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"I'm
going to absolutely infuse this with heroism and make it "American." -
the bald eagle with the quiver of arrows in its claw. I do that
proudly in those cases, because that was a fine hour, a fine time for
fine men...and that's how you say, 'Thanks.' "
- Ed Lima
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Tracksounds grabs some time with
composers ED LIMA and DUNCAN WATT to discuss their work on BROTHERS
IN ARMS: HELL'S HIGHWAY. The two share some specifics about
how they worked together on this project, how this franchise's use
of music is different from most other WWII shooters, and what lay in
store for BROTHERS IN ARMS. |
CC: As Audio Director
at Gearbox, how did
you come to choose
DUNCAN WATT to
collaborate with you
on BROTHERS IN ARMS:
HELL'S HIGHWAY?
ED LIMA: Well Duncan
and I have known one
another both
professionally and
socially, and have had
a healthily respect
for one another, for
some time. I got the
opportunity to hire
someone to work on
this project for a
couple of months -
initally as an
orchestrator and
score-prep assistant.
Duncan ended up
excelling at the that
and had so much to
offer that he ended up
co-composing. The role
essentially grew to
fit Duncan's abilities
and talents.
CC: As Duncan's role
evolved, how did the
collaborative process
between the two of you
evolve?
ED LIMA: We worked
with a lot of pre-viz
material here. Being
in-house, I have
access to our
animation department
and story team. I was
able to work with
in-process footage of
our cut-scenes. Our
game is unique in that
we don't score any
action, so we are
really only working
with cut-scenes. In
that regard, it was
more like film or
television scoring. So
we broke the project
up into cues and
simply divided things
up as to what each us
wanted to work on. I
don't think there was
any specific sort of
system in place by
which I made those
decisions. Duncan, do
you recall us having
any process in place
for this?
DUNCAN WATT: We
started out to work on
some things even
before we had
cinematics to work to.
We worked on our
vocabulary and what
some of Ed's visions
were for the score. We
decided early on to
move in slightly
different directions
from what you would
expect from a typical
World War II score. It
was great working with
Ed early, so when the
cinematics came in we
were prepared. Some of
the things Ed already
had a pretty clear
vision for, but others
he would give me some
basic sketch ideas.
I'd also come back
with some ideas that
might be have been
able to work towards
what he was composing.
A little later, when
the cinematics came
online, we began to
tag-team it. There was
a lot of
back-and-forth in the
whole process. Most of
it was pretty
collaborative all the
way through.
CC: Ed, you had the
final call on each
track?
ED LIMA: Yes, but
credit where credit is
due. Duncan is a guy
who doesn't require a
lot of editing or
correction. His ideas
were pretty solid. By
working with the
story-team closely and
having been involved
with script-editing to
dialogue production to
dialogue editing and
implementation, and
being exposed to the
material on a more
holistic level, I was
able to inform some of
our decisions and some
of our edits with the
knowledge of what was
coming down the line
or a certain level of
subtext that we wanted
to hit on a particular
character.
CC: You returned to
some of the thematic
material, namely the
title march, written
by Stephen Harwood Jr.
in ROAD TO HILL 30.
What influenced that
decision and why was a
different direction
taken with the second
game EARNED IN BLOOD?
ED LIMA: Well EARNED
IN BLOOD was a funny
game. If you look at
the storyline of that
game, it's actual a
parallel storyline to
ROAD TO HILL 30. It's
not "The Empire
Strikes Back." It's
sort of a side story,
expanded universe sort
of thing. Now, HELL'S
HIGHWAY, in every
respect, was "The
Empire Strikes Back,"
if ROAD TO HILL 30 is
"Star Wars." So you
have got to quote
where you came from.
Of course we do our
new thing and we take
it into a dark space.
HELL'S HIGHWAY felt
more like a linear
progression of the
story and characters.
CC: So was this a
freeing decision or
one that constrained
you two?
DUNCAN WATT: Using
HARWOOD'S theme, I
thought of it more a
like quoting - like a
jazz musician might
do. Everything is
about how the emotion
comes across and, for
me, that theme brings
back memories of
having played the
first, seminal game.
