"You have to create small sequences of music for each possibility ," he says, "and you have to make sure, in terms of key and modulation and so on that they're compatible, so you can stop at any point and cross over to another scene. For Sawhney, writing the music was less like composing than walking through a tree diagram. In the case of Heavenly Sword, the makers decided they still wanted the score to flow from one scene to the next despite the lack of a fixed narrative. In gameplay, though, the lead character might be killed at any moment there can be unexpected changes of scene and atmosphere.
The story is linear, and the creators can structure their efforts in a particular direction. In a movie, the writer, director and composer collaborate to create the appropriate mood.
#Okami ps2 soundtrack movie
The challenges of writing a game score are quite distinct from those of creating a movie soundtrack. The processing power in video games has increased astronomically over the past few years, so they're able to incorporate a lot of incredible visual effects and amazing performances." Enhancing the musical score was a logical next step, and the game developer Ninja Theory was up for something orchestral and epic. "You've got a lot of films like Sin City, 300, A Scanner Darkly and even the Lord of the Rings stuff where there's a lot of crossover and cross-fertilisation between the games world and the film world. "I don't really play games very much, and it wasn't originally something I'd considered an area I could get into - but I've learned a lot since then," says Sawhney.
He got into it through the actor Andy Serkis, who did voice work for the game.
Sawhney is no stranger to movie soundtracks, but writing for the game market is different.
0 kommentar(er)
