![]() ![]() ![]() We tried some different approaches with other musicians, but in the end, we always came circling back to you. O: I remember that Klaus and I listened to your music together, went wide-eyed when our eyes met and we agreed that the demo song you made for us was almost too perfect a fit to be true. Klaus Lyngeled (CEO at Zoink) and Olov Redmalm have quipped that they discovered me by searching the internet for “good music that resembles that of Danny Elfman,” but there’s actually been an abundance of comments on my work about its similarities to Elfman’s, which makes sense considering I taught myself to compose for orchestra by listening to his works and those of other composers such as James Newton Howard. I’ve always tried to recreate parts of that sound in my music whilst adding a bit of my own personal style and character. I grew up watching classic Henry Selick and Tim Burton movies such as The Nightmare Before Christmas and Corpse Bride and loved the melancholic yet whimsical soundtracks that went with them. Broadly, when it comes to creating music for a “dark fairytale,” did you need to do any sort of research? What did you learn during your preparations?ī: I’ve been writing dark, fairytale-like music for so long that I didn’t really need to do much research or preparation. Okay, let’s dig into your work on this game. Thanks for answering some questions, you two! Sounds like you make quite the tag team. I also enjoy making funny voices and noises, and you may have already met me in the world of Random as Dicey, Royam, the Fourman, and some other more or less nasty fellows. While I’m an amateur, I absolutely love working with sound design and music. Olov: Hi there! It’s me again, Olov, and when I’m not directing games I draw obscure comics, meditate, and watch Star Wars to death, sometimes all at the same time. It’s the musical equivalent of being a kid in a candy store as I’ve had the opportunity to record some amazing London symphony orchestras, collaborate on projects with insanely talented composers such as Hans Zimmer and Eric Whitacre, and craft myself some bespoke tools and sounds for writing music while I’m at it. When I’m not composing music, I’m working as a music software developer, creating orchestral sample libraries that other musicians (and myself) use to create the music heard in movies, shows, and games. I originally started out writing jingles and themes for TV commercials, which led to writing music for video game trailers and spots, which then evolved into scoring full-length original soundtracks. Hey, Blake! To start, could you tell us a bit about yourself and your experience with music?īlake: Hey hey! My name’s Blake Robinson and I spend half my time composing and orchestrating music for video games. Today, we got to chat with composer Blake Robinson and creative director Olov Redmalm about the sounds and music of Lost in Random to learn a little bit more about what makes them so special. It also requires the right soundscape and artistry to match the heart and feel of the narrative. THE MUSIC OF RANDOM AND A 1, AND A 2, AND A 3, 4, 5, 6! LOST IN RANDOMĬreating a modern fairytale in video game form requires more than just a story that grips its players. Story Characters Gameplay Overview PC System Requirements Cards System Media News Story Characters Gameplay Overview PC System Requirements Cards System Media News ![]()
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