00:00Come and play in Hellblade?
00:02Come and play in a different perspective?
00:06Come and play in a different way,
00:11come and play in a different way.
00:12Come and play in a different way.
00:12In the case of Hellblade,
00:13we wanted to take a different approach,
00:15and for music to be part of the creative process
00:18from the very beginning.
00:25I imagine two different styles of music,
00:27one for Seno and one for the Vikings,
00:29perhaps even by different composers,
00:31and I was pretty sure I knew exactly
00:33who could do the Viking side of things.
00:48His music is very aggressive,
00:52tribal, dark,
00:54and contemporary.
00:55And he's from Norway,
00:57which is the land of the Vikings.
00:59While still in the concepting phase of the project,
01:01we got in touch with Andy Le Plague
01:03from CombiChrist, who we've worked with previously
01:05to see if he'd be interested in working on Hellblade.
01:08It was quite interesting.
01:10We set up a Skype meeting,
01:11we were talking about everything,
01:12and it was great to be able to get into the game so early,
01:15so you can set a pace and help
01:17the creative process of the game.
01:20And now I'm here.
01:22Andy was on tour at the time,
01:24and given that he was going to be in London,
01:26Tamim took the opportunity to meet with him
01:27to go through the concept
01:29and to talk music direction.
01:31Initially, they wanted me to do
01:33just the battle scenes,
01:35the Viking side,
01:36but I was more interested in actually
01:39doing everything because
01:40you could make it seamless
01:42and like one soundtrack
01:45for the whole game.
01:46We let Andy explore as much as he wanted
01:49for the first four weeks
01:50without any further direction.
01:52Tamim flew out to Andy's studio
01:53in Atlanta for a few days
01:55to help steer in for the next few weeks.
01:57On the first day, I listened to
01:59everything that Andy had produced
02:01for Hellblade so far,
02:03and it didn't need much more direction for me.
02:07The music was diverse, it was exciting.
02:09A lot of it was unexpected,
02:10but it all seemed to fit in extremely well.
02:13I don't think they really knew what I was going to do,
02:17and I really just wanted to have free hands
02:20to explore on this.
02:22Still one of the most interesting
02:24and hardest things I've done so far,
02:27because you really have to be inventive
02:29and go into areas I've never been before,
02:31which is obviously a great opportunity as an artist.
02:35I wanted Andy to have a very clear picture
02:37of the storyline we had so far,
02:40so the next day I took him through the characters,
02:42the key plot events,
02:44the way I imagined the game would unfold.
02:47We had all the bits and pieces of stories,
02:51and it was really helpful
02:53when I could really place that on,
02:56you know, just on a whiteboard
02:58and really fit the different tracks
03:01into the different areas,
03:04and that way I had a wider view
03:07on what was missing,
03:08what we need more of,
03:10where we can push it even further
03:12and where we can pull it back.
03:14The Viking side of things was to have
03:16a cultish, warlike, tribal feel to it,
03:19and I encouraged Andy to use his knowledge
03:21of the Norwegian language in the Viking songs.
03:24Being Norwegian, I can at least use my language
03:27and try to get more into the Norse
03:30to create that Viking-era feel to it.
03:45To the Viking side of things,
03:47I wanted, or we wanted,
03:49to make it a little alien to Senua,
03:51something that really doesn't fit into her world.
03:57So we've been experimenting with different things,
04:00everything from vocal parts
04:02and different types of metal
04:04and, you know, recording organic sounds.
04:30I think that's where blood of the very dark side of me
04:39came out.
04:43We're using guitar quite a lot,
04:45but it's quite interesting
04:46what you can actually do in an instrument
04:47when you look at an instrument
04:49and you try to figure out how can I use this
04:51and not make it sound like what it's made for.
05:18The Senua side of things was to have a completely different feel to the Viking side.
05:23and I didn't know what to expect from Andy on this front,
05:26but I was more than happy for her to experiment.
05:29I was writing a song for Senua or for Senua's mother.
05:35The first thing that hit me was a nursery rhyme, like a lullaby,
05:40from when I was a kid myself.
05:43My mom would always sing to me, so it's quite surprising.
05:46I haven't really heard that song since I was probably five,
05:49but it came back to me pretty fast when you try to set yourself in that situation.
06:05When I approached Senua's side, I wanted to do a little bit more folky
06:09and more familiar when you think of her character.
06:37To be a part of the creative team and not just be hired to do music is amazing
06:44because you really get to be involved with the whole progress of the game.
06:51And I think that certain things that I do with this can shape the storyline somewhat of the game as
07:02well.
07:03Maybe opening new doors that none of us knew that even was possible.
07:34And you will continue working on Hellblade at key stages of production.
07:38And soon we'll be sharing one of Andy's tracks on hellblade.com.
07:42And soon we'll be sharing one of Andy's tracks on hellblade.com.
Commenti