singing certain notes of the chord
and it feels a little spacey, a little
drifting, but a lot more cemented in
some sort of world because of all of
the synthesizers,” says Graves.
Elsewhere in the score, Graves
uses pads that he created by manipulating Malukah’s vocals. In Steinberg’s Cubase, he chopped her vocals
into samples that he processed and
played via a Roland Fantom-G8 keyboard. So, appropriate for this game,
Graves is a human using technology
to interact with technology’s representation of a human, i.e., the digital
recordings of Malukah’s voice.
Graves points out another parallel between the score and the game.
“Whenever Malukah sings a phrase,
there is a single repeat of the last
couple of notes that she sang. Her
melody has this repeat that happens
at the end of each phrase. To me,
that is a literal musical interpretation of a ‘lone echo.’ There is literally a single echo of the melody she
sings,” he says.
The heartbeat of Jack, the an-
droid, acts as a rhythmic bass pulse
that drives the quieter moments of
the score, such as in the track titled
“Electric Sheep.” Graves says, “Since
you are playing as an android you
can escape into your own subcon-
scious and you hear this heartbeat.
That was an idea that Marc Turndorf
had from Ready At Dawn.”
Graves had already been toying
In single-player mode, the player controls Jack the android
Composer Jason Graves' studio
Olivia navigates around Kronos II as Jack looks on