How do you create the audio DNA of a new game series? How do you make time travel sound like time travel? And how does electronic music match with a medieval adventure? Composer Jesper Kyd reveals all
Ubisoft knew Assassin’s Creed was going to be huge. Over its three years of development, the game went from a Prince of Persia spin-off curio to the gem in the publisher’s forthcoming games list. It became the talk of the industry in 2006 after a well-constructed trailer teased at the imaginations of gamers and history fanatics alike. Intrigued by the promise of a game set during the Third Crusade in the Holy Land in 1191 – with some mysterious sci-fi elements projected over the top – we all waited with bated breath for this historical action experiment to land in late 2007.
The publisher needed the best people it could get on the project. The high-profile appointment of producer Jade Raymond made headlines and by the time Assassin’s Creed was nearing completion, Ubisoft had committed more than 150 staff to make sure the finished product was as polished and impressive as it could be. But as the development team swelled and the Holy Land started to take shape, there was just one man working on the soundtrack: Jesper Kyd.
In the beginning, there was talk about hiring multiple composers because Ubisoft didn’t really feel that any one composer could pull this off… They found, in me, someone that could do all of it Continue reading...
http://dlvr.it/Sd9M9N
