Under a final ruling issued today from a court-appointed arbitrator, Bungie must honor its agreements with O’Donnell that gave him the right to hold a considerable share of stock in the company. And the filing contains for the first time a description of the ordeal that O’Donnell went through as he quarreled with Bungie over issues of creative freedom and stock ownership in the company that he cofounded. The court papers reveal a rare, unseen story of the making of Destiny, and the internal struggles that happened between Activision, the publisher, and Bungie, the developer of the game that is now played by millions.
On April 16, 2010, Bungie and Activision Publishing agreed to make a five-part video game franchise dubbed Destiny. The original release date was set for Sept. 24, 2013 (it came out a year later in 2014). O’Donnell composed music for “every application” of the Destiny franchise.
Pete Parsons, chief operating officer of Bungie, asked O’Donnell to create all of the music for the entire Destiny franchise at the same time, rather than writing the themes one at a time for each of the game installments. O’Donnell composed a symphonic suite of eight movements, working with the legendary ex-Beatle Paul McCartney. O’Donnell recorded that music in early 2013. Dubbed the Music of the Spheres, the music will be used throughout the Destiny franchise. At least, that was the plan. O’Donnell also worked with the audio team on sound design, sound effects, and cinematics, among other things.
The court papers say that Activision had little enthusiasm for releasing the Music of the Spheres as a standalone work, and O’Donnell became increasingly frustrated that Bungie was making insufficient effort to release it. During E3 2013 preparations, Bungie was getting ready to demo the game for the first time before a huge audience at the Electronic Entertainment Expo (E3), the biggest U.S. video game show. Activision was going to play the game music with a trailer, but shortly before E3, Activision took over the trailer work and supplied its own music, rather than the Music of the Spheres segments.
The court filings say that O’Donnell believed he was preserving Bungie’s “creative process, artistic integrity, and reputation, keeping faith with fans, and protecting Bungie and its intellectual property from Activision’s encroachment into artistic decisions.” According to O’Donnell’s view, the “Band of Brothers” ethos that had inspired the group’s earlier work was being damaged by the Activision relationship.
While Destiny was planned for a September 2013 release, the story was substantially revised in August 2013. That pushed the release date back to March 2014. O’Donnell returned to work after a vacation, but the audio team and his supervisor did not consider him to be fully engaged in his work. The release date of the game, meanwhile, pushed back to September 2014. Bungie set in motion a process to terminate O’Donnell.
TL;DR- Activision interfered with the creative process, the creative people who were behind Bungie's brilliance left in the middle of the development cycle, the remaining husk tried to salvage everything they could, and released the game in that state.
Oh, and also, O'Donnell won his court case against Bungie and Activision.
SOURCE
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