He says he loved games and the idea of making music from an early age, but that it took some prodding to realize combining the two might be a viable career path. Apt, considering an invasion from space is exactly what Mass Effect is all about. Velasco cites Space Invaders as one of his earliest video game influences. "Our goal was to keep the known Mass Effect sound but at the same time expand on it." "It's definitely a challenge coming into such a huge franchise," Velasco says.
#QUAKE II COMPOSER FULL#
Some fan posted on a message board 'It sounds like Mass Effect but new.' Mission accomplished."ĭikiciyan's collaborator on Mass Effect 3 and other games, Cris Velasco, says the duo's familiarity with the franchise and the Mass Effect team from working on the DLC eased the transition into creating a full score for the final game. "I think this was our challenge with Mass Effect 3. "The tricky part is to infuse your own sound without disrupting what has already been established," Dikiciyan says. His first experience with creating Mass Effect music was for the Mass Effect 2 DLC expansion Stolen Memory, players' introduction to the thief Kasumi.ĭikiciyan says the trick to creating a successful score for a franchise game is dancing between the lines of what has already been created. The German born composer and producer fuses classical influences with aggro electro synth to create gritty, emotional and heavily-layered pieces of music perfectly suited to videogames of all kinds. It's always good to build upon previous musical frameworks and color outside the lines."Ĭoloring outside the lines is a specialty of Sascha Dikiciyan's. We also included some of Mass Effect 2's grander orchestral style, and added heavily emotional content to the mix as well. We revisited the musical style that was created in Mass Effect 1, which was a heavily vintage 70s/80s synth sound (a la Tangerine Dream, Blade Runner, etc.). "The musical styles in the third game are a marriage of the first two games as well as Mass Effect 2's DLCs. "It made sense to stick to some of the conventions of Mass Effect 1 and 2," says Sam Hulick, the only composer of the three to have worked on all three games. Musically, the challenge of creating a score as dramatic and fulfilling as the game's story involved much the same process. It draws on elements of the first two games to build the story of the third: the final confrontation between the citizens of the galaxy and the Reapers. Narratively, Mass Effect 3 draws the story of Shephard to a close. It's a simple recipe - one part Hulick, one part Velasco, one part Dikiciyan - that, when combined, creates one of the most powerful and memorable musical scores ever created for a videogame. Since then he's worked on such games as Hellgate: London, Borderlands, Tron: Evolution and The Agency. Sascha Dikiciyan, also known as "Sonic Mayhem," has been laying down tracks since he wrote this piece for Quake II. Cris Velasco's credits include the God of War series, Battlestar Galactica, Splinter Cell: Double Agent and Clive Barker's Jericho. Sam Hulick is an award-winning game music composer who's been making Mass Effect music since the very beginning of Shephard's journey. The composers, themselves a three-part mix, draw their personal inspirations from such disparate sources as: Shostakovich, Depeche Mode, Ray Lynch, Prokofiev, New Order, John Williams, Mahler, Nine Inch Nails, Tim Wright, Beethoven, Devo, Michael Hoenig, John Powell, Kraftwerk, Howard Shore, James Newton Howard, Danny Elfman, Django Reinhardt, Cesaria Evora, Slipknot and Lamb of God. A three-part formula that, when shaken and stirred yields the musical accompaniment for one of the great science fiction gaming series. It's a simple recipe: one part 80s analog synth pop, one part epic orchestral composition, one part modern electronica.
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