@X19 said:
To answer your question, it really varies a ton from project to project. For Bastion, I was lucky enough to get in on the project really early, so the information I'd get would be pretty limited, but that gave me a lot of freedom to experiment with the tone of the piece and figure out a musical palate that would lend itself to the world.
For other projects, sometimes I have to compose to picture that's already been edited, and sometimes it'll just be "make something that sounds like Coldplay" (which happens a lot...), and everything in between.
Bastion is actually the first game I've worked on professionally, so I don't have much of a reference in that department, but I know that the music usually comes into the process when it's pretty far along, and that the way I've been able to work on Bastion is a bit of an anomaly.
Hope that answers your question!
Cheers,
Darren
" @jenzee said:Hey, this is Darren.How did you decide on the art style of the game? Did you get influenced by the music (also audio) of Bastion or is that an aspect which gets added so far in a game making cycle that it doesn't really factor into your vision of the game." I figured this is as good a place as any to answer any unanswered art/Bastion related questions anybody might have for me (or the team)!"
Is it possible to ask a question to Darren Korb?
I would like to know how much information you usually get when writing music for a game (film/television)? Is it just a few bullet points sent in an email or can you go and see the game in an alpha build and get a better sense of what it is about.
Thanks Jen I look forward to the release of Bastion and hopefully it will get me loving RPGs like I was a kid again :)
No worries if you don't have time to answer these questions I know you're all busy.
@GregK said:" That's correct, the voice actor is Logan Cunningham who's a childhood friend of Amir (studio director) and Darren (audio director). I f'n wish my voice sounded like that. Not only is Logan an amazing voice actor but we're also lucky to have a lot of access to him, meaning we can record quickly and often, which helps a lot with our iteration process. We'll show the process with Logan and Darren probably the next time we do one of these video segments. "I look forward to that. "
To answer your question, it really varies a ton from project to project. For Bastion, I was lucky enough to get in on the project really early, so the information I'd get would be pretty limited, but that gave me a lot of freedom to experiment with the tone of the piece and figure out a musical palate that would lend itself to the world.
For other projects, sometimes I have to compose to picture that's already been edited, and sometimes it'll just be "make something that sounds like Coldplay" (which happens a lot...), and everything in between.
Bastion is actually the first game I've worked on professionally, so I don't have much of a reference in that department, but I know that the music usually comes into the process when it's pretty far along, and that the way I've been able to work on Bastion is a bit of an anomaly.
Hope that answers your question!
Cheers,
Darren
