Then I took that style and expanded it out into the whole game, adding variations for each island.” Then Justin Ma finally sent me that 2cello take on Hans Zimmer’s Mombasa on YouTube and said, ‘make something like this.’ So I did, and that became the trailer music you can hear as a bonus track on the album. “We spent almost a year where I was coming up with various music prototypes and then we would all agree they didn’t work,” Prunty tells me in an interview. READ MORE: ‘Watch Dogs: Legion’ got a lot of things wrong, but it got British music right.This would be the studio’s second game, following on from the cult status of FTL – it needed to land. There was to be no Neon Genesis Evangelion-like hyperpop intro here, no mournful Nick Cave-inspired homages to The Road. The game – a fairly minimal strategy title where a crack team of human pilots fend off an endless horde of alien kaiju at the end of the world – needed to be different from what people expected. T took almost a year for Ben Prunty and the development studio, Subset Games, to come up with the right sound for Into the Breach. This week, Dom Peppiatt chats to FTL: Faster Than Light and Into the Breach composer, Ben Prunty, about taking a different approach to the apocalypse, and the importance of knowing when to silence do the talking. Rock The Spacebar is a twice-monthly column investigating the great music that underpins your favourite games.
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