00:00Peggy 16
00:27The way that Ninja Theory have reinvented The Legend of Monkey is kind of, for me,
00:33it's quite exciting in that it's using a lot of modern technology, it's set in a post-apocalyptic
00:38world.
00:41We're in Prague right now and we've just come over here just kind of working in Smetski Studios
00:46which is a fantastic studio, it's actually my favourite sounding studio that I've worked
00:50in.
00:56There's a lot to get into because you can get into emotions and you can get into action
01:00and you can get into a lot of sadness and tragedy as well so it's got all of those elements
01:06that you want as a composer to get very dramatic and very full on with orchestration.
01:21It kind of feels like there's a tribal language to it which is still there.
01:26There's a lot of excitement, a lot of danger, a lot of threat, a lot of movement.
01:38Because of what's going on with Monkey you have this sense of movement towards an inevitable
01:43conclusion.
01:46There's a sense of loss, he's lost a great deal but he's a hardened soul.
01:53That's great!
01:54Really good!
01:55I'm impressed actually!
01:57Excellent!
01:57That was very good!
02:05Alright?
02:05Yeah?
02:06How's it sounding?
02:08I want to make sure the priorities one, two, three are okay and solid.
02:13I mean, you know, look, if we end up not doing everything that's kind of accounted for.
02:18I mean, I talked to Tom.
02:19I think for me, you know, I really enjoy the way in which Monkey and Trip travel.
02:24I mean, they just have fantastic movement between them.
02:27It's very flowing and I think it's trying to get that sense of constant flow and momentum
02:32into the music which actually drives a lot of the orchestration as well and the way in
02:37which I'm trying to make the music work.
02:39I suppose to give you a sense that you're constantly infused with energy.
02:44You know, when you're playing the game, it never lets up in terms of that energy and I
02:49think that's what's exciting about it.
02:51It just stays, it just drives all the way through very strongly.
03:07With me, I work very closely with Tom Colvin and we both have a sense of the narrative
03:12of the overall game.
03:14But we pretty much work to the storyline.
03:17We're very used to looking at stuff and thinking, oh, that looks a bit wrong because
03:22of this so, you know, we can be quite analytical and work.
03:25But audio is very much more about the emotional.
03:28And we're not just talking about music.
03:29I mean, every element of audio is involved in pulling your emotions one way or another.
03:34The sound effects are probably the largest job for us in the sound department.
03:39Everything has to be made from the bottom up.
03:41Every leaf moving, every bird, every creature that you see in the background.
03:49To keep things fresh, we use a really great foley artist.
03:54We work with them on Heavenly Sword and again, we developed a really good working relationship
03:58with them.
03:58And they've had a lot of fun, you know, spending a day with lumps of metal and hitting them in
04:05different ways and going to a fairground and recording all the pistons in the machines
04:09and stuff.
04:10They do all of that.
04:10I think the most important thing for us was for it to be visceral and exciting.
04:19Enslaved combat-wise.
04:21Every single time the staff connects with a robot, you really want to feel that connection.
04:28I mean, another thing was just getting under the skin of all the different robot characters.
04:32The Sea Dog, for example.
04:34I think we went through many different trial versions to get that sort of really nice grinding,
04:40threatening sound as he's moving.
04:46Get back inside.
04:50You're gonna have to fight with him.
04:51Destroy.
05:02Put the Amerikaakov on the robot and the enormous bridge to whack the real world withoutvens
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