When Amazon decided they wanted to develop video games, many gaming industries weren’t sure what it would create. Of course, they can buy studios, build their own platforms, and sink vastly unlimited resources into any aspect of game creation, but will endless pockets be enough to create a game that people actually want to play?
Okay, we’ll find out next week when Amazon Games launches its first flagship MMORPG (a massively multiplayer online role-playing game, e.g. World of Warcraft), The new world. Players must go to the Aeturnum Island continent, where they will be responsible for exploring their path through a world filled with battle, craft, and both real and imaginary types of animals.
So who among the largest companies on the planet hires them to earn the title that rides most of their gaming launches? None other than Ramin Dajawadi (Westworld, Iron man, Clash of the Titans) And Brandon Campbell. The last two pairs were paired Gears of war Games together, and they’ve worked together on some movies and TV shows that you may have heard of before – e.g. Game of Thrones, Eternity, Time is a sacrifice, And Strain.
Spin The pair were caught up in the making of the September 2 release to discuss building a new world for music. The new world.
Spin: Like many MMORPGs, The new world Both content and scale are a huge game. How do you go about creating a score for something so huge?
Brandon Campbell: I mean, we really tried to score a variety because the game itself is so diverse – with so many different regions and geographical locations. Hopefully we’ve created some memorable tunes, but we’ve focused on using a lot of different instruments and different musical colors.
Ramin Jajawadi: I think we were able to change things dynamically. So there is a wide range of equipment, but they are very dynamic. There are some dark pieces, some very light pieces, some cool, some big action. As Brandon said, it’s a vast world that we basically had to match to that music.
And I know the two of you work together sometimes, but you two are very skilled composers these days. It was like collaborating again The new world?
Campbell: For me personally, I love working with Ramin. He advised me when I was younger – even he still advises me – and it feels really good to be able to compose and bounce ideas with him. He bounces ideas from me too, so I can start something and Ramin will come and help me finish it and vice versa. Its fully collaborative process can be really exciting in many ways and more innovative than working by yourself.
Djawadi: As a musician, you sit in a room on your own and it can be quite a one-on-one work. So by doing it together, you can inspire each other. As Brandon said, you bounce each other’s ideas and it’s fun to do it together. We can play each other tracks and make things together, and it’s fun.
Showing The new world Could it be a game where people are immersed for hundreds or thousands of hours, how does it affect variety and how much music do you make to make sure people don’t get bored with it?
Djawadi: Okay, we wrote a lot of music for it and the music is very different. So hopefully, it doesn’t seem like there’s ever any repetition, even when people spend a lot of hours on it, because there’s a lot of music out there. Another thing is to fix some of its mood. The music doesn’t stay in your mouth constantly, and we’ve tried to break it down a bit just to create an atmosphere for a specific area.
Campbell: There is a lot of variety in different systems of sounds and melodies, themes and concepts. You may hear that the main theme is played very short, then you can hear it playing with the whole orchestra, then you can hear it playing on a single instrument, and then you can hear it in singing. There are returning themes, but they cycle through a bunch of different arrangements and variations.
Obviously you’ve both played a lot of games before, but seeing that you’ve worked on some big TV and film projects in recent years, is there a big difference or challenge when it comes to video games?
Djawadi: The big challenge was that at first we didn’t have any visuals. We had some artwork and some stills, but we had to come up with the sound when the game was made. It wasn’t like a movie or a television show where you actually have some visuals to write against, so it was definitely a challenge to start from scratch. But talking to a great audio team has really helped greatly in inspiring us – just by them describing what they need emotionally from different areas of us.
Campbell: I like the idea art. I think it’s amazing to see some drawings and rendering done by artists. But this thing was grounded without visuals [the biggest challenge]. The biggest difference was that when we finished with a full video it made no sense. Maybe one of our developers can walk a certain part of the game or a certain area, but it’s more for inspiration than actually scoring. You say, “I’m going to write a three-minute light-hearted adventure piece in this area!” Or “I’m going to write a terrifying excitement piece that happens in the woods at night!” But you don’t have to worry about finding cuts or sync points in the actual video.
From The new world What was it like to musically create the world from scratch as opposed to entering into something based on a new IP, a sequel or an existing universe?
Campbell: We really had a lot of freedom, because it’s such a big and diverse world, and Amazon really pushed us to make it different. They really want to differentiate the area and the characters and animals you will encounter with different words. We have literally realized that we are creating a world map due to the fact that we can use any instrument whenever we see an individual entity. We used everything from traditional theatrical orchestras to ethnic instruments to banjo and fiddles to singing and eventually I lost track. I’ve personally run out of ideas for new instruments that we haven’t done before. There’s a harmonica track for a scene that happens in such a swamp, and we manipulated the audio in a way where it literally felt like creating a world. It was usually a much bigger, wider opportunity than you in a two-hour feature film or something like that.
Djawadi: [Campbell] He’ll go on a tour and he’ll see this new drum he’s got, so he says, “Oh, that might be great for the game!” And he’ll just pick it up and send it back. We were always looking for different instruments, and there must have been a lot of experimentation. It was obviously a fun part of everything – especially since we were doing it together and just trying to be creative and figure things out.