Last week, Bastion creator Supergiant Games revealed their upcoming title, Transistor, and over the weekend at PAX East they gave gamers a chance to get their first licks in with it. Having interviewed Darren Korb before regarding his work on Bastion, I wasted no time getting in touch with him to ask him a few questions over e-mail about what his fans can expect from the musical side of the game.
Before we get to the Q&A, though, if you haven’t seen the reveal trailer, you may want to check it out:
What have you worked on musically and/or listened to between Bastion and Transistor and how have you seen those things affect your work on the title so far?
I’ve been listening to a ton of Imogen Heap, Radiohead, and Bjork to get myself in the headspace of the kind of stuff I’m trying to write at the moment, but in addition to that I’ve been listening to a bunch of unrelated stuff: The Darkness, Tenacious D, The Belle Brigade, Nada Surf, Ozma, The Beatles, etc.
That’s quite the unrelated group (that’s being said admirably as a fan of a number of those bands, by the way, haha). Would I be going too far to hope that maybe The D will power you to win more VGM awards for your songwriting prowess?
HAH… The D does possess great power…
What’s the musical direction that you’re taking for Transistor and how has it been evolving during the development process? Any bleed over from Bastion? More
Back in mid-November, after finishing part 2 of my review of the various versions of “Nate’s Theme,” I decided to send an e-mail to its composer, Greg Edmonson, because I really wanted to talk to him about his works. I hadn’t heard from him and followed up, but still found no response in my inbox.
A month after my first inquiry, having given up on the interview, I found myself randomly wondering whether or not spam message get forwarded to one’s main e-mail account from his or her secondary ones (I have many e-mail addresses that route to a singular one). So, I logged into one of those accounts and looked in the spam box. Sure enough, spam messages don’t get forwarded. Sure enough, there was an e-mail from Greg the day after I sent him my first inquirythat read: “Hi Greg, I would be honored to do this… Let me know… I will put it in my book!!”
Yes, he even used two exclamation points. Talk about facepalm.
I frantically typed up an apology letter and added him to my safe-senders list. Not too long after that, I got another e-mail from him and we both agreed to get back in touch after the start of the new year, yadda yadda, then I interviewed him on Valentine’s Day. Now that I’m finally done doing a basic clean-up of the audio of the interview, I present it to you, dear readers! But first, a post-preface preface:
I knew that Greg would be great to interview because I had already heard an interview of him a couple of years back. From the get-go, Greg was just as I had expected him to be: someone who is very amicable, passionate about his work, and someone who has a lot to say and naturally goes into a lot of detail while speaking. You’ll notice in the interview that I really don’t ask too many questions, and some of the questions I do ask are just me reacting to his narrative.
He is also someone who is very gracious, thankful for what being a composer has afforded him. He gives credit where credit is due, and when he talks about having opportunities that seem to come with the territory of being in the position that he is as a film and game composer, you can tell that he has not lost the sense of wonderment that one might have when they first get to do the things that he has been able to do and accomplish.
Because of Greg’s great personality, I think that you’ll enjoy listening to the interview as much as I enjoyed giving it. It’s certainly a long one, but Greg makes it sail by easily. Sorry ahead of time for the random noises of my chair creaking, my loud laughter, and the technical malfunctions that you might hear. Also, we jump around a bit during the interview, but I tried my best to break it down below: More
Less than a week ago I decided to get in touch with Darren Korb, composer of the VGA-winning soundtrack Bastion, to try and get an interview. Thankfully, Darren responded immediately and I was able to speak with him for almost 40 minutes a few days later (Sunday) regarding, among other things, some specific questions I had regarding his work after having reviewed it in December.
Below I have posted the audio file and even further down I have posted a few highlights that I found interesting in case you are strapped for time. However, the listener will be heavily rewarded, as Darren does most of the talking and doesn’t skirt around specifics. Plus, he shows a lot of personality, which makes the interview both fun and quick-moving.
Thanks again for the billionth time, Darren! And, I must say, from one lover of the burns to another: nice chops!