00:08Composing for a game is very different from working with linear media like films and so
00:13because you can sit and compose a 50 second sequence that's you know works musically but
00:19it has to react to the player actions. Because there's so strong thematics that we cover in
00:25this game it was so obvious that like we needed to use all audio as a vehicle to kind of
00:32like
00:32create an emotional connection with the player. Because without it you basically are just wandering
00:38alone in a space where nothing is really touching you from the inside the detail that goes into these
00:50games nowadays it's just crazy like our resonance system so let's say there's this like glass surfaces
00:57and like every single time you use your skills they kind of like rattle and even even that they
01:02like the wooden table that's right next to you is going to have some sort of stress sounds because
01:07of the kinetic power being used very close proximity to these items and it's details like that that
01:14create the whole experience one of the single most difficult aspects of the game was definitely
01:25trying to kind of like capture the core essence of the invisible threat that we have in this game
01:34called HES. You don't know what it is you can relate to it it's kind of belongs to the physical
01:40world we
01:40already know but at the same time it's kind of distorted in some ways it can be an environmental
01:45effect it can be part of the gameplay loop it can be part of the narrative exposition there's some
01:52some kind of a sense of danger going on all the time that infiltrates so many areas of audio in
02:00this
02:00game including music actually one of my earliest thoughts was to represent this by somehow distorting
02:07the tuning of the sounds or the harmonic overtones or whatnot
02:16the main difference between our past games and this games was just a kind of like thematical change
02:23in terms of collaboration let's just create this like massive production library that everyone can
02:30be used yeah of course we have like access to the same server so we could always listen to each
02:36other stuff and get inspired you have basically the whole entire universe of control you know in
02:43the tip of your hands knowing what you have done I've used that as a basis of what I have
02:48done in a
02:49way everything's a remix of a remix so like all of our audio content that was meant to be used
02:55in combat
02:55stuff or environments ended up in composers hands and all of their music content once was then again
03:02put into our library and we could further process and use it I worked on the master enemy and I
03:08stole
03:09some of your material and twisted it and yeah stuff like that shouldn't have said that I'm going to have
03:16my revenge that kind of collaboration yielded like this very very nice rich universe for control
03:30the guys here at remedy is kind of creating a system that composes the music this system seemed
03:37to work very well with the music system which is also alternative in this game it's like your
03:47composition gets decomposed and then a recomposed by the game you are basically offering a huge bag
03:55of Legos yeah it sort of disassembles and assembles we could create this like seamless mesh of sound
04:04that could be transformed from one emotion to another fluently so you're not hearing any repetition
04:18you're hearing something that's constantly renewing and it's actually it's very interesting because it's
04:25you're doing it with the sounds you have provided mm-hmm and there is a DNA of yours that's being
04:34altered by the machine
04:41everything's super smooth and we're like super proud of it you don't see into active music taking to that extreme
04:49I'm having all my hand and neck here standing up because I'm thinking of the possibilities of it all it's
04:56really really intriguing and interesting
Commenti