![]() ![]() I can fix that." Rather than having to rip your drywall ceiling apart. The cool thing is, if there's a problem, you just pull down one tile, look in, and say, "Oh, there's a plumbing issue here. I went with tiled ceilings with this old, almost Victorian-era tile that you put on one at a time. For example, dry wall is a cool substance in a lot of cases, but it creates problems: When you're one person, it's hard to install unless you're a professional and know all the tricks. If I see the house as needing a certain thing, I kind of roll with that.Īnd in some cases, I adapt my thinking. But generally speaking, I try to do kung fu with the wind, rather than against the wind. To try to restore that would have been cost prohibitive to the point of insanity, so I didn't do that. Hodges: It was too expensive to get one of the chimneys that someone had concreted in. So me going back and redoing everything, I have to be very particular to make sure it meets code, yet still feels like it maybe could have back then.Ĭraddock: Have there been any renovation projects where you haven't been able to do that for any reason? What can I get that will blend in them to feel authentic, but still be structurally sound, and meet code?" That's another thing: Some things they did were fine back in the day, but today, with modern electricity. You look at an old home and see how they built something or something. Hodges: I enjoy the puzzle-solving factor. So I said, "I could buy an old house and renovate it myself." I didn't realize how much work it was actually going to be, but hindsight is 20/20.Ĭraddock: Have you found that you enjoy it? Aubrey Hodges. Then you build another home and do the framing. ![]() Life is so weird: You end up building a home, and you help do the electrical work. I decided to do it by hand since I have these trade skills for some reason. It's nice that we're all relatively close to one another. And my other sister is about four hours away. My brother lives about five minutes away. I'm kind of right in the middle.Ĭraddock: My oldest sister is about 20 minutes away. Once I secured some remote jobs, my wife and I decided we should just move back home.Īubrey Hodges: My brother lives in Cincinnati another lives in Indianapolis and my sister lives in Washington, D.C. That's where I build a Rolodex of freelance clients and did interviews for box. Now I don't have to worry about retirement as much.Ĭraddock: Yeah. I got tired of the high cost of living and decided I wanted to retire and build a studio out here, where the cost of living is reasonable. Like, "Who works in games out there?"Ĭraddock: But I guess today, in the world of remote work, there are more people out here than you'd think.Īubrey Hodges: Yeah. People in the industry are always surprised when they find out I'm in Ohio. ![]() Hodges and I talked for over an hour about the creative process, how Doom PSX's and Doom 64's soundscape was something of a happy accident, the credit Taco Bell deserves for making the rogue's gallery of Imps, Pinky demons, and other horrors even more terrifying than they were on the PC in '93, home renovation, and more.ĭavid Craddock: I didn't realize you live in Ohio. Immediately after that project, Midway moved on to Doom 64, which combined larger levels with new visuals and Hodges' soundtrack, slightly modified to take advantage of the Nintendo 64's more robust hardware. Hodges composed brand-new effects and tracks for the port of Doom that came to PlayStation One. As it turned out, however, I and countless other Doom fans came to his work in reverse. By the time you reach Hell, you feel as tortured as the souls of the damned wailing and moaning around you.Īubrey Hodges, one of Midway's composers, wrote the fantastic soundtrack for Doom 64. While still heavy on action, it boasted darker visuals, a richer lighting system, and an eerie soundtrack that starts out low and eerie, and builds dread second by second, level by level. Midway's Doom 64 took Doom in a more horror-focused direction. ![]()
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