The dungeon music transitions smoothly between exploration, tense moments, and when the player is in the midst of combat, while the whole system is reactive to the relationship the player has with the factions in the area.Īll of this together achieves a smooth, scored musical experience that reacts to the player’s choices in the game. The end result is a music system that flows seamlessly from the randomly generated ambient music in the empty wasteland to the layered, location based music in the towns. We ultimately decided that a location-based, adaptive and reactive music system would be the best way to alleviate the problem. In such a large world with so many hours spent roaming the wasteland, it would be easy for the music to get repetitive. To this end, Inon brought everything full circle in Fallout: New Vegas with a masterful score that perfectly fit the environment. We wanted to pay homage to the history of the series and draw a line between Mark Morgan's musical style from Fallout 1 and 2 and Inon Zur's musical direction from Fallout 3. In order to do this, the music had to match the atmosphere of the world to a T. My goal for Fallout: New Vegas was to make sure the music fit in seamlessly with this soundscape and would help to subconsciously guide the player through their 100+ hour experience.
From the long-decayed, echoing gunshots to the dense, layered ambiences, these are the sounds that pull the player further into the post-apocalyptic world of the Mojave Wasteland. Atmosphere is the key ingredient in the Fallout: New Vegas soundscape.
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