Kindred, welcome to another Dev Diary where we hear from the team at The Chinese Room (TCR) and learn about the development of Vampire: The Masquerade - Bloodlines 2. Tonight, we’re joined by Audio Director Daan Hendriks, who lifts the veil on TCR’s approach to music for this game and introduces the composers behind the key scores for the game. We are excited to announce that the exceptionally talented Craig Stuart Garfinkle and the internationally renowned Eímear Noone are joining the team for Bloodlines 2 as lead composers. In addition, fans can look forward to the inclusion of music created by the legendary Rik Schaffer, known for his contributions to the first Bloodlines game! [h2]Music Direction[/h2] The core of any TCR game always revolves around narrative: the story and its characters. Across all disciplines, our focus is to serve the narrative as well as we can. Music is of course a very powerful tool for this, as it can provide subtext and unspoken meaning in a way that no other artform can. [previewyoutube=Dx4ON8ugDzM;full][/previewyoutube] A key aspect of the music direction has therefore always been to develop strong, memorable themes for the main characters in Bloodlines 2. These themes are interwoven throughout the game, sometimes directly in a scene involving their character and other times indirectly, perhaps when we want to subtly hint about deeper, unrevealed narrative entanglements. Another important aspect of the musical direction has been to develop a style that fits our game. There are numerous considerations that informed this: the diverse cast of characters you meet, the noir-inspired art style, the motivations of the player character, Phyre, the pace and violence of the combat encounters and of course, the rich musical heritage from the original Bloodlines game, released in 2004. We looked for the score to invoke a sense of timelessness, a sensation of age and melancholy. We also wanted the music to express a strong sense of contrast, of opposing extremes, and to be a vital part of the game’s narrative, adding depth to the moody, nocturnal atmosphere. The original Bloodlines had a captivating and immersive feel, as well as a strong musical identity, which of course, served us well as a point of reference and inspiration. So did the music written for Hardsuit Labs’s version of Bloodlines 2 – more on that later. References also came from many other places, such as OST’s from films like Only Lovers Left Alive, Under the Skin, or the Coen brothers’ oeuvre, as well as jazz and choral music such as Gregorian chanting. Through their extreme versatility and sheer tour-the-force of musical capability, our lead composers Craig Stuart Garfinkle and Eímear Noone have molded all these influences into a stunning and expressive soundtrack that perfectly encapsulates the mood and themes of the story being told in Bloodlines 2. The styles range from distorted guitar feedback, haunting, ambient soundscapes, driving, heaving combat music to strikingly beautiful melodic, wistful and gloomy themes. They have made extensive use of creative processing and unconventional techniques, and the results are outstanding. I can’t wait for you to hear it all in-game, but for now, over to them to tell you more about their process. [i] -Daan Hendriks, Audio Director (TCR)[/i] [h2]Craig & Eímear[/h2] Working on the music for Vampire: The Masquerade – Bloodlines 2 has been an incredibly rewarding journey, full of opportunities to experiment with sounds, styles, and instruments. Bloodlines 2 combines the modern urban environment of Seattle with characters that are centuries old, layered with the mystery, horror, and allure that makes the vampire lore so captivating. Crafting a score for this unique world has allowed us to explore everything from film noir to Eastern European influences. One of the most exciting aspects of working with video game music is the freedom to experiment with rich, dramatic compositions that might not fit in other forms of media. Unlike other music forms, which are often limited by time or structure, video game scores allow for expansive, thematic soundscapes that evolve as the player moves through the story. For Bloodlines 2, this freedom has been crucial. We are both supporting an engaging narrative and adding an extra depth to each character, many of whom often are many decades old, mysterious, seductive, and dangerous [previewyoutube=_Aahn6NdPz4;full][/previewyoutube] In creating the soundscape for Bloodlines 2, we wanted to balance the old with the new. The game takes place in a contemporary setting, yet the characters, vampires with decades of history, carry the weight of their respective eras. To embody this, for us, it meant combining the harmonic and instrumental qualities of film noir with the gritty, raw, and often darkly seductive tones that vampires embody. The main approach for the music in Bloodlines 2 has been the organic nature we went with for the score. We ended up relying a lot on manipulated guitars and cello throughout. While listening, remember that even things that might sound like a synth or electronic instruments are often not; it’s a guitar or cello. Rather than using electronics, we used natural instruments in unusual ways so they were not identifiable. These manipulated instruments provide an unsettling quality that fits the game’s atmosphere, close