Dead city music. Composer Dying Light Paweł Błaszczak.

To be honest friends, I was upset by the fact that another composer is working on the continuation of our favorite game. Despite the fact that Olivier Deriviere is also an eminent composer, neither I nor anyone else has the right to speak and judge, or praise the Dying Light 2 soundtrack before its release. And today we will talk specifically about the soundtrack of the first part. To be honest, I adore creative people who are able to convey their vision of this world in a work, as piercingly as possible. This is a whole palette of emotions and feelings, and the composer, like an artist playing with them, creates a beautiful canvas that turns the visual series into something truly breathtaking. And this is not only knowledge of fundamental rules, building harmony in music. It's more than that. Fusion of feelings, emotions, psychology and own worldview. In my personal opinion, I am not afraid of this word, composer Paweł Błaszczak, as well as other engineers and game designers who work with sound. Responsible for 60 percent or more of this beautiful and depressing atmosphere of the first Dying Light. In this video, you will learn why, in addition to gameplay, narrative storytelling and a large open world, it is very important to have an emotionally rich, musical and sound component. Paweł Błaszczak is a music composer for video games and films. He started writing soundtracks for video games professionally in 1997. Among his works are music for Dead Island, Dying Light, the Call of Juarez trilogy, The Witcher and others. He is also credited with working on The Witcher 3 - Wild Hunt, as co-author of the main theme. Currently Pavel works as a freelancer. His most recent work is creating the music and sound effects for the Lust of Darkness 2 trailer. But let's get back to Dying Light anyway. Each artist or composer carries a certain point of view on the world. The things that surround him. Let's take a look at Paul's point of view during the 2015 interview. We often ignore it and stop at visual stimuli. However, if we cut out the audio completely, it would become obvious how much was lost. My name is Paweł Błaszczak and I am a composer and chief sound engineer at Techland. Work on Dying Light began primarily with the music for the game's main menu. Then, when I already started looking for a certain sound character and realized that it would be best to start with the topic behind the main menu. There are 2 main aspects to Dying Light. Firstly, the main character of the game is a trained special agent who uses dynamic parkour movements. This is where I tried to find ideas for music that would emphasize this flow and movement. After that, I was looking for some synth arpeggios. The second dominant aspect is that this whole world is, in general, dead. And if you see something that seems to be alive ... People who have come to life, but are no longer alive. This allows you to see that the world is empty. Or the whole city is an endless space. And that serves as the inspiration for long, long, continuous sounds. But, because everything is deserted and lifeless, I try to convey the feeling of desolation and weariness. Something like that ... The problem with many modern games is that their creators use a cinematic model. Someone once said that game music lacks its own expression. I think Dying Light, even though I'm looking for film inspiration. I was still trying to find something that would give my own definition of Dying Light.

Not 80s zombie movies, but a real original soundtrack for this game. That was my goal as a composer, in every game I work on. Therefore, I will say this - the music that is in Dying Light is specially written for the game Dying Light. The night must be scary. An important element of Dying Light is night. Generally speaking, there is often a tendency in the development of horror games to constantly increase the fear factor. We spent a lot of time thinking about how to make the night really scary. Not through noise or sudden fright. Our CEO Adrian Ciszewski came up with a great idea. One day, while walking with his dog, he noted that the night is usually filled with silence. But whenever you hear a gust of wind ... Through the rustle of leaves, the creak of trees, you can feel fear and you don't need a monster for that. A little rustling paper in pitch darkness is enough for this. We reduced the volume significantly, for the whole mix of sounds, at night. But at the same time, we didn't want to make the night absolutely silent. With this, we were looking for something called the Howl of the Night. Many years ago, when there were much fewer cars on the streets, and indeed less traffic. You could feel this kind of quiet hum ... It was a low sound that drones usually make in the distance. Such uuuuu. Something like that. With this in mind, I decided. That we will try to implement this in the game. This is not any special sound. Rather, something perceived by the player at the subconscious level. When night falls, we feel not only the absence of daytime noise, but also something irresistible. I think we managed to achieve this. Because the people who played Dying Light said that night was a very scary and innovative element in our game. I'll add it myself. In psychology, this term is referred to as suspense, or unconscious fear. In other words, the fear of what may happen to you, but has not happened yet. This approach was also used by Alexey Sytyanov, the lead game designer for the very first Stalker - Shadow of Chernobyl, which is also one of my favorite games. Good night and good luck. This is always important to me. Make music that stays with the player. Who completed the game, or stopped playing. It doesn't matter if you go to school or go to work. I would like you to feel it. Felt the music of the Dying Light world. Let me remind you, friends, that Pavel gave this interview before the release of Dying Light 1. And this interview gives only a small idea of ​​the work done. Dying Light will be loved in its own way for every fan. For some it is parkour, for others - zombies, gameplay, plot. But for me personally, it is primarily the atmosphere. The soul of this never noisy, but now such a majestic, dead city. Perhaps not everyone will understand me. But, how the hell is the city beautiful, without people ... At four or five in the morning. This is especially pronounced in small towns.

20-30 thousand people. When the dawn envelops these empty streets, with flashing traffic lights ... And that's all, just yours. And yes. Pavel, your music is with me. And she made an indelible impression on me. Thank you very much! Something like that. And with you was the Prophet Games channel. I hope that in the second part this atmosphere will be multiplied. And we can only guess with what feelings and worldview Olivier Deriviere approached the writing of the soundtrack and sound effects. Good luck to everyone and see you later ..