Uploaded December 2025 | Updated September 2026, 1 day ago
The spooky slowburn MIDI. This was another result of multiple false starts. One of the initial snippets ended up becoming the stopper map's midi.
This map, and the MIDI in kind, took a while to really develop into what it "wanted" to be. It's got an unusual pacing for a Doom map, long periods of quiet punctuated by explosive violence, and I think it's tough to craft a MIDI that meshes with both. I think the intro of long and dark passageways almost demands a MIDI that slow builds along with it, but I found that kind of music challenging to write in a game where the music usually doesn't change dynamically with gameplay contexts.
I think the most important component for me was composing more energetic parts that still sat well with the quiet moments of monsterless exploration. They allow the frantic energy of combat to spiral into the unnerving calm where the residuum of your emotions echoes across the expansive landscapes. It also has a very slow wind down to end the song, which does fit a bit awkwardly if it falls in the middle of a battle, but I think there's also kind of a nice sense of irony as well where the song ends but things just keep going, kind of like how the overall WAD feels, so I suppose it works out.
Download Forlorn: doomworld.com/forum/topic/155539-forlorn-rc2-12-cl2-maps-updated-1021
The spooky slowburn MIDI. This was another result of multiple false starts. One of the initial snippets ended up becoming the stopper map's midi.
This map, and the MIDI in kind, took a while to really develop into what it "wanted" to be. It's got an unusual pacing for a Doom map, long periods of quiet punctuated by explosive violence, and I think it's tough to craft a MIDI that meshes with both. I think the intro of long and dark passageways almost demands a MIDI that slow builds along with it, but I found that kind of music challenging to write in a game where the music usually doesn't change dynamically with gameplay contexts.
I think the most important component for me was composing more energetic parts that still sat well with the quiet moments of monsterless exploration. They allow the frantic energy of combat to spiral into the unnerving calm where the residuum of your emotions echoes across the expansive landscapes. It also has a very slow wind down to end the song, which does fit a bit awkwardly if it falls in the middle of a battle, but I think there's also kind of a nice sense of irony as well where the song ends but things just keep going, kind of like how the overall WAD feels, so I suppose it works out.
Download Forlorn: doomworld.com/forum/topic/155539-forlorn-rc2-12-cl2-maps-updated-1021
