How I used two concepts to write the Megaloot soundtrack
A synthesis of minimalist approaches to composition and direction
I wrote this text for an Instagram post, testing out a few different formats. I feel that very long texts don't work for that social media platform, so I moved it here.
I like to talk about how I wrote the soundtrack for Megaloot (published by Ravenage Games) using two concepts, an initial concept that would transition to the second as you play.
The idea of the game is that you are trapped inside a tower with infinite floors.
The initial feeling I wanted the player to feel would be a sense of adventure, of discovering something new. As if the player had found a dungeon in an RPG and decided to explore it.
In the first tracks I wanted to work on the feeling of adventure, but with a bit of mystery, because you don’t know what you’re dealing with, but still without any overly alarming elements.
As you play, the idea is for the player to realize that the tower is infinite and that you will never be able to leave it. So this feeling of adventure and discovery becomes a feeling of despair, because in addition to that, the enemies become increasingly challenging.
This change occurs visually in the enemies. They are no longer organic things, like figures resembling animals or elements of nature (stone-shaped enemies, for example), they become more abstract, moving towards an artistic direction of cosmic/eldritch horror.
Initially, I only used orchestral instruments, keeping a slower rhythm, without many elements that would cause an increase in the rhythm of the music.
As you progress through the levels, I use elements that create this tension and I stop using orchestral instruments, using more synthesizers and more ‘processed’ sounds to create this disassociation from reality that occurs visually.
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