There’s a observant – some things are best left unknown. But Outlast 2 is a kind of diversion that throws counsel to a wind, promulgation we on a fraudulent tour along with inquisitive reporters Blake and Lynn Langermann to uncover an unfit murder. Impossible on a surface, during least. Deep in a wilderness, over civilisation’s control lies a sadistic cult that practises dim rituals – a controversial articulate point of Outlast 2 that almost saw a diversion criminialized in Australia. In Outlast 2, Red Barrels Studio turns a fear recipe on a head, ditching asylums for obsolete siege and a frightening new score. Composer Samuel Laflamme spoke to Gameranx about his background, a artistic process, and regulating audio as a absolute form of subconscious narration.
Gameranx: Your low-pitched talents have lent themselves to documentaries, commercials, games and cinema – can we tell us how we became concerned in a song industry? Was it always a passion?
Samuel Laflamme: Since my childhood, I’ve always been a outrageous film soundtrack fan. Danny Elfman’s Batman was a initial soundtrack that had a outrageous impact on me. Other soundtracks that done an impact on me embody Star Wars (movies and music), and so many 80’s film and song soundtracks. When we was a teenager, we would play a diversion when examination cinema where we would try and theory a composer in a categorical titles before saying their name on a shade only by listening a character of a music. This helped me learn some-more about a composers signatures and their styles. we took piano lessons, though didn’t have any normal exemplary training. we only wanted to only learn film and TV themes.
At age 15, we was desirous by John Williams, James Horner, Hans Zimmer and Danny Elfman to being composing. Later, we went to a University of Montreal, where we took Electro-Acoustic combination classes. we detected electronic song and fell in adore with a song of Radiohead, NIN, Bjork, and Peter Gabriel. In a early 2000’s, for about 5-10 years, we started component song for radio in Montreal. we stoical a song for documentaries, movies, TV shows, and even a playground and other live shows.
In 2012, we met some guys that were starting an indie video diversion company. we unequivocally favourite a thought of operative with band for this project. we felt we had something to tell about this story… it became a outrageous success, famous as Outlast. This plan determined myself as a composer for a video diversion industry.
Gameranx: As a composer for Outlast, your song helped emanate a terrifying atmosphere that awakened hundreds of thousands of fear fans. What was it like entrance behind to do a audio for Outlast 2?
Laflamme: Because we worked so tough on a initial one to emanate something unique, it would have been uncanny to only duplicate that work a second time. The new plea was to emanate something as novel and as singular as a initial one was, though during a same time, from a totally opposite perspective. This authorised me to enhance my horizons and emanate an worried and frightful score.
“Outlast 2 authorised me to enhance my horizons and emanate an worried and frightful score…I used instruments to emanate new, strange, frightful sounds that evoked unfortunate feelings”
Set in Arizona, this new plcae authorised me to start acid for a new sound. we used instruments like guitars, banjos, basses etc. afterwards tweaked them to emanate new, strange, frightful sounds that evoked unfortunate feelings. At pivotal points in a score, we wanted to move behind some critical elements of a strange game’s measure to remind we are still personification an Outlast game.
Gameranx: Scoring for a fear diversion is opposite in that we need to plead a genuine clarity of fear, one of man’s many primal emotions. How do we interfuse by those psychological barriers with sound?
Laflamme: All a audio pattern was combined by Francis Brus, a lead Audio Director during Red Barrels. He, Philippe Morin (Red Barrels co-founder) and we motionless a chain of a measure via a video. The categorical idea of a song was to act as a subconscious narrator, revelation a actor what to do. (hide, run, jump, etc) Some other “musical” and thematic cues were used to code a diversion as Outlast as well.
To start a process, Francis would uncover me a turn of a diversion and explain a form of knowledge he wanted a players to feel. We would plead and share ideas on how to emanate that moment. Then we’ll try my song marks in a diversion and exam it. Philippe also helps out a lot. He competence send me a diversion stage as a reference, or send me a square of a documentary about a Jonestown Massacre, or something else that he consider competence enthuse a combination for a level. Once we’ve finished a compositions, we come together to plead and confirm a final decisions on a sounds.
Gameranx: You’ve mentioned Red Barrels has given we a lot of compositional freedom, that sounds like a blessing for any musician. Were there any hurdles we gifted as a result?
Laflamme: Yes it’s always smashing to work with people who trust you, your talent, and let we demonstrate yourself and try your craziest ideas. My biggest plea was to combined a best song measure for a project. Because it was a routine of 2 and a half years, we was means to ceaselessly go behind and check my work, exam a scores and correction. To be honest, we was totally out of my comfort section not regulating a band this time. we still wanted to emanate a visible score, though also we wanted to try new sounds along a way. we attempted to make sounds and song ideas that were as fear inspiring a initial Outlast, since we knew there will be a approach comparison.
Gameranx: After gaining a repute as a fear composer, is this a genre you’d like to continue operative in within games music? Why or because not? What other styles are we penetrating to explore?
Laflamme: Let me put it this way. It depends on a people we work with and a peculiarity of a partnership between us more-so than a genre of a project. Whatever a genre, if we feel devoted and can demonstrate my ideas, I’ll really vehement and be means to furnish a best music. Because during a end, what’s critical to me is to make a song tell a story to a audience. When we have a ability to work with extraordinary collaborators, no matter a plea that we have to face, we will be means to emanate a many extraordinary score.