So I wanted to hear
that theme at that
moment. I see it as a
quote that tries to
reach into the memory
of all those gamers
who played ROAD TO
HILL 30. I didn't see
it as constricting at
all. It's a great
melody and we did mess
with it a little, too
[laughs].
ED LIMA: Duncan is
right. It's a great
melody...a great
launching off point
for all sorts of
themes and variations.
I certainly don't feel
like we were hamstrung
in any way. We wrote a
lot of new material
that really didn't
touch on previous
stuff at all -
particularly where
orchestration and
texturing is involved.
We did things that the
first two scores
didn't do at
all...with the glass
bowls and Ligeti-esque
type of female
cluster, vertical
stuff there. There was
just no shortage of
new things that we had
to do. I think any
composer or artist
will tell you that
limitations are
inspiring, because
once you know what
your boundaries and
parameters are you
know how much space
you have to explore.
You can start
exploring, creating
and acting very
quickly. Once you know
where the cliff is,
you can try to push
close to it.
CC: Ed, you've been
involved with projects
like DOOM 3 and PREY
which were more
sci-fi/fantasy
first-person-shooters,
how does working on a
game like BROTHERS IN
ARMS: HELL'S HIGHWAY,
which contains so much
historical accuracy,
affect your
composition decisions?
ED LIMA: It's funny
that you talk about
this, because it
permeates through
everything. That sense
of duty or respect or
a debt to be paid...I
think that anyone who
works on a project
like BROTHERS IN ARMS,
BAND OF BROTHERS or
SAVING PRIVATE RYAN
will tell you the same
thing. It permeates
every decision you
make. You touch things
like humor with very
delicate hands. Also
the characters in this
game have a lot of
internal conflict and
you have to touch that
very, very carefully,
because when you meet
these veterans (and
we've had many of them
out here to the studio
for bonus features and
such) they talk about
their brothers - the
men that they fought
and died with.
There's nothing even
approaching any
ill-will or animosity.
Those guys just love
each other with all
their hearts. As far
as how that
gets into the music,
there isn't something
that I could site that
overtly caused us to
make any one decision.
What I will say is
that on a very high
level, a creative
level, we weren't
afraid to go "big" or
"heroic." Having met
these guys personally,
I'm going to
absolutely infuse this
with heroism and make
it "American." - the
bald eagle with the
quiver of arrows in
its claw. I do that
proudly in those
cases, because that
was a fine hour, a
fine time for fine
men...and that's how
you say, "Thanks."
CC: You've remarked
elsewhere that you'd
like to increase the
amount of
interactivity of music
within games. As we
talked about earlier,
for HELL'S HIGHWAY,
you're scoring
everything but the
in-game action. As you
watched the game
develop, were you ever
frustrated in looking
at sequences that you
felt could have
benefited from in-game
music?
DUNCAN WATT: That's a
phenomenally cool
question, but I think
I have a lousy answer.
Right off the top, the
decision was already
made that we would
only be scoring the
cut-scenes, so it's
not really applicable
to this particular
project. In the case
of HELL'S HIGHWAY, I
loved the decision,
because, as many
people have already
commented that there
is no musical score
when you are in war.
So if your goal is to
be realistic, as
wonderful as in-game
music can be, it
wouldn't be
appropriate for the
project.
CC: What was your
biggest challenge in
writing for this game?
ED LIMA: The biggest
challenge for me was
being lulled into a
false sense of
security in working
with linear scoring.
On a tv-show or film,
by the time you hand
the composer some
footage to score, you
are operating with the
expectation, from the
top down, that your
timing is locked.
