I thought this would help make it distinctive. I decided right from the start that FTL would sound cinematic but without an orchestra. I'm a fan of space horror more than space opera, and there's already plenty of bombastic sci-fi music out there. Can you tell us a little about how you came to select that musical direction for the title music?īen Prunty: I was asked to have something at least vaguely chiptune-esque and not overly dramatic. Having played through FTL a few (hundred) times, I have to say the music is strikingly appropriate to the tone of the game itself - when I start a new game, the title music is almost a reminder that I'm almost definitely going to die alone in space. I was intrigued, because I was expecting more of a hero's-fanfare, never-tell-me-the-odds kind of overture. Seriously, they're everywhere! Other than that, I'm pretty satisfied with how it came out.ĬapnCurry: The first time I played FTL, I noticed the title music was kind of lonely and maybe a little regretful. Jdodson: When you look back at your work on FTL now, what comes to mind? Anything you might approach differently?īen Prunty: I might not have had so many hi-hats in all the battle tracks.
He just launched a pre-order for his new album "Curious Merchandise" and has two preview tracks "Fractal Wheel" and "Swamp Witch" available to stream on Bandcamp. I contacted Ben and he was kind enough to answer some questions I had about FTL and the other stuff he is up to right now. I picked up an FTL bundle on Steam that included the score and was impressed with Ben's work. From the opening track of Ben Prunty's "Space Cruise" to the more etherial "Engi," the score is important to building the overall feel of an open and lonely universe. One large element in the mixture of FTL's awesomery is the score. In a world of impossibly difficult rogue-likes FTL ups the challenge but dares to be fun and unique.
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