Because of its thematic importance, Haab says they needed to create a melody to represent the omnipresence of the empire. In Survivor, Cal's life is much more complicated, and the game is defined more by the oppressive nature of the Empire. In general, the score for Survivor has a much darker tone compared to the score for Fallen Order, which Haab says had an "underpinned hopefulness" to it. "Stylistically, we tend to take inspiration from the things that inspired the original scores," he adds, "rather than trying to stick really close to the bone on the original scores themselves."
CAL KESTIS JEDI SURVIVOR SERIES
Haab, who has experience scoring other Star Wars games like EA's Battlefront series and Star Wars: Squadrons, nods in approval. " Mandalorian and Andor have been really good examples, I think, of things that have extended, where now people go, 'Yeah, that's Star Wars.' Whereas if you said to someone ten years ago, 'Hey, the recorder is gonna be a really important instrument to Star Wars,' people would have been like, 'What? Really?'"
"I think it's a really interesting moving target," Barton says. According to Barton, the idea of the "Star Wars sound" has changed a lot over the years, especially recently. They don't find that framework restrictive, however. While they still write within the structure of a video game, the music has to "feel" like Star Wars, which inherently has a cinematic quality thanks to its roots on the big screen. Haab and Barton mention film as a reference point, which is fitting, given the franchise they're working on. It's an element that acts in service of the narrative. They reiterate that their music is not something that needs to call attention to itself.
It's not as simple as writing an all-purpose combat theme a fight can be epic, frantic, or tragic, and the music should reflect the proper emotion.
"It needs to fill the gap between the player, in this case, or if it's a film, the audience, and the screen." In other words, they want the music to enhance the emotion that protagonist Cal Kestis (or whoever is on screen) is feeling and allow the player to feel that as well. "It's the same thing that makes a great film score," he says. Our interview is done on a video call with each composer in a different location, so the act of them responding with the exact answer at the same time is especially surprising and notable – they later explain that it's a philosophy they've shared while working on the scores for Star Wars Jedi: Fallen Order and Survivor.īarton gestures to Haab, who elaborates on the point. The music for Jedi: Survivor was written by Stephen Barton and Gordy Haab, and when I ask them what makes a good video game soundtrack, they answer in unison. One of the most important elements in achieving that is through music, and while the Star Wars sound is iconic and well-known, a good video game score has to be more than just an imitation of what came before.
CAL KESTIS JEDI SURVIVOR MOVIE
Whether it's the rush of stars streaking past a ship going into hyperspace or the distinct hum of a lightsaber, Respawn really went all out to match the aesthetic of one of the world's biggest movie franchises. Star Wars Jedi: Survivor is a fantastic game, largely due to the fact that it does such a good job of mimicking the Star Wars cinematic style.
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