Aaron Freed’s Creative Portfolio

(Writing, Games, Music, Programming, & More)

Contents

1. Contents
2. A No-Longer-Brief Introductory Note
3. Selected Bibliography
   1. Books
      1. On Moonlight: a film analysis, autobiography, & holistic societal critique
      2. Musical Modes and the Circle of Fifths
   2. Neurodivergence
      1. On Will Moore’s Suicide: A Collective Murder by Indifference
      2. Unspoken Barriers: Neurodivergent Communication
   3. Music
      1. Introductory Music Theory
      2. Music Reviews
   4. Miscellany
      1. English Is a Germanic-Romance Language
      2. The Most Helpful Creative Advice I’ve Ever Received
4. Ludography
   1. Major Credits (Published)
      1. Eternal X
      2. Tempus Irae Redux
      3. Apotheosis X
      4. Dungeons Presents Hellpak: Vol. 1 – Not Recommended by Doctors
   2. Major Credits (Unpublished/Incomplete)
      1. Where Monsters Are in Dreams
      2. Marathon Chronicles
      3. Dungeons Presents Hellpak: Vol. 2 – An Exercise in Questionable Taste
   3. Other Credits (Published)
      1. Trojan Standalone Edition
      2. Marathon Phoenix SE
      3. Marathon Rubicon X
5. Selected Discography
   1. General Overviews
      1. Iānuāriō Aprīlem MMXXV
      2. Selected Works, 2023–2024
      3. Selected Works, 2014–2023
   2. Selected Solo Works
      1. Τὸν ὦνον πᾰ́ντων καί τὴν ἀξῐ́ᾱν οὐδένων (Tòn ônon pắntōn kaí tḕn axĭ́ān oudénōn)
      2. Κᾰτηγορῐκή ᾰ̓πολογῐ́ᾱ (Kătēgorĭkḗ ăpologĭ́ā)
      3. Mūsica ex tempore malōrum
      4. Compositions 2023–2024
      5. See You Starside: The Marathon Soundtrack Reimagined
      6. Demos 2014
      7. Compositions 1993–1997
      8. Marathon Remixes (1997)
   3. Selected Collaborations
      1. Eternal X 1.3 OST
      2. Dungeons Presents Hellpak: Vol. 2 – An Exercise in Questionable Taste OST
6. Other Marathon Projects
   1. VAF
   2. @MarathonVidmaster YouTube channel
   3. Aleph One Mapmaking Guide
   4. Marathon Remixes & Fan Soundtracks
   5. Remastered Pathways into Darkness & Marathon Trilogy Sounds
   6. Aleph Bet

A No-Longer-Brief Introductory Note

This is a selected (and far from exhaustive) portfolio of my creative work, either with others or solo. By and large, most of what I’ve collected here falls into one of four categories:

1. Nonfiction writing
2. Game mods and game modding guides
3. Original music compositions
4. Computer programs

Music and neurodivergence are the two main subjects of my writing. In fact, I’ve arguably written books on them:

1. On Moonlight far outgrew its initial scope; its main topic is arguably neurodivergence
2. Musical Modes and the Circle of Fifths is a lengthy treatise on music theory and the mathematics thereof

But I’m known to write about any other subject that catches my attention as well, including philosophy, ethics, psychology, political science, linguistics, statistics, and Latin and ancient Greek.

Major parts of this portfolio relate to Bungie’s Marathon trilogy, a series I’ve been modding for since 1997. Much also relates to sound in some way, as:

• I’m classically trained in music performance, composition, & arrangement
• I’ve also gained sound production expertise from thousands of hours using computers for tasks like:
  • composing music
  • working on sound for game mods
  • remastering music for my own personal listening
  • editing videos

Most of this content requires the open-source Aleph One engine to play; a basic familiarity with the Marathon trilogy will also help. (For those unfamiliar with it, the Marathon trilogy, released from 1994 to 1996, was one of Bungie’s big series before Halo; I tell people that it was roughly the Doom (1993) to Halo’s Quake, down to the parallel of being one of Bungie’s big series before Halo.) Aleph One enables you to play the Marathon trilogy on Windows, Linux, and modern MacOS; here are links to self-contained releases of the trilogy and to a standalone version of the Aleph One app that enables you to play third-party content.

I’m probably one of the most prolific modders in Marathon’s history, with credits in five major published mods ranging from “remastered the music” (Phoenix) to “co-led the scenario & contributed to every aspect of its development” (Eternal). I’ve remastered the Marathon trilogy’s 400 sounds and hundreds of sounds from Pathways into Darkness & several major Marathon mods. Some of these were in especially rough shape (especially Pathways’) & improved miraculously, while others already sounded pretty good & experienced only minor improvements. I also have an ongoing project to locate the CD-quality sources of Marathon sounds & remix them from their sources.

I’m also the leader of a project that’s become Aleph One’s third main texturing utility, which I’ve renamed to VAF. I also have beginners’ and advanced Marathon mapmaking guides, a Marathon Vidmaster’s Challenge YouTube channel, a Marathon music repository, & a catalog of links to Marathon content (currently part of the beginners’ mapmaking guide, though I’m planning to split it off to its own page soon). You may also be interested in:

• ‘Personal Projects 101’, including a YouTube channel trailer & my favorite gameplay footage & music videos
• My discography page, featuring free downloads of:
  • Nearly all music I’ve released as a musician, composer, or arranger
  • Several albums I’ve mastered or remastered
• My commentary on my most recent music albums:
  • Compositions 2023-2024
  • Mūsica ex tempore malōrum
  • Κᾰτηγορῐκή ᾰ̓πολογῐ́ᾱ
  • Τὸν ὦνον πᾰ́ντων καί τὴν ἀξῐ́ᾱν οὐδένων
  And anthologies:
  • Selected Works 2023-2024
  • Iānuāriō Aprīlem MMXXV

Please contact me if you have any questions/praise/constructive criticism/job offers.

N.B. I listed the dates when I worked on a project, not its entire development cycle (e.g., I remastered Phoenix’s music in 2020, but it’s been in development since no later than 2010). Partly this is because the latter didn’t seem as relevant for the purposes of this list, & partly it’s because I didn’t always know those dates. Also, “major credits” means that I consider my roles on those releases to have been major – I intend no commentary on which of those releases are more significant.

