MIDI at all. Ryu Umemoto, the composer, did all his PC-98 work using Music Macro Language; basically, its written in a sort of programming language.
This looks awesome! I love the highly saturated colors, this feels very video-gamey and arcade-y, which is always fun to have in Doom (a game that normally trades in subtler more earthy tones). I'm taking a break from Doom modding right now but I definitely want to submit something to this.
I haven't played Doom 3 in years but I didn't think the flashlight mechanic was anywhere near as bad as people made it out to be. There's a few situations where you need to juggle flashlight and gun to see anything, but at that point you should be relying on sound cues to gauge where enemies are. Doom 3 (and specifically how it played a lot with light and shadow) is a big influence on my own design projects.