That's important
because if you are
scoring to picture,
then you are making a
phrase 6 and 1/4
measures long because
you want to drop out
for a piece of
dialogue and then hit
the camera-cut that is
2 and 1/2 measures
later, and then you
want to change tempos
and so on. You're
dancing with your
footage to a great
extent. We approached
the music for HELL'S
HIGHWAY just as I have
described - like you
would on a film or
television show. What
I discovered, to my
chagrin, was that what
I called "locked" and
others call "locked"
were not the same
thing. We ended up
changing some scenes
and cutting some
things. We actually
ended up doing some
editing relatively
late and so we had to
repurpose material
original written for
scenes that got cut. I
imagine this is what
it would be like
working with GEORGE
LUCAS, where he is
cutting film all the
way up to three days
before release. The
things you have so
meticulously timed out
gets changed at the
last minute. I think
if I were to do this
project again, I'd
work in suites and
then allow ourselves
the opportunity to use
them as building
blocks that we can
assemble later on.
DUNCAN WATT: For me, I
wasn't involved in the
implementation. This
was Ed's project, so
he sort of sheltered
me from this. I think
I had a little easier
time with the whole
score, where I'm just
writing for music and
translating some of
Ed's ideas. The final
orchestration fell to
me and it was
balancing how
aggressive to make the
music, how thick to
orchestrate, how to
handle the
arrangement, so as to
leave room for the
sound-effects which
were still to come. In
a lot of cases these
effects were still
under production
themselves. Trying to
get that balance from
off-site was
difficult, so I leaned
on Ed a lot. Even at
the recording
sessions, I was
questioning if this
was thick enough and I
was trying to imagine
the scenes and how
they would come out.
Making these decisions
were very difficult,
but, in the end, the
arrangements are to be
listened to in-place
in the game and with
all the different
sound-effects and
dialogue. I am happy
that they are so easy
to listen to on their
own, but that was not
ever the goal.
CC: DUNCAN, let me ask
you about the latest
addition to the
BROTHERS IN ARMS
franchise, HOUR OF
HEROES for the iPhone.
How did that come
about and, since I
haven't seen the game,
was this a new piece
or something
repurposed from HELL'S
HIGHWAY?
DUNCAN WATT: That was
a repurposed piece
from a previous
project that I worked
on for Gearbox and
I'll leave it up to Ed
to answer further...
CC: Sounds like were
dancing some lines of
legality here.
DUNCAN WATT: It's
actually a deal that
Gearbox made and one
I'm very happy they
made, but to answer
the question, I didn't
do any specific custom
work for that game. I
do really like the
piece of music that's
in there and it sounds
great coming out of an
iPhone [laughs].
CC: Do you think that
we might ever see a
BROTHERS IN ARMS game
where there IS music
during gameplay?
ED LIMA: I'll tell
you, Chris...it's not
impossible. We found
at certain points as
we were polishing up
certain levels on
HELL'S HIGHWAY that
some parts would
really be different
with some music. We
have a few "specialty"
levels in the game: an
extended sniper
sequence and some tank
levels. These are a
bit of a departure
from the "realism
thing" but it's still
fun as hell. At that
point you're not
playing Baker, so
you're sort of away
from canon. It would
have been fun to have
some sort of British
armor march; something
we would have done a
little research for.
That's one case where
we might have skirted
that line a little
more closely, if we
did it all over again.
As far as complex,
dynamic, interactive
music systems...it's
just not that game. I
think that stuff is
fantastic and it does
make you feel like you
are playing a movie,
but BROTHERS IN ARMS
is just not that
series of games. It
wouldn't feel right.
CC: Should the gaming
community be getting
prepared to hear more
from you both on The
Battle of the Bulge?
ED LIMA: Duncan? Oh
wait. [laughs] Three
games in, BROTHERS IN
ARMS has been doing
healthily. Anyone who
follows the game
industry at all knows
how much in love with
sequels this industry
is and can reasonably
figure that there is
going to be another
BROTHERS IN ARMS game
in the future. HELL'S
HIGHWAY ends on such
an unresolved note in
terms of the war and
their relationships
that you're more
likely to see
something continue in
that vein than you are
BROTHERS IN ARMS:
MODERN COMBAT.
CC: What about you two
working on a project
together in the
future?
DUNCAN WATT: I would
absolutely love to. My
experience on this was
everything it should
be. I can't be more
proud of the work we
did together.
ED LIMA: Yes...ditto
that!
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