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Selected Bibliography

Books

On Moonlight: a film analysis, autobiography, & holistic societal critique ⟨aaronfreed.github.io/moonlight.html⟩

(2017, 2025, ≈75,000 words)

Topics: film criticism, autobiography, neurodivergence, philosophy, ethics, political science, media analysis, historiography, psychology, mental illness, statistics

• Began life as an analysis of Moonlight (2017) after it won the 89th Academy Award for Best Picture (one of its producers was one of my high school classmates)
• For the next six weeks, I forgot to stop writing, and my analysis accidentally turned into a book
  • Explaining why I found Moonlight so powerful (despite the superficial dissimilarity of its protagonists’ lives from mine) required also telling my life story and analyzing the flaws I perceived in society
• I consider it flawed in some ways, e.g.:
  • A lot of my analysis of Moonlight depends on sociopolitical critiques that are eight years out of date
  • I focus too much on political divisions within society and too little on how they arose
  • I try to be as charitable as possible, but I’m sure some of what I’ve written will make your blood boil if you’re of an extremely right-wing persuasion, which is not my intention – we’re divided enough as it is
    • As I note in a section I heavily expanded in 2025, while I’m not primarily conservative, I nonetheless find conservatism valuable and even essential in that, at its best, it challenges advocates of change to prove their proposals are well thought out and likely to improve society; nonetheless, I also argue that while countless American politicians call themselves conservative, few at the national level actually are in any meaningful sense, and that this is a major reason we’ve become so divided
  • I doubt I can extricate the autobiography and film analysis cleanly from the societal critique (which, in a sense, is part of the autobiography – I earned a bachelor of arts in political science in 2008)
• I resumed editing it in 2025 because, for reasons I explain in a newly written epilogue, I think enough of it can do enough good for people that it’s worth publishing despite its flaws
• A 2025 afterword discusses events in my life and globally since 2017, the dissociative disorder that helped me understand human perception’s subjectivity, why I’m less optimistic and feel I have fewer useful answers than I used to, and why the Japanese concept of mono no aware brings me solace in times like these
• I still plan several additions, including sections on:
  • Moonlight’s impact on cinema and pop culture, with case studies of the Spider-Verse films and Nimona
  • The Ancient Egyptian concept of balance, justice, order, truth, and ethics (spoiler: ‘concept’ isn’t pluralized because they were a single concept), and why the law should live up to their standards
  • How the unity of opposites, enantiodromia, and the Jungian shadow relate to mental health
  • Why the ancient Greek metaphor for time (the future crept up from behind them, the past receded into the distance) made vastly more sense than ours
• Includes an “idiolexicon” (idiolectic lexicon) of my own definitions of important, frequently used, unfamiliar, or widely misunderstood terms; I argue authors should make a habit of this to prevent misunderstandings

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Musical Modes and the Circle of Fifths ⟨aaronfreed.github.io/musicalmodes.html⟩

(2024-2025, ≈46,000 words, with a ≈34,000-word appendix)

Topics: music theory, music history, geometry, mathematical analysis, ancient Greece, Pythagoreans

• A lengthy, highly technical examination of the mathematical underpinnings of musical harmony
• Explores the diatonic major scale’s modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) in exhaustive detail
  • Features detailed mathematical analysis of their relationship to each other and to the circle of fifths (a musical concept inextricably linked to chords and key signatures)
  • Identifies several mathematical principles that make the major scale uniquely harmonically pleasing among seven-note scales in our tuning system
  • Explains why each of the major scale’s seven modes can be transformed into two other modes by moving the right notes by a half-step, why this is a unique property among seven-note scales in our tuning system, and why this is linked to the principles underpinning its pleasing tonality
• Examines numerous other scales, including the pentatonic scale, harmonic minor, melodic minor, the whole-tone scale, the chromatic scale, and Southern India’s carnatic numbered mēḷakartā
• Explains French composer Oliver Messiaen’s concept of modes of limited transposition (scales that have fewer modes than they have notes) and explores some mathematical reasons why they happen
• Covers in great detail the ancient Greek scales after which several of our modes are named, including historical context, translated excerpts of Greek musical writings, and thorough technical analysis. Key points:
  • Any reference to ancient Greek music theory is necessarily an oversimplification, since “ancient Greece” can refer to spans of up to thousands of years, and the Greeks had several very different tuning systems
  • The major scale, in almost its exact current form, has been widely used for at least twenty-five centuries
  • Medieval Europeans reshuffled the modes’ names because they didn’t know Greek scales went in descending order, eventually resulting in the following changes:

    Ancient	Modern
    Lydian	Ionian
    Phrygian	Dorian
    Dorian	Phrygian
    Hypolydian	Lydian
    Hypophrygian	Mixolydian
    Hypodorian	Aeolian
    Mixolydian	Locrian

    Ancient	Lydian	Phrygian	Dorian	Hypolydian	Hypophrygian	Hypodorian	Mixolydian
    Modern	Ionian	Dorian	Phrygian	Lydian	Mixolydian	Aeolian	Locrian

• Appendix: All Scales in Twelve-Tone Equal Temperament ⟨aaronfreed.github.io/12tetscales.html⟩ (≈34,000 words)
  • All 2,048 modes of all 205 scales in 12-tone equal temperament, the main tuning system used in modern Western music. I’ve put this on its own page due to its sheer length, but counting it as part of the book raises its overall word count to ≈80,000

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Neurodivergence

On Will Moore’s Suicide: A Collective Murder by Indifference ⟨aaronfreed.github.io/willmoore.html⟩

A furious response to an autistic political science professor’s suicide, excerpted from On Moonlight (see above), a book I wrote in 2017. Content warning: suicide, mistreatment of marginalized groups

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Unspoken Barriers: Neurodivergent Communication ⟨aaronfreed.github.io/unspokenbarriers.html⟩

Outline for a speech I gave at Selby Public Library in Sarasota, FL, on 2025-04-26 concerning the double empathy problem, the reason neurodivergent people and neurotypical people have trouble communicating and empathizing with each other (and the reason the latter frequently don’t realize it). As of 2025-08-27, it includes a glossary of important terms (defined in my own words) to assist readers with recollection

