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7.1.2009
"I met with the director, Pawel Selinger, and he told me that he would like the music to evolve along with the characters, their experiences and story. That was another challenge for my music to pick up. I really wanted the music to enable the player to get into the shoes of the McCall brothers and experience their story and adventures to the fullest. The goal was to reflect best what they’re going through and what they really are." |
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6.23.2009
"The music in the end is just a part of a wider context. It needs to achieve its purpose in the game so parameters and communication are most important. I'm happy to say we were mostly in agreement about the musical direction so we all felt good about our individual contributions in the end." |
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6.16.2009
"In terms of sound they were looking for long evolving ambiences, pounding percussion and grooves, combined with orchestral sounds...There's a precise thematic approach and also an approach based on sounds. For the enemies we liked the idea of linking the 'weight' and intensity of the sound to their danger level. The entire score follows the action of the game in a very dynamic way." |
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6.10.2009
"It’s a rare and valuable opportunity to meet with so many of your game audio peers – a once a year occurrence for many folks. It’s also a chance to network with the entire games industry in one small stretch of glorious coastline as well as to hear leading game audio experts freely share from their amazing experience in an informative and sometimes even challenging way. The overall Develop conference experience i.e. the sessions themselves plus the after-show discussions and networking is unrivalled in the UK." |
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6.1.2009
"Something that I was really keen on early in the production of PROTOTYPE was playing up the 'tragedy' of our main character's back story. Yes, he is a bad-ass and can slaughter everything in sight in a variety of creative ways but what about the person behind the monster? How could we capture that there was something deeper to this character other than just his abilities? It actually took a lot of convincing to get our team at Radical on board with this idea - that there was a 'sad' side to Alex Mercer." |
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6.1.2009
"This music is a collaboration. You’d think with music like this there would be someone in charge, someone to say at the end of the day, “this works, this does not”. If you don’t have that it can turn into anarchy or mediocrity very quickly. But in this there was no doubling up on anyone’s gifts we could really just do our thing without battling each other in any way. It’s truly collaborative in every way. I wouldn’t say I did the majority of the work, but I did my part." |
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5.27.2009
"At first I wanted to make a mark on the Battlefield series by introducing new themes and ideas to this classic theme. No matter how good the new music was people always had a soft spot for Joel Eriksson’s original Battlefield 1942 themes, so much so that the Battlefield 1943 producer Patrick Liu and the Executive Producer of the Battlefield franchise had a meeting and discussed how cool it would be to have the original music, but re-recorded with an orchestra." |
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