Assassin’s Creed Mirage composer Brendan Angelides discusses evoking the feel of 9th-century Baghdad and bringing something new to the franchise.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Assassin’s Creed Mirage is, by most accounts, a return to the kind of Assassin’s Creed gameplay that first captured imaginations and sparked interest in the franchise. Since the first game was released in 2007, the Assassin’s Creed series has ventured farther and farther from its stealth-based roots, with games like Assassin’s Creed Odyssey much closer to full-on RPGs.
I think I got hired because I didn't sound like some other stuff. Admittedly, I had never played any of the AC games. I listened when I got hired for the job. They had me do a demo alongside a bunch of other composers. Admittedly, I listened to like, 45 second[-clips of Assassin’s Creed music], clicking through really fast on Spotify. I was like, “Oh, I get it. It's really big, dramatic, thematic music and there’s melancholy stuff,” but I didn't want to have it influence me too much.
It was a very different working process, but ultimately, with any kind of score stuff, it always goes back to the story, and “What is the core thing happening here?” In that sense, it’s the same. [I’m] just trying to get a sense of this character and the driving motivation, and trying to be able to extract from that as much as possible.
[We did] remote style recording of players from Egypt, Madrid, and Tunisia, and a handful of places. I just really wanted to make sure I worked with musicians that authentically represented the culture and came from those backgrounds, to be able to really let that voicing come through, and have it be something that was very distinct and authentic.
It's a whole different scaling system; it’s 24 notes as opposed to 12, and having these quarter steps in between was a daunting, intimidating thing. I just approached it incrementally, trying to get a sense of it. Then, once I linked with Layth and met the other musicians, it was a combination of me writing stuff out here and then having them play that, or having them improvise over other stuff I had written and then taking bits and pieces of that and working them in.
I'd love to hear about how the main theme came together, because it’s a beautiful theme on its own, and then it sounds like you took pieces of the instrumentation you're using for the rest of the score and made sure that everything was represented a little bit. I was wondering if that was very intentional on your part, and what your general thinking was.
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