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Music

Introductory Music Theory

What Is Time? – An Introduction to Rhythm ⟨aaronfreed.github.io/whatistime.html⟩

• First in a planned series meant to make music theory accessible to all, regardless of musical background
• Introduces rhythmic notation, time signatures, and several other concepts relating to rhythm, going roughly in order from basic to advanced
• The advanced concepts probably will eventually be split off onto their own page
• I’m currently working on an introduction to basic harmony as a follow-up to this page

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Basic Musical Harmony – An Introduction to Pitches, Scales, and Chords ⟨aaronfreed.github.io/basicmusicalharmony.html⟩

• Second in a planned series meant to make music theory accessible to all, regardless of musical background
• Builds on the previous page’s “Basic Rhythmic Concepts”
• Covers pitch, pitch notation, scales, chords, accidentals, key signatures, harmony, dissonance, scales, modes, and more
• Aims for a logical order wherein concepts build on previous concepts
• Still very much a work in progress; a few sections still need to be written, and the order is not set in stone

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Music Reviews

Lengthy reviews (over a thousand words word each) of some of my favorite albums or anthologies that I originally wrote for websites like Rate Your Music; I’ve collected them here as the beginning of an effort to collect all my best long-form writing in one place. Currently hosted here:

• Ashenspire’s Hostile Architecture⟨aaronfreed.github.io/reviews/hostilearchitecture.html⟩ (≈2,550 words, with an additional ≈300-word intro)
• Deathspell Omega’s collected 2004-2012 output⟨aaronfreed.github.io/reviews/deathspellomega.html⟩ (≈3,500 words, with an additional ≈500-word intro and ≈1,500-word appendix on the band’s use of Latin and Greek)
• Altar of Plagues’ Teethed Glory and Injury⟨aaronfreed.github.io/reviews/teethedgloryandinjury.html⟩ (≈1,800 words, with an additional ≈150-word intro)
• Chris Christodoulou’s “The Raindrop That Fell to the Sky” (Risk of Rain 2, 2020)⟨aaronfreed.github.io/reviews/theraindropthatfelltothesky.html⟩ (≈1,600 words)

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Miscellany

English Is a Germanic-Romance Language ⟨aaronfreed.github.io/germanic-romance.html⟩

My hot take on linguistics: Old English is effectively a foreign language, while Middle English is simply an archaic dialect of Modern English. English changed vastly more between 1000 CE and 1400 CE than it did from 1400 CE to the present day. After the Norman Conquest, the French influence on English transformed it into an unrecognizably different language that we still speak today. English should therefore be classified not as a Germanic language, but as Germanic-Romance. I back this up with excerpts of Beowulf and The Canterbury Tales and exhaustive lists of English words that are derived from either Latin or Greek; I also show readers that they know more Greek than they probably think they do and contend that, for this reason, the idiom “it’s all Greek to me” should use a different language. (WIP, may still be amended or expanded)

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The Most Helpful Creative Advice I’ve Ever Received ⟨aaronfreed.github.io/creativeadvice.html⟩

“When I was seventeen years old, George Lucas gave me the most helpful creative advice I’ve ever received.” I recount that advice here (as well as I can remember it some twenty-five years later), analyze why it’s valuable, and adapt it to other artistic media.

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Ludography

Major Credits (Published)

Eternal X (2018–)

Website: eternal.bungie.org

Reviews: simplici7y.com/items/eternal-x

Gameplay videos: YouTube playlist

1.3 OST (WIP, meant for music players): FLAC (sometimes upmastered) (download or stream)

1.3 in-game FLAC (WIP, meant for in-game use): FLAC (sometimes upmastered) (download or stream)

1.2 Soundtrack: FLAC (upmastered) (download or stream) • YouTube (stream) • Ogg Vorbis (download)

• One of the Marathon trilogy’s biggest, best-known, & most acclaimed third-party scenarios
• Codirector (alongside Forrest Cameranesi) since version 1.2.1; have been de facto project leader since 2020
• Additional credits include music, sound design, level design, writing, Lua scripting, & graphics
• Personally mixed, remixed, or remastered every sound effect in the game in iZotope RX
• I’ve been heavily involved in the soundtrack’s production since 1.2 & its arrangements throughout 1.3:
  • I remastered 1.2’s OST to compensate for digital clipping & lossy compression artifacts, employing iZotope RX’s declipper to compensate for the former & a process I’ve taken to calling “upmastering” for the latter: create pitch-shifted duplicates of lower frequencies by an octave or more; high pass the duplicates; make further EQ adjustments as needed; mix-paste the results. This works surprisingly well because many, though admittedly by no means all, sounds have even harmonic resonance, wherein a 440 Hz note (A4) resonates at 880 Hz (A5), 1,760 Hz (A6), 3,520 Hz (A7), etc.
  • 1.3 OST is over seven hours long & contains unique music for every level
  • I pieced together multiple composers’ arrangements into suites averaging over eight minutes per level
  • OST contains over eighty minutes of my arrangements & over two hours of collaborations with others
  • I remastered Dr Craig Hardgrove’s tracks again after he released higher-quality versions in 2024; here are my standalone remasters of these releases. Many of these remasters are featured in 1.3’s OST; I remixed others in Logic Pro from his GarageBand source files
  • There are two different FLAC versions of 1.3’s soundtrack, one meant for in-game use and the other meant for listening outside the game; I explain the differences on my Marathon soundtracks page
• The 1.3 previews are perfectly playable from start to finish, but Eternal is still under active development. We released preview 6 on 2023-03-07 (with a hotfix on 2023-03-29) and hope to finish version 1.3 in late 2024
• I’ve speedrun Eternal on Total Carnage. My PB is just under two hours & fifteen minutes, which I believe is technically the world record, but I doubt anyone else has ever even run it on TC. Nonetheless, speedrunning it has helped me identify several annoying design elements that have since been removed

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Tempus Irae Redux (2020–2025)

