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Maia is a new god game from indie developer Simon Roth.
Maia is a new god game from indie developer Simon Roth.
8,115 backers pledged £140,481 to help bring this project to life.


Hi everyone!

Thanks for all your support so far. Our next big media release is going to arrive on Monday, but in the meantime, I thought it would be interesting to explore something we've only partially talked about before: Maia's audio. So here's Nick Dymond, who has been working hard on the sound to compliment our lovely visuals...


Simon asked me to write a bit about the music and sound design that I have planned for Maia, so I figure I'll share a little bit of the story so far and then give some insight into where I want the audio in the game to go.

First off, I'd like to say thanks to everybody for their support on this Kickstarter. It's been great watching peoples enthusiasm get sparked by all of the hard work Simon and the team have put in. Hopefully this is just the start - we can't wait to make Maia a place you can go to.

Simon and I first began discussing the project over the summer. During a long chain of emails, interspersed with YouTube clips of all sorts of music and films, it became obvious that we shared the same vision for the game. Soon after, I began initial work on putting together the library of sounds and recordings that were used in the trailer which I'm sure you've all seen by now.

My intention for the music is to draw from the sound and texture of classic 70's science fiction films and electronic music. In order to do this, I'm adopting some recording techniques that mimic the production of the time. This includes using live takes of analogue synthesisers and sequencers, tape noise, analogue delays and so forth. I've got a few rather nice bits of vintage equipment that will do the majority of the work. For those of you aren't huge fans of 70's synth music (and I suspect there are many ;D) there will be a range of more modern influences throughout, so don't panic.

Personally, one of the things that first comes to my mind when I think about 70's science fiction is the glorious sound of the technology. Indeed, THX 1138 was the first film to have a credited 'sound designer', the legendary Walter Murch. Then, later, who can forget the sound of the computer switching on in the opening scene of Alien or the wheezing bellows and squarewave beeps of the Voight Kampff machine in Bladerunner*. The colony in Maia will be littered with all sorts of these sounds that I hope will breath life into the the base.

In terms of the aesthetic and narrative of the music, I'm aiming to emphasise the isolation and desolation of the planet surface in contrast to the encroaching technology and comfort of the colony. There's an element of this in the initial trailer music, where the camera tracking into the base brings a shift from the environmental sounds into the musical realm. This basic premise, the tension between the planet and the colonists, is going to inform a lot of the work I do.

So, without wanting to bore you any more (I could go on about this stuff for days and probably weeks), I'll leave you with a tiny excerpt of some of the sound design that I've put together for upcoming video, a non-too-subtle homage to Vangelis**:

Right, I'm off now to contemplate the sound of a chicken burning-up in lava.

Take it easy everyone,

* I know this isn't 70's... ;)

** Note: The music in the final game will not have such reverential musical influence as the upcoming video.


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    1. Missing avatar

      Nick Dymond on November 23, 2012

      @Jonathan Thanks man. I really appreciate your support :)

      I'm so full of ideas for this game. Fingers crossed we can make it happen. Incidentally, I also co-run a new two-man indie studio ( where I also write music. Though the stuff that's available currently is from 24hr game jams so not of the scale that Maia or our other future projects will be.

    2. Jonathan Brodsky on November 22, 2012

      The music is so beautiful! It pushed me over the edge into backing.

    3. Missing avatar

      Nick Dymond on November 16, 2012

      Sorry for the triple commenting, this is 'post-pub' so bare with me.

      @Jonathon Maybe if we hit the funding goal I can look to do some more blog updates during production. Share some of the tips and tricks and give a bit of insight into the creative process (mostly coffee).

    4. Missing avatar

      Nick Dymond on November 16, 2012

      BTW - I paid for the soundtrack tier so it better not be rubbish ;)

    5. Missing avatar

      Nick Dymond on November 16, 2012

      Hah, I had to back the project in order to comment on it! Simon, I'm onto you ;)

      @cameron Yes, you're right! Thanks for the correction. I've had it (wrongly) in my mind that it was THX for a while. I'm glad I found the most public opportunity possible to make that mistake. Incidentally, I had the chance recently to see Apocalypse Now in a cinema. Even though I've seen it a bunch of times already, it pretty much blew my mind.

    6. Cameron on November 16, 2012

      Apocalypse Now was the first film to have a credited Sound Designer, though it was Walter Murch. :)