to reality but always slightly distorted, like looking through a fractured lens. We turned to film noir for its atmospheric harmonic language and also for its instrumentation. Guitar, strings, and dark piano melodies frequently evoke a classic, brooding feel suitable for characters such as these with long and twisted pasts. But vampires aren’t just elegant or tragic; they are also raw, primal, and predatory. To capture this, we infused guttural, primitive sounds into the score. Deep percussion, drones, and dark-sounding elements mimic the underlying danger that lurks beneath the surface, reminding the player that these beings are elegant yet eternally tied to something visceral and untamed. We had the opportunity to incorporate a unique element for one particular quest. In this sequence, an old Victrola plays a traditional aria, serving as both a plot device and a hauntingly beautiful soundtrack. Writing an aria for this was really exciting as it’s something you don’t normally get to do in video game music. We worked with one of Ireland’s top sopranos, Celine Byrne, to create this piece, blending operatic tradition with the game’s dark, modern tone. This aria stands out as a significant musical moment within the score but also serves as a narrative clue, weaving music directly into the storytelling. Each character in Bloodlines 2 has their own personality and backstory, which influences the music we created for them. For characters with roots in the Balkan/Anatole area, like Phyre, we drew from Middle Eastern scales and harmonies, introducing sounds and modes that might be unfamiliar to Western listeners but evoke an ancient and dark allure. We even had our cellist Adrian Mantu imitate the way traditional instrumentalists would perform on the Balkan fiddle. That's the source of the harmonics and Ponticello accents. [previewyoutube=GesFOxic9Q0;full][/previewyoutube] Another example is what we did for a certain enemy type Phyre encounters in the game. To give them a distinct sonic identity, we recorded the sounds of shovels being banged at different pitches, creating unique percussive instruments. This method allowed us to craft a truly raw, organic feel that resonates with our soundscape through the score. The result is a haunting, metallic rhythm that’s both unsettling and compelling. These recordings became one of the musical identities of the entire score because they were so unique and effective. [previewyoutube=gUtwwBXadoY;full][/previewyoutube] One of the recurring themes in Bloodlines 2 is the seductive danger vampires present. To express this in the score, we relied on slow, sensual rhythms and minor tonalities that evoke a sense of allure and mystery. Vampires in Bloodlines 2 are not just terrifying monsters; they possess a fluidity and sexuality that make them both attractive and dangerous. The use of the human voice has been an essential component in creating this seductive quality. We used vocals to add a deep and atmospheric texture. The voice becomes a living instrument. Resonating with the subtle intimacy that is intrinsic to the vampire’s allure. Close, personal, and yet ultimately dangerous. The human voice as an element also adds to the organic nature of the score. Bloodlines has a dedicated fanbase, and with that comes an expectation of continuity, a desire for the familiar alongside the new. As composers, this was both an opportunity and a challenge. We wanted to respect the original while expanding on its themes and introducing fresh elements that would suit the story of Bloodlines 2. The original Bloodlines score had a distinct sound that many fans hold dear, so in Bloodlines 2, we leaned into some of those established atmospheric qualities, like the dark, moody overtones and the sense of lurking danger. However, we avoided directly replicating any of the old themes. Instead, we focused on the underlying tone that made Bloodlines unique, incorporating noir-inspired elements while introducing a more organic approach. [previewyoutube=xOig1fOgn5g;full][/previewyoutube] Building the world of Bloodlines 2 required a different approach from the fantasy games we’ve previously worked on, which were set in worlds so different from the real world. Fantasy worlds often call for sweeping orchestras and epic, thematic compositions. But Bloodlines 2 demanded a more intimate and introspective score, reflecting a world that is urban, gritty, and inhabited by beings who lurk in the shadows of the modern world. This smaller, more focused soundscape draws the player into the dark underworld of the game’s setting. We focused on subtle, atmospheric cues that complement the game's environmental storytelling. The choice to use organic sounds allowed us to build a sense of a place that feels real and present. Even within this stripped-down approach, the characters’ ancient history and their modern urban surroundings of Seattle create a nuanced soundscape that pulls the player deeper into Bloodlines 2’s world. [previewyoutube=Xt3sg7hj-ko;full][/previewyoutube] Creating the music for Bloodlines 2 has been a journey of blending the old with the new, the organic with the manipulated, and the seductive with the terrifying. This project has allowed us to explore unconventional sounds and shape a soundscape that complements the game’s dark, complex world. We hope that, as players move through