Website: nardo.bungie.org/tir

Gameplay videos: YouTube playlist

• Reimagining of one of Marathon Infinity’s first & best major scenarios, with which I assisted one of its original creators, James Hastings-Trew (the winner of Bungie’s mapmaking contest)
• Contributed remastered/remixed sounds, level design (including a new secret level, “Il grande silenzio”), some (mostly) original music, soundtrack mastering, Lua, writing, & fixes to innumerable problems ranging from game-breaking bugs to misaligned textures
• Not a straight remaster but more of a modern update; as it significantly changes several levels, players may find it interesting to play both
• Redux isn’t planned to supersede the original Tempus Irae, which is still available on Nardo’s website; however, we recommend Redux for anyone playing Tempus for the first time
• After a stress-related breakdown in January 2025, I felt it necessary to curtail or entirely cease my involvement with multiple Marathon projects. Unfortunately, this included many of my plans for Tempus Irae Redux
• It was finally released on 2025-03-16 to widespread acclaim, and I’m proud of the work I contributed to it

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Apotheosis X (2020–2023)

Download: moddb.com/mods/apotheosis-x

Reviews & Screenshots: simplici7y.com/items/apotheosis-x-5

Gameplay videos: YouTube playlist

• Wrote most of the scenario’s Lua (and all in version 1.1) – as far as I can tell, it was the first major Marathon scenario to use any form of dynamic music
• My remastered Marathon Infinity sounds formed the backbone of Apotheosis X’s sound design
• Worked with project director hypersleep on remastering weapon sounds for the current 1.1 release. The new sounds have been widely regarded as a significant improvement
• Featured in PC Gamer (pcgamer.com/marathon-mod-apotheosis-x)
• Further updates have not been ruled out but are not currently under active development

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Dungeons Presents Hellpak: Vol. 1 – Not Recommended by Doctors (2020–2024)

Download: simplici7y.com/items/dungeons-hellpak-vol-1-not-recommended-by-doctors

Gameplay & music videos: YouTube playlist (including soundtrack video & complete playthrough by thechunks)

The soundtrack in FLAC (with hi-res track artwork)

• Mastered soundtrack: fixed audio flaws, edited tracks for pacing, helped with sequencing, made OST video
• Wrote all the project’s Lua
• Maintained the master scenario directory for the latter part of its development cycle
• Partly or solely responsible for five levels, several terminals, the scenario documentation, & AI art prompts
• Also did the vast majority of bug fixes
  • Due to the project’s difficulty, we had trouble finding testers, so we missed a lot of bugs (necessitating several bug fix releases)
  • (Hopefully) final bug fix release, v42069.4, was released on 2024-06-24
• This is an iteration of creator tbcr’s long-running Dungeons show, hence its full title

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Major Credits (Unpublished/Incomplete)

Where Monsters Are in Dreams (2019–2025)

Website: bighouse.bungie.org/wmaid

Gameplay videos: YouTube playlist

• Was codirector alongside Blayne Scott, thedoc, CryoS, & hypersleep
• Other credits include Lua, sound, music, level design, & story
• Initially an Eternal sequel & Rubicon prequel (those connections somewhat lessened over time)
• Development began ca. 2001; had been completely overhauled several times
• YouTube videos are already years old – many graphics & levels seen in them have since been replaced (we’ve embargoed new footage until we’re almost ready to release the game)
• In late 2023, CryoS, hypersleep, & I recommitted to finally finishing this monster (pun intended) & developed a detailed, step-by-step roadmap to do so
• I am no longer involved with this project at all and can no longer provide speculation on its release date

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Marathon Chronicles (1997–?)

Gameplay videos: YouTube playlist

Download: Latest public build (from 2020-04-10) ⟨aaronfreed.github.io/marathonchronicles2020.html⟩

• Scenario I’ve been developing off & on since eighth grade (currently “off”)
• I’m the project director & have worked on maps, sounds, music, graphics, writing, scripting, & more
• Love letter to the trilogy & several major fan scenarios, including hopefully dead-on Tempus Irae pastiches
• Chronicles is planned to be a sort of grand finale to a loose arc between the fan games Rubicon, Eternal, Phoenix, & Where Monsters Are in Dreams (listed in original release order rather than in-universe chronology), & to wrap up several unresolved plot elements of Eternal & Rubicon. Some of its goals include:
  • Resolving Hathor’s story
  • Addressing some ramifications of Rubicon’s story
  • Resolving the conflict revealed towards the end of Eternal
• Despite its having technically been in development for nearly two-thirds of my life, Chronicles may still well be less than half complete
• I plan for its second half to be fairly atypical Marathon gameplay: dozens of interconnected levels with nonlinear objectives & items that players will be able to obtain in nearly order & will allow them several different ways to progress, enabling several possible solutions to its objectives. None of this is implemented yet, though, & progress on Chronicles will be very slow at best for the immediate future
• Much of the 2020 build is far below my current capabilities (some of it is over two decades old) & likely to be entirely remade as time permits
• I’ve linked an older build because more recent ones incorporate Tempus Irae Redux assets that I had no desire to release ahead of Redux itself, out of respect for James’ phenomenal efforts on them. Now that it’s out, I’m preparing a current build
• I currently have no idea if I’ll ever resume work on it

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Dungeons Presents Hellpak: Vol. 2 – An Exercise in Questionable Taste (2023–?)

Discord server: discord.gg/DTMvjFqtTA

Soundtrack (WIP): FLAC (download or stream) ⟨aaronfreed.github.io/hellpakvol2ost.html⟩

• Again doing level design, Lua, soundtrack mastering/video, writing, & scenario documentation
• Have also composed original tracks for the OST & remixed tracks by other musicians
• Level submissions for Vol. 2 are closed, but it’s not too early to begin work on levels or ideas for Vol. 3
• We’ll welcome most sorts of contributions from anyone, but we don’t need more people to send us music: more than seven hours of music have been submitted for Vol. 2 – i.e., more than enough for both Vol. 2 & Vol. 3, while giving us a pretty good head start on Vol. 4
• Estimated completion date: late 2024 or 2025
• Gameplay & music preview: youtu.be/lebTkbIkt5I
  • I created this video’s first music track, (“7:6:5:4”, named for its polyrhythms), its first five levels (“Sega Genesis featuring Peter Gabriel”, “Spinning Wheel”, “StairWAVE to Aaron”, “Gateway to Aaron”, “GateWAVE to Aaron”), & the ridiculous Lua scripts most of them use
  • Includes music tracks from each composer; the others, in order, are by Matrix_XV, tbcr, CKT1138, & NEFX
  • Levels & music seen here may not necessarily appear in this form in the final release, as neither the level order nor the music to accompany each level have been finalized yet
• hellpak has, thus far, not been a significant enough source of stress for me to cease involvement with altogether, but I don’t know when I’ll resume work on it

