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Richard Jack distributes Marvel’s Guardians of the Galaxy soundtrack


If you haven’t checked out the video game version Marvel’s Guardians of the Galaxyy still, it’s going to be a lot better than you think.

From exciting fights to compelling narratives and dialogues that are more emotionally powerful than anyone would expect, Guardian An action-packed single-player is a fairly complete package of what one might want from a linear title. Oh, and of course there’s an absolutely incredible soundtrack to go with it.

From orchestral to electronic to 80s melodic tracks, you can see Star-Lord and his crew Richard Jacques (Massive impact, Jet set radio, A lot Sonic The title) shows why he is one of SEGA’s go-to composers dating since Sega Saturn and one of the most sought-after musical minds in the UK for the last quarter of a century. There is also a classic ’80-style “space metal band” called Star-Lord (created by Steve Szczepkowski, senior audio director of developer Eidos-Montreal) whose entire album also features soundtracks.

Spin Talked to Jack about bringing Guardian His nearly 26 years in music management for the biggest names in the history of soundtracks and video games outside of the Marvel Cinematic Universe life.

Spin: Considering popularity Galactic Guardians Characters, what was it like to create a score in a slightly different version of the universe than what people use?

Richard Jacques: The game’s developer, Eidos-Montreal, worked closely with the team at Marvel Games, diving deep into 50 years. Galactic Guardians History – including comics, movies, animated series and more – to create a new and unique take on this misfit band. Therefore, when I started composing scores, it was clear that we had the opportunity to create all the new themes and musical motifs with the story we wanted to tell. Steve Szepkowski and I shared the same creative vision from the beginning. We wanted to create an epic intergalactic score that would be right for us Guardian Supporting experience, gameplay and narrative, parents keep the tune in for the way they communicate with each other. It gave me a lot of creative freedom where I was able to draw incredibly detailed worlds that players would visit during the game, as well as some familiar and unfamiliar characters. From pre-production to the end it was really a matter of honor and joy.

In your opinion, what should people expect from the game and its soundtrack?

First, we have a killer main theme Marvel’s Guardians of the Galaxy, Provides a sense of heroism and unity, but also maintains a sense of fun and teamwork while exploring the galaxy. I’ve used a variety of latemotifs that represent the main character of the story and the vibe of the narrative. So, for example, when the player is doing well in battle they may hear our main “Guardian Hero theme”, but if they don’t do so well, the music will be darker and more brooding. Although the main part of the score is orchestral, there are some featured coral elements as well as a variety of electronic / synth elements and a few musical flashes that players will experience on this wild ride. And of course, above all, there are lots of 1980s licensed music hits as well as Star-Lord band original songs.

Looking at how many games you’ve worked on in the past that have been part of a larger series, how can this be compared to a project like this where you’re starting with a completely blank slate?

First, for any composer working on a score that is part of a larger series or part of the universe, I always want to be respectful and faithful to what has come before – and at the same time create a new approach to the story I support. Therefore, although one method may be suitable for one particular setting, it may not be suitable for another. I have to look at the story, the characters, the worlds presented to me and then choose the right creative and musical instruments that would be most appropriate with that particular experience. Similarly, it’s like starting from an empty slate, even though we may already be familiar with the existing characters and the world. In our game, there are many elements that players have not seen before, especially during this experience. I chose to create scores in an epic orchestral setting, but didn’t limit myself to that particular scoring palette. Music is an internal part of the game, and so everyone on the team was committed to fully realizing it from the first day of the project.

The game involves a big name like Marvel, what makes this project unique?

There are so many things that make it Marvel’s Guardians of the Galaxy So unique first, I think the story is absolutely great. The narrative team from Eidos-Montreal and Marvel Games did an incredible job, and I was fascinated from the moment I started reading the script. The job of a composer is to be a storyteller and to support the narrative as the story unfolds. The dream was to have a rich tapestry of characters as well as a varied range of planets and locations to create all new musical themes that players would visit during the game. There are also some more touching conversations that players can feel during the game, which gives the story great depth. And as I mentioned earlier, there will be some musical flashes along the way!

And of course, lots of carburetors were thrown while working during the epidemic, studios were closed and musicians were unable to record, then social distances were monitored when the studios began to open, as well as building a temporary studio in my home during various lockdowns. I couldn’t go to my studio. I had to be creative and find solutions to the ever-moving goalposts without sacrificing quality or production, which wasn’t easy composing such a huge amount of music. But everything worked incredibly well, and I’m happy with the results.

After working on some huge titles for the last 26 years, is there anyone who is more different to you than others?

Yes, I must say that I enjoy scoring descriptive-driven action-adventure games, so Massive impact, James Bond 007: Blood Stone And of course, Marvel’s Guardians of the Galaxy The title will stand out from my perspective. I also had great fun while working Muppets Expansion pack for LittleBigPlanet 2Where I was able to work with a whole big band.

You’ve worked with a variety of titles in the past, does your creative process vary depending on the genre?

Whenever I start scoring a new project, I always spend time thinking to myself, ‘What is the meaning of this score? What are musical instruments and emotional tones? What are the main pillars of the story? ‘ This process helps define what I am going to achieve musically and how I am going to support the narrative. Of course, there are many genres and titles that I have worked on that may present an obvious choice in terms of score sound, but others may be an unusual combination of instrument, or musical concept or melody. It really depends on the project and what is the most appropriate and original musical setting. I try to make each project unique and give it its own musical identity and personality.



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