Composer Tom Salta discusses his career journey before games, working with Arkane Studios on the Wolfenstein series and Deathloop, assembling a score rooted in the 60s for Deathloop, and how his experiences in game development have helped establish his creative workflow.
Tom Salta adjusted his initial musical theme for Deathloop based on feedback and the irreverent tone of the main character
Scoring a nonlinear game like Deathloop involved finding a balance between dynamic music and allowing player engagement with the narrative
Tom Salta drew inspiration from the late 1960s setting and various sources to create an immersive and adaptable score for Deathloop
Deep dives
Working on Deathloop
I had previously worked with the team on Wolfenstein: Youngblood. When I received the brief for Deathloop, I was initially unsure due to the unique combination of elements in the game. However, after hearing some of the dialogue and understanding the irreverent, sarcastic tone of the main character, I realized the initial theme I composed wasn't the right fit. So I took the feedback into consideration and submitted a different idea that captured the personality of the game better. The dialogue and voiceovers in the game played a big role in shaping my approach to the score. I wanted to create a sound that was loopable and had a pop appeal. While still being able to capture the different tones and dynamics needed in the game. It was a delicate balance, but I enjoyed the challenge.
Navigating the challenges of a nonlinear game
One of the challenges of scoring a nonlinear game like Deathloop was the different variables and possibilities that players could encounter. The game had multiple locations that could be visited at different times of the day, which added complexity to the scoring process. Additionally, the V.O. and dialogue in the game played a significant role in the storytelling, and I had to find a way to integrate the music around the dialogue without overpowering it. It was important to strike a balance between creating a dynamic and immersive score and allowing the player to engage with the narrative. I had to consider the different gameplay possibilities and ensure that the music could adapt and respond accordingly. It was a collaborative process that involved constant communication with the development team to ensure that the music enhanced the overall player experience.
Creating a unique sound for Deathloop
The creative direction for Deathloop was unique, blending elements of the late 1960s setting, time looping mechanics, and distinctive art style. While I initially had concerns about how to approach the music, I drew inspiration from various sources, from film scores to late 60s music to create a cohesive and immersive sound. I incorporated elements of the era with pop appeal and focused on creating music that was loopable, repeatable, and able to adapt to the different dynamics of the game. The result was a score that captured the personality and atmosphere of Deathloop, supporting the gameplay while adding depth and engagement for players.
Overcoming limitations and incorporating feedback
Throughout the development process, we had to manage limited resources and time constraints. The scope initially called for a smaller amount of music, but as the project progressed, I worked closely with the development team and adapted to feedback to expand the score to complement the evolving gameplay and narrative. It was a collaborative and iterative process, and while there were challenges along the way, we ultimately created a unique and compelling soundtrack for the game.
Scoring Outlast Trials: A Dream Come True
Outlast Trials is a horrifying new game that allows multiple players to cooperate in a terrifying experience. The composer shares how he approached creating the music, aiming for a theme that is both memorable and genuinely terrifying. He wanted to capture the essence of classic horror movie themes, but with a unique and haunting quality. The goal was to make the music longer and more expansive, incorporating experimental and industrial elements along with orchestral sounds. This project provided the opportunity to explore a true horror genre and create a score that combines different styles to evoke fear and tension.
The Creative Process in Game Music Composition
The composer discusses his five-phase creative process, emphasizing the value of the R&D and experimentation phase at the beginning of a project. He believes that taking the time to explore and try different ideas leads to more unique and soulful music. He also highlights the importance of having a clear process and structure in order to avoid decision paralysis and make the most of the time available. By following this process, he is able to deliver high-quality music, even on tight deadlines, while still maintaining consistency and creativity throughout the project.
Austin Wintory chats with Composer Tom Salta. Together they discuss his career journey before games working in various aspects of the music industry; working with Arkane Studios on the Wolfenstein series and eventually Deathloop; assembling a score rooted in the 60s to support the various dynamics of Deathloop; and how his experiences in game development have helped establish his creative workflow. Listen to the full episode here or watch this episode on your Youtube channel.
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