Were you interested in having gothic horror or steampunk specifically represented on the soundtrack?
JT: Yes, but really in more of a bastardized way. As far as the steampunk end of things, there’s some odd percussion and metallic clangs, but that’s about it. The horror elements came from a lot of listening to Bernard Herrmann, and I tried to go for a classic horror movie feel, which was expanded on in Episode Two. In general though, the music’s all a little bit off-kilter, which was intentional… mostly, anyways. Have you found that looping music tracks for video games is a challenge for a composer whose background is in film? JT: I haven’t really found it to be a problem, although there have been times that I’ve needed to write a two-minute piece and been at 1:50 and realized that I had no idea how I was going to get back to where I started. It can be a challenge to make it as transparent a loop as possible, but it’s kind of fun to try and figure it out. Was it useful reading through the archives of Penny Arcade webcomics when developing the soundtrack for the title? JT: It didn’t
