"It’s not a game about super-soldiers," he tells me. "The characters are real people placed in a horrific situation. You can listen to a track from that game here.Īs for his own crack at a Call of Duty title, Roget says he's impressed with the humanity in the game. Perhaps fittingly, Roget says it was "Michael Giacchino’s phenomenal score to the original Call of Duty" which inspired him to write orchestral game music to begin with. "But much of my harmonic language actually comes from Bulgarian folk music and even Seattle grunge rock." "I’m a huge film and game music fan," he says, listing off John Williams, Hitoshi Sakimoto ( Final Fantasy) and Yoko Kanno (Cowboy Bebop) as major influences. Roget says both video game and film scores influence his work as a composer. I’ll take inspiration from things like the art direction and color palette, and make decisions about instrumentation and arrangement from those specific elements." "My approach to scoring is slightly unusual," he says. "Instead of the typical method, where a composer scores to the story and the characters’ emotions as a sort of musical-narrator, I always try to 'write in the 1st person' and imagine myself in the scene. Roget's process to scoring a video game isn't quite what you'd expect. "For every element of the score, we had to consider where we fell on the dichotomy between 'contemporary orchestral score' and 'period score.' So I needed to establish a music direction that conveyed the setting respectfully, while also having the dark grit of a modern score so that our setting would be as relatable as possible." "Call of Duty: World War II was a unique challenge in that while we went back to the series’ roots in the World War II setting, the pacing and presentation has a modern feel," Roget tells me.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |