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Posted by on Oct 18, 2013 in Batman (Character), DC Comics Media News, DC Comics Videogame News, News | 0 comments

ARKHAM ORIGINS: Christopher Drake Interview + 1st Titletrack By Don Diablo

Christopher Drake interview with The Rolling Stones plus the first titletrack by Don Diablo. Click the jump to see more.

Above, you can see the first official titletrack for Batman: Arkham Origins featuring Don Diablo. He is a Dutch record producer of electronic dance music. He is known for his eclectic style of production. His music absolutely the one to bring Batman into the beat of the electronica trend. You can also see an interview with Christopher Drake down with The Rolling Stones:

Arkham Origins definitely has some Hans Zimmer-style BWAAAAAANH. Is that something we should just expect from dramatic movie and video game scores?
Hanz is a genius at what he does. It works in so many places because it’s the kind of music that doesn’t drawchristopherdrake-600-1382110161 conclusions. That Batman material, you could put that into anything! You can put that in a dog food commercial and it would be epic. It doesn’t draw conclusions. But as brilliant as Hanz is, there’s an overuse of that style, because from a technical standpoint, it’s very easy. It just works. It’s a modern sound. That’s just what’s happening. You have to have a director willing to take a risk or do something new. Like The Social Network for Trent Reznor. It was so different sounding – it’s new, it’s not an orchestra. But it all evolves until it burns out and something new takes its place or something old comes around again.

Technically speaking, how is the music integrated into the game?
Most of it is in cinematics, and that’s traditional scoring like I would do in a movie. But then there’s the actual in-game music, and that’s really fascinating. Let’s say Batman is walking into Blackgate. . . the music is done in layers. One layer is the moody layer of walking in to the prison, but then Batman is being stealthy, so there’s another layer that gets activated – what we call a tactical layer – and that might sound like synth pulse to give it some excitement. Then, if you’re in a fight, there’s a third fight layer that gets added. The fourth layer is an all-out combat layer with drums and orchestra. Every layer can all be subtracted or added.

Do you get to see the gameplay before starting the score?
I’m based in Burbank and the game team is in Montreal. We have a computer program where I watch a video in real time over the phone with the director and we have a conversation. Is this a scary scene? A dramatic scene? For the in-game, that gets interesting, because music is all about the timing – I know a scene is two minutes. The music needs to address that time. But with the gameplay, a guy who sucks could take an hour. Someone else could blast through it in 15 minutes. So you don’t want the music to be tedious. It has to be Batman music it has to be exciting.

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Source- Spinner Records, Rolling Stones