If you’ve ever played the title of Thunder Lotus Games, you know that there is nothing like them. If you don’t have one and you’re into amazingly hand-drawn video games, you should. The third game from Canadian Indie Studios, last month Spiritfair, That has created unique trends Join And Beautiful Favorite in both cultures.
Aptly described as “a comfortable management game about death”, the player assumes the role of the ferry master of the dead – meaning that your job is to transport them to the afterlife and make sure they are comfortable in the process. It’s a relatively cool and comfortable gig, all things considered, but that doesn’t mean it can’t be a little busy at times.
Of course, no matter how happy or unhappy your passengers are Spiritfair, The game always looks and sounds like an incredible animated movie. A variety of illustrated scenes will remain at home on one of your favorite childhood VHS tapes, and composer Max LL has created another incredible score that shows why he is a musician for Thunder Lotus as well as many emerging indie films and commercials. – In addition to his solo work.
A few weeks after his release, Spin Max was caught chatting with LL about his recent work and the special elements for each of his scores.
Spin: Looking at how to create scores for a video game when you’re working on all types of media Spiritfair Compare your personal work and movie scores?
Max LL: A video game is a very unique medium. The story can be expressed in different ways depending on the player. You’re not working with a locked picture like you’re with a movie. Things are constantly moving, so the music has to work for a variety of scenes. This is a very interesting challenge and it affects the way I integrate music and even the composition to some extent. Still, music needs to support the narrative and emotional pressure of stories and characters, just as it does with any medium for storytelling. In games, I favor strong themes and melodies over highly variable and adaptive music – which usually comes at a price to be less memorable. But then again, it always depends on the needs of the project. When it comes to my personal work, I’m always working from a completely blank canvas, which can be scary at first, but it gives me the freedom to take my music in a completely different direction. I always try to find time to do my solo work in the scoring project. I don’t think I could have evolved like a composer without them. There are some things that I can’t always express in the context of my scoring work.
Spiritfair (Like other Thunder Lotus games) There is obviously a very unique art style. How to create a visual as well as musical environment?
I am very fortunate to be working with such a talented art team at Thunder Lotus. I remember seeing Joe-Annie’s first ideas [Gauthier, Art Director for Spiritfarer], And the original idea of the game associated with the artwork was so unique and inspiring. I think I wrote the main theme in a few meetings after looking at the materials. Beautiful scenery makes my job a lot easier, as art often instantly inspires textures for my melody, format, and song, often even before picking an instrument.
And as the favorite composer of the Thunder Lotus team, how have you seen their titles grow over the last few years?
I have been involved from the beginning of the studio as a close friend of Will [Dubé, Founder and President of Thunder Lotus]. It has been thrilling to see it evolve over the years. What started as a team of 5 people now has 30+ employees, but the consciousness is the same. It still feels like a small family. Join This was my first video game project, and it was exciting to work on a story that calls for orchestral arrangements bigger than life. I remember the final crisis before the game was released, there was only a part left for me to write and a few days left to bring out what the most important moment of the game was going to be. It was an exciting time for everyone involved when the game was finally released and received a positive response from the gaming community.
You often use a number of obsolete instruments and components in many places instead of sticking to the “normal” orchestration in your scores. What has inspired you to add more international and global words to your music?
I have spent a lot of time traveling abroad in the last 10 years. Most of my personal albums are based on my experiences during my travels in Asia and the Middle East. I always bring a recorder with me and often carry new instruments along the way. Over the years, I’ve created an interesting collection of found words, patterns, and instruments that I always try to integrate into my compositions in some way. It allows me to keep things unique and interesting, even when using more conventional arrangements. For example, my piece “Golistan” was born from a recording of my friend’s father when I made a melodic line while reading Hafez’s poems while I was in Iran. From his performances, I created more flashed out themes, which I recorded by the -0-Piece String Orchestra.
Want to take on another type of project in the future?
I’ve worked on a variety of projects over the years and I love working with a variety of media and industries. I’ve just finished music for a feature documentary, and I’ll be working on Thunder Lotus’ next video game project soon. I like to fall in love with projects. I’m not as interested in the concept of a “career” in a particular medium as I am in working on different projects. I definitely want to make more independent fiction films and more projects that are naturally involved and active with a clear message and a meaningful approach. Spiritfair.
What do you expect from players? Spiritfair And its soundtrack?
Death is often portrayed in games as a source of entertainment. In the world of video games, we have become so comfortable with murder that we have forgotten what death really is – its effects, its effects, what it really feels like to witness, or to lose someone close to us. It is one of the most natural things in life, but at the same time, our society rarely encourages us to discuss it openly. Spiritfair He wanted to lift the veil from that ban, so that we could discuss the matter with each other. I wanted the soundtrack to slowly carry the players throughout that journey and hopefully feel like a warm and comfortable blanket with you during difficult times.