A. Saulski: You are undoubtedly a man of success. You created music for both parts of The Witcher , which also really shape the atmosphere of the music for the third installment. Ancestors …, Clash , Painkiller …, but also music to a radio play based on Andrzej Sapkowski’s Hussite Trilogy … All these, don’t be afraid to say it, cult songs. But there is definitely a dream project that you would like to implement, and so far there has been no time or opportunity. Please tell me about it.
A. Skorupa: I don’t have a dream project (laughs). All my dreams came true a long time ago. Maybe they were simply not excessive, or maybe what the Lord mentioned in the question was their fulfillment? It is important for me that the project entrusted to me is interesting and challenging for me as a composer. Challenges include the possibility of developing, expanding my skills, and polishing my workshop, e.g. by finding myself in musical genres that I have not been able to compose so far. My dream (thankfully still fulfilling) is not to fall into a routine and not be labeled in a given style and genre of music. To be constantly invited to projects that will push me forward.
A. Saulski: In Clash II , as in the previous part, music will be an important element in building the atmosphere of the game world. How do you, as a composer, approach creating a mood in music? Is it something that can be scheduled in a note sequence? Or maybe these are the processes that take place on the subconscious level in the artist’s soul when he thinks about music? I can’t help but get the impression that in both parts you reach a bit deeper, somewhere on the edge of human consciousness, smuggling something fleeting, but still present in the atmosphere of this world and games.
A. Skorupa: It is very nice. I am tempted to write something against the truth, echoing your assumptions about the conscious “reaching deeper” (laughs). The truth is, I’m not, because I’m not trying to be, innovative when it comes to composing music for games. I try to remember that the game is a product designed to give people (usually) simple entertainment, so it should not serve musical experiments digestible only by sublime palates (i.e. ears), but serve (going further in culinary comparisons) well-done, rich with additives and specific spices for a hamburger that will satisfy everyone’s hunger. So I never go against the accepted canons, but I try to pay attention to details. Perhaps it is these details that make my music enjoyable and stay in my memory for a longer time. However, I would be too modest if I had not written that of course I like to add something surprising to my conventions, albeit in a decidedly conservative way. I like such safe experiments, playing melodies on unconventional instruments or (which happens more and more often) composing songs for a game (usually in a non-existent language).
A. Saulski: Finally, I would like to ask you about your favorite game soundtracks. Do you have any that evoke specific emotions in you? Which do you listen to for relaxation?
A. Skorupa: It changes every week (laughs). Many soundtracks are made, and each one is completely different, extremely interesting in its otherness. It is difficult for me to cite specific titles so as not to favor any of them. As a composer-craftsman, I listen to all kinds of music, also for educational purposes, so I would have to mention several dozen titles here, which would be out of date in a week or two. Listening to relax is also a relative term … Sometimes I relax by strong and rhythmic DnB, sometimes pouring New Age … it all depends on how the day went. But it wouldn’t be that I completely avoided the answer. I recommend the soundtrack from Ori and the Will of the Whisps . It is an emotional and beautiful orchestral journey in a fairy tale creation. I also like going back to the game soundtrackHeavy Rain – an emotional journey, but this time in a dry edition.