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Other Credits (Published)

Trojan Standalone Edition (2021–2022)

Download: hhas01.itch.io/trojan-se

Soundtrack: FLAC (download or stream) ⟨aaronfreed.github.io/trojanost.html⟩ • YouTube (stream) ⟨youtu.be/bKQnv8zg8rk⟩

• Standalone re-release of one of Marathon 1’s biggest total conversions with some added/revised content
• Remastered all the game’s sounds & music
• Several sounds remain quite rough, which was likely unavoidable unless I outright replaced them (which was outside the scope of what we aimed to do), but they’re noticeable improvements over the originals
• The music doesn’t sound noticeably different than it originally did, as it was already very dynamic
• The only formal credit I originally received for this was a “thanks”, but this is likely to be changed in a subsequent update, if it hasn’t already

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Marathon Phoenix SE (2020)

Download: moddb.com/mods/marathon-phoenix/downloads/marathon-phoenix-1-4-1

Reviews & screenshots: simplici7y.com/items/marathon-phoenix-2

Soundtrack: FLAC (download or stream) ⟨aaronfreed.github.io/music/phoenix1.4ost.html⟩ • YouTube (stream) ⟨youtu.be/KczNQR_K5Qc⟩

• Remastered the soundtrack in iZotope RX ⟨izotope.com/en/products/rx.html⟩ to improve its dynamic range
• Increased overall DR by three decibels from DR9 to DR12, per foobar2000’s ⟨foobar2000.org⟩ TT Dynamic Range Meter ⟨foobar2000.org/components/view/foo_dr_meter⟩ plugin. These tracks recovered the most DR:
  1. Seven decibels: “Chronological” (DR4 to DR11)
  2. Six decibels: “Animosity” (DR4 to DR10), “Misuse” (DR6 to DR12), “Ice Flow” (DR6 to DR12)
  3. Five decibels: “Temptation” (DR5 to DR10), “Cataklyst” (DR7 to DR12), “TGIBX Theme” (DR9 to DR14)
• I’ve formatted the DR logs as tables ⟨aaronfreed.github.io/phoenixdrlogs.html⟩ to improve their legibility
• My remaster of the title theme isn’t included with the game (it already had relatively decent dynamic range to begin with, but my remaster does have an additional five decibels of range)
• The FLAC soundtrack may differ in minute ways from the in-game versions

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Marathon Rubicon X (2022)

Website: marathonrubicon.com

• Since 2024-04-25, Rubicon X has integrated scripts from a plugin I made in 2022 ⟨simplici7y.com/rubicon-x-bloom-monster-fix⟩ to make its bloom (which was added to Aleph One after Rubicon X was released) less extreme
• I wasn’t credited for this, but I don’t really mind, since it’s a pretty minor change; I doubt it even took me a half hour to implement

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Selected Discography

Complete Discography: aaronfreed.github.io/discography.html ⟨aaronfreed.github.io/discography.html⟩

General Overviews

Iānuāriō Aprīlem MMXXV

Webpage: aaronfreed.github.io/ianuarioaprilemmmxxv.html

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/ianuarioaprilemmmxxv.html⟩

• Five tracks from January-April 2025, running for seventy-eight minutes
• My favorite tracks (CD 2 of Mūsica ex tempore malōrum and Κᾰτηγορῐκή ᾰ̓πολογῐ́ᾱ)
• The complete credits, lyrics, and track-by-track commentary are online

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Selected Works, 2023–2024

Webpage: aaronfreed.github.io/selectedworks2023-2024.html

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/selectedworks2023-2024.html⟩

• Fifteen of my favorite pieces from 2023–2024
• Compiled after I realized I’d written three and a half hours of music just in the latter half of 2024
• Distills over ten hours of music into just over two and a half hours
• Some tracks are solo; others are collaborations with other artists
• Some compositions are original; others are arrangements or remixes of others’ music
• The complete credits are online; at some point, I’ll probably write commentary for each track

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Selected Works, 2014–2023

“1-CD” version: FLAC (download or stream) ⟨aaronfreed.github.io/music/selectedworks1disc.html⟩

2-CD version: FLAC (download or stream) ⟨aaronfreed.github.io/music/selectedworks2discs.html⟩

• Having released (by some measures) over five hours of music just in 2023, I compiled several favorite tracks from the past decade
• “1-CD” version runs for 86 minutes and features eight tracks
  • Originally fit on one audio CD until I expanded “Flippant” & “Fat Man” & updated this collection
  • I considered yeeting a track to fit it onto one CD again, but I grew attached to its present state
• With the collection clearly no longer fitting onto one CD, I got cheeky enough to compile a proper 2-CD version with fifteen tracks (a few pieced together from multiple sources) that run for nearly 155 minutes
• Both versions include:
  • Original compositions
  • Covers
  • Remixes of others’ music
  • Solo tracks
  • Collaborations with other artists
• “1-CD” release includes liner notes with detailed credits & track-by-track commentary (which remain works in progress for the 2-CD release)

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Selected Solo Works

Τὸν ὦνον πᾰ́ντων καί τὴν ἀξῐ́ᾱν οὐδένων (Tòn ônon pắntōn kaí tḕn axĭ́ān oudénōn)

Webpage: aaronfreed.github.io/tonononpanton.html

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/tonononpanton.html⟩

• The title is Attic Greek for “The Price of Everything and the Value of Nothing”, part of Oscar Wilde’s definition of a cynic. Due to the irony of the Ancient Greek Cynics being nothing like the moder colloquial use of the term, translating his quote to Ancient Greek amused me.
• This is my newest (read: least finished) material to date. I recommend that listeners new to my material start with the collections above, then go to Compositions 2023-2024 and work forward chronologically from there. By the time you absorb all that material, these songs will hopefully be more developed
• Includes complete track-by-track commentary ⟨aaronfreed.github.io/tonononpanton.html⟩

