If you’ve seen anything remotely related to video games this year, you’ve probably seen a trailer for it Deathloop. The latest game produced by Arkan Studios (Disrespectful, The victimNo popularity is undoubtedly one of the biggest headlines to be released this year, both in terms of popularity and critical acclaim.
The colorful new title sees players stuck in a time loop in the 1960s on an island called Blackriff / a former military base, where eight of its inhabitants try to kill the hero before killing him. If it’s a time loop mechanic Outer Wilds And modern Hitman The trio had a stylish baby raised by people who made one of the best first person descriptions of the 2010s. The victim, The result will be something like that Deathloop – But not right.
With complex visual and refreshing gameplay, Deathloop Proud of a score from award-winning composer Tom Salta. From the main video game series (Hello, Player unknown battlefield, The Tom Clancy Games) and trailers for massive movies (Toy Story 3, Coraline, Harry Potter(On your favorite 2000s TV show)Punk, America’s next best model) And the huge pop star (Cher, Whitney Houston, Sinead O’Connor), Salta has worked on almost every type of project imaginable. On Deathloop, He was responsible for taking his three decades of experience and for transporting players into Blackriff’s unique 1960s environment to turn it into an impressive and comprehensive score.
In honor of finally publishing his latest title, Spin Talked to Salta to chat about both of her jobs Deathloop As well as some of his previous best hits.
Spin: Deathloop Obviously it has a pretty unique visual style, so what did you do with the score to match it?
Tom Salta: We wanted the score Deathloop Just as unique as the game. Starting with the motto of the main theme, “Welcome to Blackriff”, you will begin to hear a repetitive loop to the music that is used throughout the score. Widely used in the late sixties like Rhodes, Urlitzer, Hammond B3, Clavinate, Vibraphone, Bass, Drums and authentic guitar tones, the score has a unique and recognizable sound that I hope will immerse players completely in this other world.
You’ve worked on a lot of different projects across music, movies, and gaming, but do you think there’s a theme or sound that is similar to many of your works?
[Laughs.] I probably ask the wrong people! I always try to rediscover myself and I work on each project in key words. Yet, over the years, people have told me that my music often identifies something that takes me away, but it’s not the theme, instrument, or style. It could be something about the overall sound, the mix and maybe my overall music sensitivity. But I’m still not entirely sure. When I understand this, I will let you know.
Made in a global epidemic and beyond recording, there was something that made your experience with it Deathloop Is the score really unique?
One of the things that made my vision unique in the late 60’s – since I’m not a guitar player – I used distorted tones and many other instruments to create guitar parts. One of my favorite words was playing the clavinet through guitar amps. I also collected many other instruments through different amps and period-style effects, all of which added to the unique color of the score.
After working with the biggest names in music, movies and video games, is there a big difference when working on one medium compared to the other?
Gaming is a non-linear experience, and music needs to communicate in the same way. Unlike my work in various other media, my music in games has been made into pieces and sections that are designed to loop or connect in different ways. This allows the game engine to transition smoothly from one music state to another without focusing on itself.
Do you personally have a position in all the projects you have worked on over the last few decades?
It’s hard to pick a choice, because there are different scores over the years that hold a special place for me for a variety of reasons. One of my previous scores for Red steel 2004 was both challenging and extremely fruitful. The perfect variety of music and speed that was put together was unforgettable. It was also a huge creative expansion for me – especially the degree to which I had to dive into different Japanese music styles.
Prince of Persia: The Forgotten Sands There was another fruitful experience. I always dreamed of making a score Prince of Persia The game, and finally when I was given the chance, I was absolutely thrilled. Now listening to that score is like music therapy for me. It has another mundane sound that is often meditative.
There are many more personal highlights for me, but the last one I want to mention is the different work on me Hello How the right to vote has been granted Hello: War evolved Helped me in game scoring in 2001, it was literally a dream to be part of a musical team in 2010. Hello: War evolved And Hello 2 Inside The Master main collection Once was a lifetime experience – and then creating original scores for games like Hello: Spartan Assault, Spartan strike, Plus animated film Hello: Fall to reach, Was both challenging and stimulating. I like to hear those scores at once. It brought me back to my favorite memories Hello.