Ultimately this research is relevant for not only those with a slight interest in games and soundtrack, but also to those within the industry as a success story must be measured in order to be replicated. It especially needs to be measures as its success can be translated to future works that aim to convey a multidimensional score. The in depth study of soundtracks has really only been applied to films for the most part, as video game are a new emerging media further emphasising a need for this kind of work.
However you would be hard press to find someone who plays Doom that does so without the game soundtrack, eliciting it as a key part of the overall experience and encouraging further analysis. But how do we conclude the reasoning for its success beyond its relativity.įirstly if we look at a study conducted at MSc Sound and Music, We see fairly large percentages of players who turn of or replace the games soundtrack especially for shooters which Doom is categorised under. The joke ‘This soundtrack comes with its own full game’ can be found on almost ever video relating to both these titles. The overwhelming positive feedback to these soundtracks elicits an exploration into its construction and reaction. This concept however does not apply to Doom 2016 and Doom Eternal as the score for both these games takes centre stage. There is a common belief currently that soundtracks should offer only wallpaper to the story and gameplay and aren’t meant to take up a majority of the attention.
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