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Κᾰτηγορῐκή ᾰ̓πολογῐ́ᾱ (Kătēgorĭkḗ ăpologĭ́ā)

Webpage: aaronfreed.github.io/kategorikeapologia.html

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/kategorikeapologia.html⟩

• The title is Attic Greek and intentionally has multiple possible translations, including but hardly limited to:
  • Accusatory Apologia
  • Categorical Apology
  The Greek words κᾰτηγορῐ́ᾱ and ᾰ̓πολογῐ́ᾱ are antonyms
• This is my most recent (read: least finished) album as of this writing, and it includes bonus tracks from its two predecessors, making it by necessity a hodgepdoge. I do not recommend that listeners new to my music start with it, but I am pleased with how it is shaping up
• Includes credits and commentary ⟨aaronfreed.github.io/kategorikeapologia.html⟩

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Mūsica ex tempore malōrum

Webpage: aaronfreed.github.io/musicaextemporemalorum.html

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/musicaextemporemalorum.html⟩

• The title is Latin and intentionally has multiple possible translations, including:
  • Music from a Time of Disasters
  • Music from After the Opportunity of the Disasters
• Most of this material is more recent than Compositions 2023-2024
  • This is therefore more of a mixed bag: some of these songs are, by necessity, less finished, but some of them also rank among my favorites I’ve written to date
• Includes songs I made for Tempus Irae Redux, Eternal, & Endless Sky and songs I just wrote for the heck of it
• Also includes complete track-by-track commentary ⟨aaronfreed.github.io/musicaextemporemalorum.html⟩

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Compositions 2023-2024

Webpage: aaronfreed.github.io/compositions2023-2024notes.html

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/compositions2023-2024.html⟩

• Some of my recent game compositions. It features over two and a half hours of (mostly) original compositions written for hellpak Vol. 2 (1-2) & Tempus Irae Redux (3-15), though only some were ultimately used
• Also features detailed track-by-track commentary ⟨aaronfreed.github.io/compositions2023-2024notes.html⟩
• This album is itself bound to be subjected to revisions
• «Καταιβᾰτή ἕλῐξ» is based on four works by Chris Christodoulou, with his gracious permission. Besides that, I wrote everything except for several brief interpolations
• Also features two related bonus tracks that didn’t fit within the album’s format

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See You Starside: The Marathon Soundtrack Reimagined (released February 4, 2023)

Listen: FLAC & Ogg Vorbis (download or stream) ⟨aaronfreed.github.io/music/seeyoustarside.html⟩ • YouTube (stream) ⟨youtu.be/bRiDh4PziWU⟩

• Completely new arrangements that nearly double the OST’s length from 40:16 to 78:17
• Several melodies & riffs now reappear in several other tracks
• Nearly every song contains new original melodies, most of which I wrote for See You Starside
• Deliberately retro arrangement/production, with intricate, densely layered mixes that retain their dynamic range (album Dynamic Range Meter score of DR13, with track scores from DR11 to DR16)
• Main influences: ’70s progressive rock, ’80s pop, ’90s VGM
• Secondary influences: blues, jazz, metal, classical, Baroque, choral music, ambient, post-rock, kosmische musik, electronica, disco
• Download includes 16-page liner notes with album & track commentary, track metadata, artwork, & credits
• I made See You Starside entirely in GarageBand & almost exclusively used GarageBand instruments; one of my goals was to show that it isn’t necessary to spend a fortune to make music that sounds good
• I’ve since made several variants, including the following two that I’m no longer editing:
  • Violins Again: An Orchestral Marathon Soundtrack ⟨aaronfreed.github.io/music/violinsagain.html⟩ (re-voiced with orchestral & ethnic instruments)
  • …And Beyond: The Marathon Future Symphonic Mixes ⟨aaronfreed.github.io/music/andbeyond.html⟩ (See You Starside blended with Violins Again)
  These mostly employ GarageBand & Logic instruments, though “Aliens Again” & “Chomber” make limited use of EastWest ComposerCloud+ instruments
• I’m now making new versions of all three of these (i.e., See You Starside, Violins Again, & …And Beyond) in Logic Pro, using both Logic & ComposerCloud+ instruments. Relatively current revisions of some of these may be heard here ⟨aaronfreed.github.io/music/seeyoustarsidemk2.html⟩; however, note that many have major instrument balance flaws that I haven’t yet fixed. Part of why I exported them was to identify changes I need to make, since many of my projects have gotten so complex that even my M2 MacBook Air can’t play them in real time. I plan to do draft mixes of all sixteen tracks before I fix the instrument balance – repeated listening will reveal flaws I otherwise might not notice

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Demos 2014 (released November 24, 2014)

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/demos2014.html⟩

• Competent piano demos of original material & Genesis, Nobuo Uematsu, & Johann Pachelbel covers
• All songs, including the covers, feature at least some improvisation
• Last two tracks were somewhat successful attempts to learn jazz scales

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Compositions 1993–1997 (released 2008)

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/compositions1993-1997.html⟩

• These are juvenilia, but I remain fond of them (I omitted the exceptions, hence the missing Untitled tracks)
• I rearranged some segments in 2008, but most are as I arranged them in 1993–1997
• The most conspicuous influences I can identify are Johann Sebastian Bach & Pink Floyd, though I don’t think I consciously modeled most of its compositions after any particular artist’s style

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Marathon Remixes (1997)

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/marathon1997.html⟩ • YouTube (stream) ⟨youtu.be/qVecMMHALOI⟩

• Much less sophisticated than See You Starside: imported into MIDI editor, added reverb & panning, doubled up some tracks, reassigned voices, re-exported, saved as AIFF in QuickTime 2.5
• Still interesting at times – “Splash (Marathon)”’s main riff sounds especially cool due to how it alternates between stereo channels