the game, they feel the depth and intricacies that we’ve tried to instill in the music. Each note, each beat, and each sound is crafted to bring them closer to the characters, the setting, and the mystery that lies at the heart of Bloodlines 2. Whether it’s the metallic clang of a shovel, the eerie call of a manipulated cello, or the haunting strains of a Victrola aria, every piece of music is designed to resonate with the world and the stories of Bloodlines 2. [i] -Eímear Noone & Craig Stuart Garfinkle[/i] [h2]Music Systems & Implementation[/h2] Multiple music system functions have been implemented for Bloodlines 2, enabling us to present the compositions in an immersive and adaptive way. From narrative quest progression to non-linear exploration, combat encounters of varying intensities, cutscenes, conversations, UI and diegetic score, it all needs to be dynamic and transition smoothly between each other. The challenge has been presenting all of this in an immersive way so that the player doesn’t notice the complexities of the systems that drive it. A lot of the heavy lifting is done in our game engine, Unreal Engine, providing our audio implementation middleware Wwise the appropriate variables to utilise its music hierarchy effectively. We can go into two examples here: combat and dietetic: [h2]Combat[/h2] Combat encounters are divided into four primary states: [olist] [*] Exploration (Enemies are above a minimum proximity variable) [*] Stealth (Enemies are within the minimum proximity) [*] Investigate (Enemies have received a stimulus and are looking for the player) [*] Combat (They have found you!) [/olist] Each of the above states has additional variables driving them. We track the number of enemies unaware, aware and in active combat, the proximity from the player and the threat level that the player is under. Threat level is comprised of various factors such as enemies' attack power, maximum health, blood reserve and player health. All of these feed into the system allowing us to raise and lower stems and transition between cues according to the action in game. Player abilities also come into play with this system, transitioning and ducking depending on the ability performed. [previewyoutube=g8ossg1XRBw;full][/previewyoutube] [h2]Diegetic Systems[/h2] There are several locations in the game where music plays diegetically, including the Glacier hotel lobby, the Makom Bar and the Atrium nightclub. Each of these pose a different spatialisation challenge with differing rooms, corridors, doors and windows. The system has been implemented to ensure that the music fades in naturally as you approach, diffracts around corners, and is occluded by any barriers as it would be in real life. [img]{STEAM_CLAN_IMAGE}/34747353/a746cb125bbba30ce1330eaf3c38931683e810f4.png[/img] [img]{STEAM_CLAN_IMAGE}/34747353/1ec7c087f97397cf6683ec1adbccbec0a0910d7b.png[/img] [i]Description: Visual examples of the diegetic system.[/i] In order to achieve this we get the location that we want the music to emit from and use it to drive the panning position and volume. Said location is handled via splines that project the position a variable distance ahead or behind the player, which then controls panning, distance and stereo spread. High frequencies fall off as distance increases as you would expect, with additional occlusion at specified spline points as well as functions for doors opening and closing. The screenshots above show an example corridor spline where the music position will follow ahead of the player, as well as the pink debug spheres where the music position will end up when entering the main room. [i] -Mike Lane, Sound Designer (TCR)[/i] [h2]...and One More Thing[/h2] As many of you may already know, the development journey of Bloodlines 2 has been through significant changes, initially in the hands of Hardsuit Labs (HSL) before transitioning to The Chinese Room (TCR). This shift presented a unique opportunity, as it left us with an extraordinary collection of music crafted by Rik Schaffer, the original composer behind Bloodlines 1. Rik had been contracted by Paradox & HSL to compose for Bloodlines 2, and the result was a rich library of musical pieces that had yet to find their place in the new direction of the project. Throughout the development process, it became clear that this music was not just a source of inspiration; it had the potential to enhance the game’s atmosphere in a profound way. As Craig and Eímear began to shape the soundscape for TCR's rendition of Bloodlines 2, we actively sought opportunities to weave Rik Schaffer’s compositions into the fabric of the game. Now, we are thrilled to share that these stunning pieces have been integrated into various segments of the gameplay. Players will experience them during intense combat encounters, poignant narrative moments, and as they explore key locations within the game world. We believe that this addition not only enriches the gaming experience but also beautifully complements the exceptional original score that Eímear and Craig have meticulously crafted. The culmination of these musical elements elevates the overall quality of Bloodlines 2, providing an even deeper and more immersive experience for players. [previewyoutube=XbNHBjrrTP8;full][/previewyoutube] [img]{STEAM_CLAN_IMAGE}/34747353/a070269d27bf57079b569d6948c9cd0e3951c812.png[/img]