This “Starfield” presentation is about more than adventure music.
The newest “Starfield” developer diary concentrates on music, but it also includes a slew of enticing concept art images and some possible gameplay elements.
“What I dubbed the sanctified triplet was how I looked at “Starfield” all the time,” recalls composer Inon Zur. “Everything is flowing, changing, and returning to its original state.”
Mark Lampert, the game’s audio director, focuses on this concept and appears to connect it into the game’s flow: “You go out, you venture, find, and return,” he adds.
“You work hard to return home,” Zur continues. “That’s what makes us feel so whole.” We want to finish the task for ourselves. We want to reach the end of our adventure. We’ll find something, we’ll discover something, we’ll take it with us, and we’ll bring it back to our house.”
“Starfield” has been billed as “Skyrim in space” and “the Han Solo simulator” by Bethesda, and Zur and Lampert’s comments appear to tie into some of those ideas’ moment-to-moment gameplay rhythms.
“In terms of sound design, what can I do with that?” Lampert inquires. “Could we utilize it as straight-up sound design instead of weaving the main theme in at several crucial stages in the game — leveling up, discovering new places?” Any of the music will be turned into background someplace.”
Lampert also discusses “Starfield”‘s audio production in relation to the game’s overall development and how it compares to Bethesda’s typical productions.
He claims that “we have no influence over how the user decides to enjoy the game.” “We had to completely change our perception of size.” We’ve always done things like make a game on a planet’s surface. Against this black starry background, we now have these enormous distances. It’s a blank canvas and a large playground, with all the elements in place for you to create your own tale, whether you jump right in and want to follow the main quest and plot to the apparent ‘one point leads to another, leads to another,’ or you want to make your own story.
Lampert adds, “The music has a weird way of playing the perfect chord change at the right time.” “A lot of it simply happens at random,” says the narrator. You catch a glimpse of the valley at the perfect moment, and there are moments like that that feel scripted but aren’t. I enjoy that each gamer has their own unique experience, and they’re not alone.”
Some great concept art is strewn throughout the film to break up the details.