Would you consider yourselves to be avid gamers? And do you think being well-versed in video games would give you any advantage in composing the music for one?ĪNDERSEN: I wish I could call myself an avid gamer. We looked out across the San Francisco skyline and talked about war, oppression, diesel-powered robot-dogs and Nazis in the USA-the world of The New Colossus. GORDON: Martin, Nicholas Raynor and myself met in a top-floor hotel bar in San Francisco, the type of place where you sit on low chairs and they serve Scotch with a tiny straw and a slice of lime. So how did the two of you end up coming together to compose the score for Wolfenstein II? But, my big passion as a kid was music, and I guess as I got older, I looked for ways to combine these two interests.
![wolfenstein 3d title theme wolfenstein 3d title theme](https://i.ytimg.com/vi/7-BEKSj4AZg/mqdefault.jpg)
For me, these machines were gateways into other worlds, other universes. I lived in a small remote town in Central Queensland, and there was a pub with a few arcade machines. MICK GORDON: I was really into games as a kid. Before working on LIMBO, I had done a couple of experimental short films, and my experience with sound installation work meant that I already had an understanding of the nonlinear nature of games. What has interested me ever since working with visual media is the kind of magic that occurs when you combine sound and image-the way in which our perception will always try to glue the two together to form a single impression. Along the way, I got more into cross disciplinary work, such as theater performance, installation and video art. Before that I had already been working as a composer for about a decade, mostly in the field of contemporary and electro-acoustic music.
![wolfenstein 3d title theme wolfenstein 3d title theme](https://m.media-amazon.com/images/M/MV5BMTk4NjFjNDItNTgzMS00YmRmLTk3YWUtOTFiN2U5MjMzYjRhXkEyXkFqcGdeQXVyNDI2MDA5Mg@@._V1_.jpg)
MARTIN STIG ANDERSEN: The first game I worked on was LIMBO.
#Wolfenstein 3d title theme Pc
The franchise's newest entry, Wolfenstein II: The New Colossus, (out now on PS4, Xbox One and PC from MachineGames and Bethesda Softworks) contains some of the strongest, most epic musical contributions heard this year.ĪP spoke with The New Colossus' composers, Martin Stig Andersen ( LIMBO, INSIDE) and Mick Gordon ( Wolfenstein: The New Order, DOOM), about the video game scoring process and what went into creating the soundtrack to Captain William Joseph Blazkowicz's newest Nazi-killing journey.īefore even getting to Wolfenstein, can you tell me a bit about how you originally got into composing music for video games and where that interest stemmed from? And with great graphic capabilities comes more improved musical capabilities, as well. With technology's steady advancement since the series' 1981 debut, the look and feel of the Wolfenstein universe has improved exponentially.
#Wolfenstein 3d title theme series
The Wolfenstein series has been a part of video game culture for the better part of four decades, and the most recent franchise installments have truly upped the fictional WWII action.