The one thing that hasn’t changed from those early days is being on the lookout for those special “moments” where music and gameplay really merge together.
Now that game graphics have become on par with what Hollywood produces, the audio needs to match that “cinematic” quality but as a continuous immersive experience. Also, data size for music in a game is not an issue anymore, so it creates the possibility of having a larger volume of music along with submixes for interactivity. For example, Deserts of Kharak had over 100 Protools music mix sessions, with most of those mixes being active up until the game shipped.
Today’s audio production tools are designed to make it easier to maintain and quickly recall a huge number of music sessions. So that setup is primitive compared to what I work with now to produce a game’s soundtrack. Unfortunately I haven’t been able to make it out to Vancouver yet (where Paul works with his company, Studio X Labs) but I did the next best thing: this interview. But who is the man behind these moving soundtracks? That’s what I wanted to find out. You should have seen the FoH team slack channel when I said he’d emailed me back for an interview! Yes, ladies and gentlemen, he is that good. Why? Because I saw that Paul Ruskay was behind the soundtrack. Paul’s soundtracks add significantly to every game he’s worked with, and I’ve been listening to his OST’s since 1999.Īfter a ~5 year hiatus from gaming, Strike Suit Zero pulled me back into space games 2013. If you’ve played Homeworld, you know what I’m talking about: that moment when Paul’s rendition of Adiago for Strings begins as the camera wraps around the Mothership’s scaffold…it’s one of the most poignant moments in gaming history. An Interview With Paul Ruskay We talk to the man behind the soundtracks of Homeworld and Strike SuitĪs every Homeworld fan can attest, Paul Ruskay is a legend.
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