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Selected Collaborations

Eternal X 1.3 Original Soundtrack (WIP)

by Trey J. Anderson, Aaron Freed, Dr Craig Hardgrove, Thomas Livingston, Cory King Tucker, Matrix_XV, Nicholas Singer, Solar-Tron, Eike Steffen, Dan Storm, Talashar, & wowbobwow

based on compositions by Alexander Seropian, Martin O’Donnell, Michael Salvatori, & Chris Christodoulou

Stand-alone mixes (for media players): FLAC (sometimes upmastered) (download or stream) ⟨aaronfreed.github.io/music/eternal1.3ost.html⟩

In-game mixes (for Aleph One): FLAC (sometimes upmastered) (download or stream) ⟨aaronfreed.github.io/music/eternal1.3ingame.html⟩

• Soundtrack for Eternal X 1.3, listed above
• Expands soundtrack from around 75 minutes to over 7 hours of in-game music (with another half-hour of bonus tracks)
• Every level now contains unique music
• Over 80 minutes of the OST are entirely or largely my work; around two hours more are my collaborations with other artists
• “Ecce homō corpulentus” (“Behold the Fat Man”) & “Dona eis pietātem” (“Grant Them Mercy”) contain four-part harmonies with Latin lyrics that I wrote myself (apart from eight words from “Dies Īrae” in the former)
• I arranged the songs into suites, selected each level’s music, mastered the OST, & wrote up the liner notes
• Remains a work in progress, but it contains many of the works I’m proudest of
• Standalone mixes of my collaborations with other artists ⟨aaronfreed.github.io/music/collaborationsandcovers.html⟩ are also available for those who want them (a few of these aren’t yet worked into the soundtrack)

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Dungeons Presents Hellpak: Vol. 2 – An Exercise in Questionable Taste OST (WIP)

by Aaron Freed, Matrix_XV, NEFX, tbcr, & Cory King Tucker

Listen: FLAC (download or stream) ⟨aaronfreed.github.io/music/hellpakvol2ost.html⟩

• Soundtrack for hellpak vol. 2, listed above
• I’ve contributed original compositions, including:
  • an eleven-minute pastiche of several different Nobuo Uematsu tracks (“Not Actually FFIV”)
  • an unapologetic knockoff of Hiroki Kikuta’s “Pure Night” (Sānctum sānctōrum”)
  • a ten-minute experiment in head-spinning polyrhythms (“7:6:5:4”, named after said polyrhythms)
• I’ve also contributed an arrangement of Johann Sebastian Bach & remixed several other composers’ tracks
• I’ve done what might be considered “pre-mastering” & compiled several suites (“Impshanuh”, “Digitality”, “It’s All Been Said and Done”)
• This doesn’t yet contain any semblance of a coherent running order, but it contains some of the strongest work several of these composers have made, in my admittedly biased opinion
• Our composers have been ridiculously prolific: there are 130 tracks & over seven hours of music here
• Thus, much of it undoubtedly won’t actually appear on Vol. 2’s OST; some may not even appear on Vol. 3’s

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Other Marathon Projects

VAF (2023–)

GitHub: github.com/aaronfreed/vaf

Simplici7y: simplici7y.com/items/vasara-2

• Lua texturing utility for Aleph One, based on @Hopper262 ⟨github.com/Hopper262⟩ and Ares Ex Machina’s Vasara ⟨simplici7y.com/items/vasara⟩ (which in turn is based on @treellama ⟨github.com/treellama⟩ and @jonirons’ ⟨github.com/jonirons⟩ Visual Mode.lua ⟨github.com/treellama/visualmode⟩)
• At the time I began work on this project, neither Vasara nor Visual Mode.lua had been substantially updated since 2016 (though Visual Mode.lua is now being updated again)
• Aleph One 1.7’s new texture transfer modes incited me to undertake a serious effort to improve texturing, with a little help from @SolraBizna ⟨github.com/SolraBizna⟩ and @murbruksprodukt ⟨github.com/murbruksprodukt⟩
• Several new features and bug fixes, documented in detail in the project repository. Highlights include, but are certainly not limited to:
  • Much more versatile and finely honed grid settings that provide mapmakers much greater control over texture alignment, including:
    • Separate X and Y alignment
    • Align textures to the center, left, right, bottom, north, south, east, or west
    • Over a dozen new grid sizes
  • Overlays that identify the player’s target, which mapmakers can use to speed up their own scripting or to identify problems
  • Aleph One 1.7’s six new transfer modes
  • Option to edit transparent sides of the same line independently, allowing them to be lit, aligned, or textured differently, or even for a transparent texture to be applied to only one side of a line
  • Fixes a persistent & highly annoying Lua error that could occur when lights 56 or greater were selected
  • Preserves “Must Be Explored” polygons while active (so you won’t have to restore them after texturing)
  • Fixes alignment for most textures placed on previously empty lines (transparent sides still, in certain cases, don’t align correctly, but no other texturing utilities align them correctly either)
• Still a work in progress; several other planned features are not yet fully (or at all) implemented, and several persistent bugs remain in the code

@MarathonVidmaster YouTube channel (2018–)

youtube.com/@MarathonVidmaster

• Planned to encode the entire contents of Hamish Sinclair & Jim Mitchell’s Marathon Vidmasters’ Page
• Never finished – plan to re-encode old films in 60 frames per second at 16:9 aspect ratio with treellama’s Basic HUD
• I also post films of third-party scenarios, new Vidmaster films, scenario previews, & game soundtracks

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Aleph One Mapmaking Guide (2023–)

Beginners’ guide: aaronfreed.github.io/mapmaking101.html

Advanced guide: aaronfreed.github.io/mapmaking.html

• No one had made a mapmaking guide in roughly a decade, so I wrote an admittedly opinionated guide detailing many mapmaking pitfalls & providing some solutions
• Features include, but are by no means limited to:
  • Weland setup guide
  • Weland, Visual Mode.lua, Vasara, VAF, and ShapeFusion tips
  • List of known sound sources
  • Annotated Anvil help balloons
  • Detailed notes on map complexity
  • How to simplify maps without negative repercussions on sound or appearance
  • Links to other Marathon content, both mapmaking-related & otherwise
• Still a work in progress; is in the process of being split off into multiple pages, & I’m working on several additional sections

