The first ALL-TIM game that I worked on was Full Throttle. That was something Michael Land, Clint Bajakian and I scored together, and Tim was one of the writers on that. "Our first working together was on Day of the Tentacle. "I came to LucasArts maybe six months or a year after he did," McConnell says of his prolific collaborations with Schafer. "You had to actually drive into the garage and climb up a scaffold into where the cubicles were, inhaling your own exhaust."Īt that time, the composer was working out of his cottage studio apartment in Berkeley, where he had composed the score for Grim Fandango. "In those days, Double Fine was literally working out of a garage," McConnell recalls. Our first pitstop on this voyage through the music of Psychonauts lands us in the humble, gasoline-scented origins of the franchise. We heard from the composer on his experience composing and recording for the game series. McConnell set out on his first collaboration with series developer Tim Schafer while the two were working on the sequel to Ron Gilbert's Maniac Mansion at LucasArts.Īfter Schafer went independent in the year 2000 with the formation of Double Fine in San Francisco, McConnell scored the in-game music and cinematic cutscenes found in Psychonauts for publisher Majesco. Most recently, the highly ambitious soundtrack for Psychonauts 2 culminated in Double Fine Productions reuniting with voice actor Jack Black for a memorable musical number.īehind each of these music scores is composer Peter McConnell, whose varied experience and battle-tested resolve played an instrumental role in resurrecting the franchise upon its acquisition by Double Fine. In this sweeping overview of the music of the Psychonauts franchise we are afforded a glimpse into the series' origins and its unpredictable return as a first-person VR title. We delve into the mind of the wildly versatile musician, celebrated for his collaborations with Tim Schafer at LucasArts and Double Fine Productions.īy Jerry Jeriaska (The Ongaku), Eric Bratcher
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