Composer Olivier Derivier talks about reviving the sound of Dying Light 2: Stay Human

death light 2. // Courtesy Techland

My path has always been video games about trying to survive. I love feeling helpless in the face of a brutal world where all odds are stacking against you. It’s an escape from my everyday life in that…oh. shit.

Dying Light 2: Stay Human It is Techland Studio’s sequel to the 2015 video game dying light. The concept of the series revolves around “What if you were in a zombie-infested city where your biggest weapon against them wasn’t weapons, but parkour?”


Yep, that scene is all I was thinking about too at first. One of the hardest things to do in a first person game is to discover how to make platform jumping and jumping both fun and practical. Few people have checked it out, outside of this IP address.

The other defining element of dying light The privilege is that they eat their cake and… they eat it(?) too. Inside the games, the daytime zombies are much quieter, like the old George A. Romero retards. When night falls, everyone is completely gone after 28 days Fast zombie nightmare. It’s the best of both worlds for fans of every undead school.

Recently released version to dying light The universe has expanded into a place where survivors try to rebuild society, although the zombies are not defeated. Besides, the player character is responsible for making decisions about how to shape the future of humanity.

We spoke with prolific composer Olivier Derivière via an interpreter about recording for the Abbey Road soundtrack, crafting a live score, and what it takes to remain human.

dirty: How does the process of crafting a game soundtrack begin?

Personal Oliver Dervier

Olivier Dervier. // Courtesy Top Dollar PR

Olivier Dervier: There are two dimensions. The first is the artistic approach which means the genre of music, instruments and themes. The second dimension relates to interaction. How will the music interact with the game. It includes long conversations with various members of the developer team, mostly with the creative director.

You’re not logging into the lockscreen of the movie, you’re composing for a seamless 100-hour experience. What did you do objectively and technically to start this?

This is a very difficult question because games can last for an hour like Streets of Rage 4 or hundreds of hours death light 2. Of course, we can’t log 100 hours of gameplay with unique cues all the time. So the strategy is to evaluate the different gameplay loops – what players will do over and over again – and how we can dress them up so they feel different and interesting each time.

at Dying Light 2, I really wanted to promote the idea of ​​storytelling in an open world, where players are of course free to roam the game world and do whatever they want. But the game can tell two stories at the same time: the scenario and the player’s journey. The last one is the most important when it comes to open world games, and I think the technology provides enough freedom to really support it in a unique way.

I wanted to create a post-apocalyptic soundscape. How did you make new post-apocalyptic machines to pull this off?

Creative Director “Pyza” wanted to think of the broken world death light 2. everything in death light 2 He approaches the subject, from the shattered city to the broken characters. So you should follow the music. That’s why I asked my friend Nicholas Brass to create a unique instrument he called “electric flutes” that really look “broken”. Plus, because of the scale and emotions in the game, we’ve added an orchestra, but not a regular orchestra. I have been honored to work with the Contemporary London Orchestra, which can provide truly unique joints. Together, we’ve created something that feels a little uncomfortable, a little broken.

How did you feel when you signed up for Abbey Road?

It is always a pleasure to sign up for Abbey Road. Because of COVID, I had to be in my studio and do remote sessions. Not only that but for the first time I had to record the orchestra separately. First the strings, then the woodwinds, and finally the brass. It was an opportunity for me to arrange the music differently than if the orchestra were together.

You mentioned that recording your own soundtrack is completely different from the in-game experience. What systems allow the soundtrack to develop organically into the player’s actions? How do you compose with that in mind?

I’m really into designing music for games. This means that the music must have specific functions depending on the actions of the player. For example, in death light 2if you start playing the music, the more parkour moves you make, the more music you get until you reach what we call a “parkour flow” that hits the peak of the music.

To create such a feeling, you first need to design the idea, test it and eventually produce it. It is a long process. But after many failures and retry, I was able to get to what I had in mind.

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death light 2. // Courtesy Techland

I’ve come to this from some of the most in-game payout results of the decade –Plague tale And the vamiber. What did you learn from your immersion in the arrangement and musical character of these works?

Plague tale And the Vampire One similarity is the cello played by the great Eric Maria Couturier. But one is more melodic and the other more synthetic. Each project is a puzzle for me about how to write and produce music. That’s why I spend so much time diving into the creative director’s mind to understand what they really want. They have all the answers. You need to listen carefully to what they say, not about the music, but about their game and all solutions will come to you.

death light 2 It represents a huge departure from the first game, in terms of sheer volume of story, dialogue, context, etc. I don’t know if you have thoughts on the first game, but I’d love to know your impressions. Beyond that, I’d like to know how you handled this with thoughts of a twist around this new vision?

death light 2 Huge! Like super big. It was a real challenge for everyone. I’ve worked closely with Techland for three years to deliver the best music experience players can experience. We wanted to tell a story within an open world without making it too linear, so I had to create the most complex musical structure I’ve done so far.

Tell me all about exactly what it was like when you started your goal-scoring career with games that aren’t appreciated yet mysterious And the obscure II. It was probably my only chance to ask you about those gems.

Ha! Old memories. The mysterious The series has a special place in my heart because it was the first game I ever recorded. I can’t tell you everything but I will tell you this. This experience showed me that programmers are really worthless in the eyes of the gaming audience. I spent days and sometimes nights working with one programmer, in particular, Bruno Kariz. Thanks to him I was able to achieve what you can experience in the game: music streaming despite all the load times. It may seem trivial today, but back then, on PlayStation 2, having such a feature that would seamlessly play music between gameplay, stories, and loading was groundbreaking. So, for all the programmers who over the years have given me the ability to make my music shine, I would say: Mercy!

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