ART OF RALLY SOUNDTRACK TV
In the case of a film or TV show, in general you have a linear story to support – not so much in video games where you need to focus more on the mood and how you want the player to feel… that is a very broad picture and there are exceptions of course. The only element common to both film and video games is when scoring cut-scenes, which are short movies that are intertwined into the gameplay. It needs to be created in a way that keeps it open to a change at any given moment, therefore, very often bigger sections of music need to be planned as one.Īnother important factor in games is looping a piece which has to be taken into consideration as well. As a result, the music has to be interactive which affects the whole musical approach. In the case of a film or a TV show the music is permanently assigned to any given scene, whereas in a video game it never plays exactly in the same spot and completely depends on what a player decides to do and when he or she decides to do it. MIKOLAI STROINSKI: Those are two different worlds. We were fortunate enough to get a chance to have a chat with him about his work on the game, how he added beauty into its barbaric world and whether or not video games should be considered a form of art.ĬRAVEONLINE: How different is the process behind making a score for a film/TV show and making a score for a video game?
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With only three video game credits to his name (alongside his work on the Dark Souls II trailer), Stroinski has swiftly made a name for himself and his sweeping score for The Witcher III isn’t going to do him any harm. Also See: Treyarch Aims for Multiplayer Perfection with Call of Duty: Black Ops 3
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