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Marathon Remixes & Fan Soundtracks (2023–)

aaronfreed.github.io/soundtracks.html

• A supplement to Dr Craig Hardgrove’s page (themarathonmusic.com), which he hadn’t updated in years
  • Ultimately, he wound up also linking to my page to avoid having two pages that largely duplicated each other’s content
• I may eventually add incomplete sets of remixes that I find especially noteworthy, but these are currently limited to complete projects, with exceptions for Eternal 1.3 (owing to its massive length), my Logic Pro WIPs (since they’re updates of released albums), & Tobacco & Cannibal Whore Feast’s remixes (since together they make a complete set, & it’s unlikely either artist will make any new ones)

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Remastered Pathways into Darkness & Marathon Trilogy Sounds (2020)

Pathways into Darkness: simplici7y.com/items/aleph-one-pathways-into-darkness-remastered-sounds

Marathon 1: simplici7y.com/items/marathon-1-remastered-sounds-2

Marathon 2 & Infinity: simplici7y.com/items/remastered-sounds-for-marathon-infinity

• Remastered to correct, as well as I could in 2020, flaws like digital clipping, hum, crackle, 8-bit dither noise, & low sample rates
  • Most of these flaws cannot be corrected perfectly, but can be mitigated
  • I left audio flaws with obvious artistic purposes (e.g., the VacBob sounds’ distortion & thin presence, which make them sound like they’ve been transmitted over a cheap radio) largely or entirely intact
• Aleph One: Pathways into Darkness’ sounds improved the most dramatically, having begun in the roughest shape: they had 11 kHz sample rates, tons of 8-bit noise, & (in some cases) terrible hum
• Marathon 1’s sounds, which had 22 kHz sample rates & plenty of 8-bit noise, also improved dramatically
• I took a certain amount of artistic license in “upmastering” sounds to compensate for low sample rates, which may take some getting used to (several sounds have vastly more treble as a result)
  • My ideal solution would be to keep the 44.1 kHz sample rate & provide a low pass option for those who dislike the upmastering, but this currently isn’t an option in Aleph One
  • The Marathon Infinity sounds’ readme describes my upmastering process; I’ve also written a guide to remastering music and sounds⟨aaronfreed.github.io/⟩remastering.html describing my process in detail
• I intend to upload remixed Marathon Infinity sounds once I locate all the sources
• I’m using remix & remaster much as they’re used in music production:
  • Remastering is modifying a finished master
  • Remixing is returning to unmixed instrument tracks to make a completely new mix
  • Remixes, no matter how faithful (e.g., Steven Wilson’s), are distinct from remasters
  • Thus, applying this principle to game sounds means that:
    • My remasters modify sounds that shipped with the games
    • My remixes return to the source samples & recreate Bungie’s changes from scratch, except:
      • Stereo being converted to mono
      • 44.1 kHz sample rates being downsampled
      • 16-bit depth being reduced to 8-bit
      • Digital clipping
• Aleph One doesn’t handle stereo samples very elegantly because it doesn’t rotate sound sources; 3D sound and HRTF (the latter of which should only be used with headphones) convert all samples to mo­no. I still left my remixes in stereo in case sound rotation is ever added to Aleph One or any fork thereof

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Aleph Bet (2024–?)

GitHub: github.com/Aleph-Bet-Marathon/alephbet

• Fork of Aleph One with added features (but without Steam achievements, which depend on a license from Bungie that, at present, is exclusively granted to Aleph One’s developers)
• Solra Bizna, Nemo, Prism019, & I have done the bulk of the work on this, with occasional help from others
• Still in early development stages; plans for initial 0.9 release include:
  • A simplified build system based on Meson, with benefits including:
    • unifying the build process across Linux, MacOS, & Windows
    • removing untold amounts of clutter (good riddance, Boost) & vastly speeding up the build process
    • making error checking in applications such as Visual Studio Code work correctly (or at all)
    This is already largely done (although as of 2024-08-03, it is not yet in the “main” branch); Prism & Solra handled most of it
  • In-game editing of some settings, saving players the tedium of switching between the preferences & the game to get the mouse settings exactly right
    • Ideally, this will ultimately also include sound & possibly certain graphics settings
    • Certain settings (e.g., environment settings) will never be editable in-game – what would switching map files mid-game even look like?
  • Yeet film exports into an external ffmpeg binary, vastly reducing the amount of time needed to build the app & allowing for hardware acceleration of encoding, YUV444 output, & more
  • Second Music System, a vastly more sophisticated music scripting extension by Solra & Nemo that allows for conditional scripting based on what position of a music track is currently playing, down to the exact frame
• We also have a detailed roadmap for the addition of numerous other features, including but not limited to:
  • Support for Unicode & modern localization
  • Hierarchical/unified preferences, saving players the need to customize input settings for every scenario they play
  • Scenario-specific preferences, saving scenarios the need to use cumbersome in-game menus for optional features (e.g., “auto-save at level transition”, “show secrets collected”), & saving players the need to customize them every time they start a new game
  • Ability to run multiple solo Lua scripts or netscripts at once
  • Non-number-based indexing, allowing, e.g., multiple shapes patches to affect the same collection
  • Arbitrary texture scaling & rotation (note: arbitrary rotation will only be possible for floors & ceilings, although flipping walls or rotating them by multiples of 90° may be possible)
  • Support for Lua versions other than 5.2
  • Rotation of stereo sound samples to match their in-world positions
  • Major asset loading improvements:
    • Preserve assets in memory that are reused on the next level
    • Vastly more efficient loading (& memory management)
      • As an example, currently, if several walls use the same parallax map, the game reloads the asset for every wall that calls it and stores it in a different place in memory each time
      • Instead, the game should only load it once (if it isn’t already in memory from the previous level) and should use a pointer for all subsequent occurrences
    • Create a list of assets to be loaded & employ multithreaded asset loading to do so
  • Modern desync detection & recovery for network games
  • Over the longer term, a complete code cleanup, which may involve some Aleph One additions being outright rewritten or reimplemented from scratch
• Spent a long time on hold because of Solra’s extreme health issues, but new recruits to the project (and/or my own vastly improved programming ability) may yet breathe new life into it

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