Soundwave Wednesday | March 20, 2019

In a recent Soundwave Wednesday post, I wrote about the sort of music I listen to while editing my fiction.

This week’s post features another instrumental piece, but this time it comes from what is arguably my favorite video game, Detroit: Become Human.

Detroit: Become Human is set in the year 2038 and follows the uprising of androids referred to as Deviants, who were created to serve mankind but have developed sentience and their own intuition and seek freedom. Within the game are three different storylines:

Kara, a house servant who deviates from her programming after realizing how abusive her master is towards his daughter and runs away with the little girl.

Markus, who deviated to protect his owner and ultimately finds himself in the position of leading a revolution demanding equal rights for androids.

Connor, the android sent by CyberLife, who is designed to assist the police in hunting down Deviants and stopping the uprising.

These storylines are part of a branching narrative directed by player choice. Each decision affects the next, influences relationships between characters, and can even determine whether they survive or perish. I tend to prefer story-driven games in general,  but Detroit: Become Human absolutely blew me away with the depth of the narrative and the fact that the choices you make really matter and, more importantly, have consequences to them (unlike Life is Strange, where most of what Max can do is reversible thanks to her time travel powers and ultimately nullified by the game’s conclusion).

One of my favorite things about Detroit: Become Human is the way each of the main characters stories are portrayed in a different style. Kara’s is filmed more like a home movie, Connor’s is the most cinematic, and Markus’s is shot like the POV of a news cameraman.

In addition to each protagonist being filmed in a different style, each has their own soundtrack composed by a different composer: Philip Sheppard for Kara, Nima Fakhrara for Connor, and John Paesano for Markus.

While I enjoy each style, I find myself especially drawn to Connor’s soundtrack. Since I’ve been editing a scene involving a character piecing together what has happened after the previous scene, it only makes sense to have the soundtrack of Detroit: Become Human’s most detail-oriented character playing in the background.

One of my favorites is Now, which you can check out below.

If you’re interested in checking out the game but do not have a PS4 or an inclination to play it for yourself, I highly recommend the series of playthroughs on Bryan Dechart’s channel. Bryan played the role of Connor in Detroit: Become Human and has since begun a Twitch and subsequent YouTube gaming channel where he and his wife Amelia (who can also be found in-game as several Tracis) have played through Detroit: Become Human several times to explore the various outcomes–and believe me when I say there are a LOT of ways this game can go. They have also played other titles including Until Dawn, Life is Strange, and The Last of Us. On several occasions, the pair has had guests stars who had a role in the game they are playing including several fan-favorite Detroit: Become Human cast members, Ella Lentini (Hannah and Beth, Until Dawn), Dayeanne Hutton (Kate, Alyssa, and Juliet, Life is Strange) and Kylie Brown (Rachel, Life is Strange: Before the Storm), which gives further insight to the games’ production and voice acting.

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