Linear Composition

Cut Scene: Warcraft, Death of Hellscream

Composing music for a Linear cutscenes requires a descriptive approach. This means spotting the video for a selection of changes, especially within; character expression, interactivity (e.g. fighting or conversation), moments of emotion (e.g. tension) and change in state (e.g. location).

In the represented scene a pair of Orcs are skirmishing an unknown wasteland/lair, tension is already heightened at their battle ready stances and general edgy movements. This is represented by slicing strings in motion with there sharp changes of eye-sight direction.

The place is desolate, misty and dark. A synthesised wind was produced for a non-earthly sound and edited with a filter to create a ‘bubbling’ effect as the ground is stricken with steaming cracks containing a green, glowing and possibly bubbly substance.

It becomes apparent they must be looking for an enemy, horns represent a sort of curiosity and creates the question these warriors are asking; “Where the hell is he/she/it?”. Layers of strings continue to build on one another to heighten tensions. A chorus effect adds extra movement to the strings. A bell/gong at different pitches in different directions sounds, adding to the curiosity.

A pace of low level Timpani acts as a drum beat. It is also reactive to character movement (boss tail)

Once the boss appears a distinct new horn is raised, answering the calls of the questioning brass section. He strides onto screen, dwarfing the pair. A large footstep alerts them both, reinforced by many of the instruments in the arrangement sounding at once. A moment of silence to appreciate that these two may have made the wrong choice in picking this fight.

An exchange of words occurs, a looped section of music plays at low level, compiling of a similar riff to keep familiarity. This will be to engage the spectator too the conversation, not worrying about missing anything special within the music.

The boss introduces himself by sticking his spear into the rocks the Orc responds with a battle cry, as he is on the ‘hero’ perspective the battle cry is much more impactful than what was a much more a powerful statement wedging a spear through boulders. The hammer smashing the ground gives of a thunderous roar, inspiration taken from Thor the God of thunder. War drums sound the fight scene is now really beginning.

Using an array of strings to create rips too show the dismay these characters have for one another.

The evil enemies snake tongue has tempted one of the Orcs into an emotional folly, he attacks unleashing his weapon through the air. A large collision and flash of light, was the attack effective? No it barely left a scratch.

It is the creatures turn to attack, breaking into a stride, strings at high intensity build on the fact that this beast has the upper hand and is putting a lot of energy into his retaliation. The blow obliterates the ground the Orcs are standing on. Both are hurled in either direction a rising-layered sub is worked reactively in with the music. The character on the left takes the most damage from the attack, a small sub for a mark of respect to increase the sense of the intensity of the attack.

It is up to our remaining hero. He realises he is the only one capable of defeating this axis and is clearly distressed by the falling of his ally. The music switches over to a more sensitive and emotional tone, on his knees the Orc contemplates what he will do, red eyed he seeks his heart for the revenge he longs for. He cuts down the beast with ease, the music not giving much resistance against him. He has successfully avenged his partner, the boss disintegrates into a ball of fire, his demise putting the world at ease.

Fade out with synthesised chord.

Advertisements