Symphony's symphony
The music makes our game of pretend come alive.
While a mite premature because contracts aren’t written, the second season of The Thief will — if I can pull it off — have its own score.
Early on, I discovered how important the music was to the story. Audiodramas are often music-light, and there is disparate opinions about whether prominent music is obnoxious or not - and I fall happily, selfishly into the latter camp. The music makes our game of pretend come alive.
I license music for commercial use but consistently find I’m falling back on the same creators: Orchestralis, Crypt of Insomnia, and the like. At a high level, it makes sense. Of course the work of the same creators weaves together well, and this helps make the soundscape of The Thief feel sound - designed.
And even though the right folks get paid, at the base of my skull there’s a niggling irrational guilt that shares the same venn diagram as my domage-feelings about leaning too hard on my friends. I feel a bit like a mooch.
So, with a little free time on my hands, I wrote1 the music underscoring the teaser for
.A few days later I wrote an original theme for The Thief called “Canary".
I learned music made for the stories I tell made those characters really sing — and that as happy I am with my own drabblings, I really don’t have the vocabulary, skill, or stamina to write tense or sad or urgent or lulling backgrounds.
But I am speaking with a someone who does.
Furbelow
The Thief is produced by the fyrd: our thegns
, , Trei Brundrett, Andy McLellan, Eudico, Rebekah Monson, Andy Priestner, Mike Atchley, Patrick Myers, and Cordelia Black.You can join the fyrd and help me make this stuff through Substack or Patreon.
I am from the fruityloops generation.