The result, I hope, is something that is both new and “at home” in the lore of “Dead Space”.But while Resident Evil 4 certainly inspired Dead Space’s approach to over-the-shoulder combat and haunted house level design, much of the original game's direction was drawn from films such as Alien, The Thing, and Event Horizon. I introduced new themes and instruments to capture Issac’s frightening journey through the USG Ishimura. The goal was to enhance the story moments when they arose for a deeper connection to this hugely compelling game. For example, I composed music for the Unitology religion and a piece for the Marker alien artifact. I began by writing musical suites not connected to specific scenes or chapters, but rather to the story alone. ‘Making the score to ‘Dead Space’ was an 18 month long journey that started out with musically reassessing the lore of the game from scratch - and searching for thematic opportunities. Here's what Gureckis had to say on approaching his music with the story in mind: While Jason Graves' original score perfectly complemented the player experience, Gureckis had the opportunity to write more generally to the larger universe of Dead Space. It's interesting to note that, like the game itself, Trevor Gureckis' music benefits from the expansion of the lore of Dead Space developed in the Dead Space sequels.
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