When TDZ Games invited me to contribute to Eliosi’s Hunt with sound effects in 2016, I was blown away. I had already seen one of the game’s development trailers and was very excited with such a highly polished, visually stunning Brazilian game.
At first, all music would be done by french composer Thomas Frost, while I would be in charge of developing most of the sound effects and implementing all audio events via FMOD. It was cool to come up with the idea that Eliosi’s fellow drone should have a “voice” of its own. It was great to think of “phrases” for it to say without any actual words, only glitchy sounds.
Near the end of the development, I was invited to contribute with some music tracks as well as, unfortunately, Thomas was unable to finish all tracks due to personal reasons. Thomas had created this great “future rock” music, mixing gritty guitars, piercing synths and heavy electronic drums – I had the duty of keeping up with the great aesthetic he had developed.
I created the music for two stages, the Volcano and the Ordunalos’ Desert, as well as the title track that blends into the game’s first cutscene. I lent my heavy metal background to the stage tracks, and had my first opportunity to produce some trip hop-inspired music for the title screen.
One cool thing about the title music is that it is composed of a simple accompaniment track, with drums and bass, with randomly triggered guitar and electric piano licks on top. All the licks are a bluesy interpretation of the stage themes. This provides some thematic coherence to the game’s music while avoiding ear fatigue in the title screen since there are plenty of melodic variations in the BGM.
