Science-Fancy

We take a look back at how the unconventional Unreal ’98 OST changed the game for interactive storytelling.

Music is like a postcard to another spacetime. Used to depict what inspiration the composer found. Vivaldi apparently left notes upon his sheet music. He would detail how his compositions were related to the physical world. From frantic weather to the bleating of drunk old men. But, what happens when you are asked to describe an alien world contained in another dimension. How could you describe something that is fantastic, and Unreal.

In ‘98 for the release of Unreal Epic Mega Games hired Straylight Productions[*]. Straylight: the group name for Alexander Brandon, Dan Gardopée, Jake Kaufman and Andrew Sega who had previously worked on games Tyrian and the Crusader series. Proceeding Unreal [and with Michiel Van Den Bos on board] they would go on to create the soundtracks to Unreal Tournament, the popular first outing of Deus Ex, and the intensely loaded Jazz Jackrabbit 2 score. Unreal, the middle child, was eponymous in its visuals and sound production at the time. But the score, the score is as memorable as any screenshot or in-game motif.

The story of Unreal sees the protagonist (Kira, from now on) escape an eviscerated prison barge thrown into the cliffs of an alien planet. A lucky deal that quickly escalates into a fight for survival between her and its most recent Occupiers, the Skaarj. Who have subjugated the locals and are taking their home for all that is left in the fridge.

Sights And Sounds

From one prison to another; Kira embarks on her route to freedom. Surviving through Industrial complexes, ancient temples, more crashed space vessels and even into the skies upon floating islands. Magical islands that loom precociously over the surface of planet NaPali. Although guided in part by the messianic prophecies of the native Nali and the logs of other castaways, Kira is alone. Their lives lost against the brutality of the primitive yet technologically accomplished Skaarj.

At the time of its release Unreal offered superb visual fidelity. The coloured lighting and open vistas outclassed Id Tech’s gamut of browns and beige. Quake had Trent Reznor and Sonic Mayhems‘ great scores but those tunes were neatly static. In comparison to the albeit aged tech that Epic used on Unreal. What Straylight produced for the game was more dynamic than what redbook CD audio could provide.

Straylight and Epic used a kind of MIDI tech for Unreal: MOD tracking. Enabling them to store sounds and samples without a large data overhead. Bandwidth was still paramount even back then. And streaming CD Audio with data loading could cause stuttering. That could ultimately break the Players’ suspension of disbelief.

The score for Unreal is a proxy for world building. Where the tunes map the world of NaPali like a Sonograph. Compounding melodies that converse with synthetic voices to describe the trials and troubles of a dangerous and alien world. Occasionally it offers respite from the slaughter of assailants to take in the sheer scale found within the fantastic wonderworld of NaPali. Giving the planet a life inside the mind of the Player; The score becomes the zeitgeist of our adventure on NaPali. It really captures the mood.

That Is One Small Step For A Woman

Unhindered by cinematic moments Unreal relied instead on the ambiance and composition of the sound engine to afford emotional cues for the player. It is said to be better to show than tell and Unreal takes that to heart. With the soundtrack adding texture to the already pretty level geometry. And when required gives nuance to the hostile encounters during your adventure on NaPali.

The first steps Kira takes on NaPali are explored with a sweeping chorus of alien strings and pizzicato bass leads that echo the scene. There is an air of serenity at the beautiful vista. As Kira explores more of the immediate area she finds an entrance to a mining facility. Where on entry she hears another human cry out in desperation. Just moments after she hears of the mans’ comparable destitution a split crack follows. He appears as he is thrown towards a wall by a large an indomitable beast. The creature can see her now. It fires rockets; She fires her pistol.

The music reflects a change in danger in that scene. It moves from the lush aerial soundscape that introduced NaPali to a focused arrangement of the same song, but with a deliberate beat. The technique is now ubiquitous and commonly known as a combat theme. Unique to that stage and that environment, as a technique it serves to motivate. With it ramping up your adrenaline bar. Especially in events that, for now, are best left in the dark.

Further Towards The Spiral

The Unreal soundtrack features many themes based on situations and level architecture. As Kira proceeds to venture deeper into NaPali she finds an ancient temple devoted to a water God: Chizra. The score echoes this construction with a soft composition inspired by more earthly world music. And through its chambers you are haunted with contemplative melodies that resonate from the power contained inside.

Further into her journey, and midway through the game, Kira comes across another ancient construction: The Sunspire. A large building that houses a space elevator. It is within this segment that the music hits hard with reverence. Promising to meet her goal of escaping this world. So, as she climbs to the top of the sunspire the music follows with a winding arpeggio that reverberates with loosening percussion. The area is fraught with alien soldiers and the stage theme offers catharsis in spite of the risk they present as she ascends.

Following on from that experience Kira arrives at an island in the sky– the theme for which holds unfettered optimism. She reads logs on the way that imply there is a base up here which may have a ship that can be sequestered. Its new commission is to lead her to safety. If she finds it. Kira happens across a moribund village tightly controlled by the Skaarj forces and all that hope is subdued. Again the music succinctly conveys the feeling implied by the environs. Its timbre a reflection of both the dreamlike sky and the dejection of a subjugated and scared populace.

Star Gazing

A key component of the success of Unreals’ soundtrack comes from its omnipresent crescendo. Where many of the arrangements build up and pick up pace. And, in its ability to effectively convey the emotion behind a situation. Without the aide of lyrics it uses the timbre of synths and samples to bring meaning to an unfamiliar dimension. It is an exciting package of inspired melodies, techno rhythms and drum’n’bass arrangements.

Unreal Engine and Epic continue to pioneer great storytelling having landed firmly on their feet with Unreal. What became of Straylight Productions is another story, for another time. However members of the iconic group are still active in the music business. Leaving not just the Unreal soundtrack in their legacy but a whole collection of amazing themes for Listeners, and Gamers, to experience.

You can find more music from these artists over on their respective bandcamp pages:

Alexander Brandon: https://alexanderbrandon.bandcamp.com/
Jake Kaufman: https://virt.bandcamp.com/
Andrew Sega: https://xyzzy.bandcamp.com/
Michiel Van Den Bos: https://michielvandenbos.bandcamp.com/

*Although not officially a member of Straylight Productions at the time, Michiel Van Den Bos contributed upwards of 40% of the music in Unreal.

[Edit – additional credit attributed to Michiel Van Den Bos for his work on Unreal.]