Previous titles as a player in the Supermassive Games — e.g. Until dawn, People in the field, And Little hope – You know, there’s nothing like a horror movie-SQ video game The Dark Pictures Anthology. These are the equivalent of narrative-driven video games and campy horror movies, and they’re usually appropriate for their annual fall release dates.
This year’s addition Ash house Nothing different, bringing in one or two actors that TV and movie fans may recognize (initially Ashley Tisdale at this point) and immediately puts the team of characters worthy of play into a potentially deadly situation filled with fear. As usual, they also brought back veteran composer and horror expert Jason Graves (Dead place, Grave Rider, Moss) For them to complete its fifth awesome soundtrack in the last six years.
Spin Talked to a properly named composer about his musical contributions The Dark Pictures Anthology (Including his latest work on it Ash house) And much more.
Spin: As for the supermassive’s clear choice The Dark Pictures Anthology, What does it feel like to score this “interactive horror movie” type game?
Jason Graves: Needless to say, it has been quite a treat. Each title is very different – it’s really fun to dive into each universe of titles and see what fun and amazing things we can come up with to make each one unique and memorable. I still remember the initial conversation with audio director Barney Pratt many years ago and how exciting the prospects were. It’s hard to believe that we’ve already published three full titles.
How do you create a title considering the different types of horror titles you have worked on in your career Ash house Different from its predecessors?
It really comes down to the specific game. I can always draw inspiration from every particular world. After all, many people have probably spent years building the world that we, as players, live while playing games. So it makes a lot of sense to me to exploit those details as much as possible and reflect them in the music.
With Dark picture Games have obviously different paths and scenes depending on the player’s choice, how do you keep the score consistent, exciting and scary from one moment to the next?
That all comes down to the way music is written and – almost more importantly – applied in games. I work very closely with the audio team in the supermassive games in each scene. We go into specific situations and determine how each player’s choice should be supported. It’s a very front-to-back process that has been simplified enough considering the history and shorthand I’ve created with supermassive games over the last 10 years.
Your work often contains such a wide variety of musical genres, both from one project to the next but sometimes even in a single project. Is it to deliberately make sure you don’t pigeon hole in a thing, or is it based on what you’re feeling at the moment?
I would say it’s probably a bit of both. I certainly try to work in as many different genres and styles of music as possible. But not “for fear of holding the pigeon”. More such as “Can I do something that is interesting to me and different from something I’ve been working on recently?” Kind of way it’s pretty much like a Venn diagram of intersecting points. When it comes to style, instrumental choices, supporting gameplay and keeping me creatively motivated, I find that I know we’re on the right track.
Are there any genres or types of games that you would like to work on in the future that you have not yet been able to explore?
The answer to my going was always fantasy, just because I liked the idea of being able to write big, sweeping themes. However, recently I have been fortunate to have the opportunity to work on a few fantasy-type projects. Most notably, VR games Moss, Which was released in 2018, as well as a sequel to its progress, which is basically a dream come true for me.
There is something else that you want people to know about your work Ash house?
Ash house Was composed during the lockdown. As a result, I performed everything from Score Live to myself. So the result of all the string sections and bandy solo effects you hear on the soundtrack is that I performed 10-15 passes on each instrument as well as recorded live percussion, hand drums, world flute and distorted guitars. It was a bit of a challenge, but a lot of fun.