If you’ve kept up with Doom franchise news over the last few years, you’ve almost certainly heard chatter about andrew hulshult doom the dark ages and what his involvement means for the next entry in the iconic first-person shooter series. Hulshult first made his mark on the franchise with his work on Doom Eternal’s DLC expansions, bringing a heavier, more aggressive take on the series’ signature industrial metal sound that won over nearly every segment of the fanbase. Now that he’s leading audio direction for the dark age-set Doom entry, fans have been speculating nonstop about how he’ll adapt his style to fit the game’s far grittier, less futuristic setting. I’ve spent the last few months digging through every leaked clip, developer interview, and official teaser to break down exactly what we can expect from his work on the title.
How Andrew Hulshult Doom The Dark Ages Work Differs From Past Doom Projects
Most fans know Hulshult for his fast, riff-heavy tracks that pair perfectly with the high-speed, arena-style combat of modern Doom games. But the dark ages setting means he can’t lean on the same industrial synths and futuristic sound design that defined his work on Doom Eternal. In a recent developer interview, he noted that he’s been experimenting with historical period instrumentation including lutes, war horns, and period-appropriate percussion to ground the soundtrack in the game’s medieval setting. Don’t worry, that doesn’t mean he’s ditching the heavy guitar riffs that made his work famous. He’s confirmed that distorted, down-tuned guitar riffs will still be a core part of combat tracks, but they’ll be layered with raw, unpolished period sounds to make the action feel more visceral and tied to the game’s setting. For example, the track that plays during the first gameplay reveal features a low, droning war horn underpinning a classic Doom riff, and it’s easily one of the most memorable pieces of franchise music we’ve heard in years.
Sound Design Choices That Tie Directly to Dark Age Combat
Hulshult isn’t just working on the soundtrack, either. He’s leading all audio design for the game, which means he’s responsible for every sound you hear during gameplay, from the swing of your axe to the roar of a demonic knight. He’s stated multiple times that he wants every audio cue to feel weighty and impactful, so you can feel every hit you land even if you’re playing on a smaller screen without surround sound. That means he’s moved away from the over-the-top, sci-fi sound effects of past Doom games in favor of more raw, realistic sounds that fit the dark age setting. For example, the shotgun in the new game has a deeper, more booming crack than the futuristic shotgun from Doom Eternal, because it’s modeled after early black powder firearms that were used in the late medieval period. This attention to detail is a big part of why fans have such high hopes for his contributions, as he’s always prioritized gameplay feel over flashy, unrealistic sound design. He’s also added subtle environmental audio cues that change based on where you are in the world, so you’ll hear wind whistling through ruined castle halls when you’re exploring, and the roar of distant crowds when you’re fighting in a coliseum-style arena.
- Hand-to-hand combat sounds are recorded using real medieval weapon blanks striking actual armor and wood, so every hit feels authentic
- Demon vocalizations are layered with recordings of real wild animals like bears and wolves, instead of the fully digital effects used in past entries
- Exploration tracks feature no background metal riffs, instead using soft, eerie period instruments to build tension before combat encounters
What Early Playtesters Are Saying About the Audio Experience
A small group of playtesters got access to a 2-hour demo of the game last month, and nearly all of them pointed to Hulshult’s work as one of the standout parts of the experience. One playtest participant, a long-time Doom fan who has run speedruns of every entry in the series dating back to the 1993 original, noted that the audio design makes even standard combat encounters feel epic and high-stakes, even when you’re fighting low-tier demon enemies that wouldn’t feel threatening in past Doom games. He mentioned that he found himself getting far more invested in small skirmishes than he expected, because the audio made every hit feel like it had real weight, instead of feeling like you’re just mowing down generic enemies. Another mentioned that the dynamic soundtrack shifts seamlessly as you build up your glory kill meter, so the music gets heavier and faster the more aggressive you play, which makes it feel like you’re building up to a massive payoff every time you land a chain of kills. Many playtesters even said they’d go back to replay levels just to experience the andrew hulshult doom the dark ages soundtrack all over again, which is a huge win for the development team. The only small criticism that came up repeatedly was that some of the quieter exploration tracks are almost too subtle, so you might not notice them unless you’re playing with headphones on. That’s a small issue, though, and id Software has already confirmed they’re adjusting the mix for the final release to make those tracks a bit more prominent without breaking the immersion. They also noted that players will be able to adjust the music and sound effect levels individually in the settings, so you can tweak the mix to match your preferences regardless of what audio setup you’re using.
How Hulshult’s Work Fits Into the Franchise’s Long-Term Vision
Id Software has stated that they want Doom The Dark Ages to feel like a fresh start for the franchise, while still staying true to the core elements that made the series famous: fast, aggressive combat, over-the-top demon enemies, and a tone that balances grit with campy, over-the-top fun. Hulshult’s work is a big part of that balance, because he’s already proven he understands what makes Doom’s audio feel unique, but he’s not afraid to experiment with new sounds and styles to fit the new setting. The team has also confirmed that they’re working with Hulshult to create custom audio cues for every special ability in the game, so each character build will have its own distinct audio signature that changes how combat feels when you’re playing. That’s a big shift from past Doom games, where audio cues were mostly universal regardless of what build you were running. It also opens the door for more varied gameplay across multiple playthroughs, since you can pick a build that matches the audio style you enjoy most. If you prefer fast, aggressive play, you can pick a berserker build with loud, high-energy audio cues that get louder the more kills you string together. If you prefer slower, more tactical play, you can pick a ranger build with quieter, more precise audio cues that let you hear enemy movements before they spot you. There are even hints that the game will have accessibility options that let you adjust audio cues to make them more noticeable for hard of hearing players, which is a welcome addition that most big-budget shooters skip over.
At the end of the day, there’s a reason fans are so excited about andrew hulshult doom the dark ages involvement. He’s one of the few composers working in games right now who understands how to balance fan expectations with creative risk-taking, and every tease we’ve seen so far suggests his work on this title is going to set a new standard for video game audio design. We don’t have an official release date yet, but every new detail that drops makes the wait feel even more worth it. If you’re a long-time Doom fan, you’re going to want to keep an eye out for more audio previews in the coming months, because they’re easily some of the most exciting parts of the new game.
