Interview of Danger: Composer of Haven Soundtrack

Posted by on 07.20.20
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The original soundtrack of Haven will be fully composed by French electronic musician Danger. With one foot in the world of music and the other in computer graphics and gaming, Danger is returning to the spotlight with his work for Haven after his first album 太鼓 and Origins. The first single “4:42 Still Free” is available and you can listen to it for free on YouTube or on other platforms like FanLink.

Emeric Thoa (Haven Creative Director): Musician, designer, gamer, video maker, visual artist… You have a very eclectic profile as an artist. Where does this come from?

Danger: I never wanted to choose between music and images. I grew up listening to music in movies and video games and watching music videos. Music and visual arts are just manipulations of waves, and their basic vocabulary is practically the same: wavelength, frequency, amplitude, whether it’s a color or a musical note. My music is enriched by what I learn through the images.

With all the media that we consume daily, I take advantage of everything I can to express what I feel, and I’d hate to be stuck doing just one thing. Writing the soundtrack to a video game is a great chance to expand this spectrum.

Emeric Thoa: Your music is usually quite dark, but Haven is a “feel-good” game. What was it like to step away from your preferred tone a little bit?

Danger: It’s true that I do like a mysterious, nocturnal atmosphere. If I take an overall look at my work, I realize that I’m more generally drawn to all the feelings that stem from childhood and adolescence. I’m still pretty connected to that part of me.

I feel like people tend to romanticize the emotional world of kids: it’s this wonderful world, a time of innocence where everything is just joy and “simple” happy feelings. That’s not what I remember: for me, childhood is a world where everything is new, everything is strange, where things are undefined, a world made up of irrational fears. It’s a world that’s weird, intuitive and chaotic, where everything is built on sensations. Hayao Miyazaki’s work offers a very nuanced representation of this particular vision of childhood, and his work was an important reference for me as I worked on this soundtrack.

While so far I’ve been more interested in exploring the nightmare zone in my music, the Haven soundtrack gave me the chance to explore other, brighter aspects of childhood.

Emeric Thoa: Even though the music from Furi and Haven are quite different, do you think there is some kind of link, a shared DNA between these two games and soundtracks?

Danger: Furi is a more warlike game, in one-player mode only, with a very retro/synthwave musical vibe. The music had to be really “tough,” “hard,” yet “knightly,” with an underlying idea of rupture. Haven is a game that leaves much more space for exploring the environment and the relationships between the characters.

Very early on, I felt that the most important emotion was the idea of a connection that the player has to weave little by little between all the various parts.

The music for Haven had to express this connection: something that’s built up little by little, that becomes increasingly solid, encompassing, reassuring, bewitching, while never denying its underlying fragility.

The design and conception of the two games are also linked through their Franco-Japanese identity, and my work in general shares these influences as well. I was heavily influenced by the Franco-Japanese animation series from the 80s, like “Ulysses 31” and “The Mysterious Cities of Gold,” two series with soundtracks that were really important to me, and I wanted to evoke memories of those childhood moments in Haven.

The two soundtracks are also connected through a feeling of adventure, a hero’s journey, and an epic quest. These emotions are also fundamental in my music, which really made things easier in general for our collaboration.

Haven and Furi also share the fact that they’re games that don’t focus on realistic graphics but rather a distinct visual approach with a very unique style and color palette. I was also careful to use a more restrained musical palette, and I hope it’s very recognizable without being a purely synthwave product.

Emeric Thoa: As videogame fans, we are curious to know if there is any iconic video game you would like to compose music for?

Danger: I’d love to do more soundtrack compositions in the future. There’s a bright future for cross-over projects between video games and music, in the same way that in movies there are often director and composer partners who work together. I think the video gaming world could benefit greatly from this (Fincher and Trent Reznor for example, or Miyazaki and Joe Hisaishi).

Video games are in their golden age, where even AAA’s are trying out some weird things. There’s still a lot to be done in soundtracks. Personally, I don’t consider any movie or video game to be a “cult classic” if it doesn’t have an incredible soundtrack.

For now, I imagine my music more in the world of independent video games, which allows for projects that are a little rougher around the edges, but on the other hand I’d love to imagine my music being used in a game like Final Fantasy, a game from Hideo Kojima or Fumito Ueda.


To learn more about Danger, you can check his website.

Haven is coming to PC, Nintendo Switch, Xbox and PlayStation in 2020. More info here: https://www.thegamebakers.com/haven/

Take a break in Haven

Posted by on 07.10.20
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People often ask me why we didn’t do a sequel to Furi, and I usually answer that we made Haven because our goal is to surprise players, to innovate, to explore new experiences. This is the absolute truth. But there’s another side to it that I don’t always tell: Furi was exhausting to make. I needed a pause from fast paced action. I wanted a game that felt like a break between two action games. 

When I was working on AAA games, I played pretty much every blockbuster to know the market, the competition. But between a game of Call of Duty and Assassin’s Creed, I needed a pause, and I used to play 30 minutes of Flower. I remember this time fondly. This game helped me relax between two overwhelming experiences.

That feeling was at the core of what I wanted to make with Haven: a game that feels like a gentle breeze. A game that lets you relax. A game that’s like holding hands on a nice outdoor walk. One way to achieve that was of course with Haven’s concept: the love story of a couple trying to stay together. A couple gliding over tall grass on a deserted planet. 

Gliding and leaving a trail of tall grass is relaxing

But that relaxing feeling doesn’t come only from the game setting. All the game design around it has to make the experience smooth and chill. I wanted a game that felt light. Lighter than most modern big games that ask you to remember so many things.

If you don’t see what I mean by that, think about any big AAA open world game or RPG. They all have tons of features, most of the time the same features but with tiny differences in their implementation. Character progression, with lots of characteristics. Weapons and upgrades. Skill trees. Combos. Vehicles. AI teammates. Consumables items. Wide variety of lootable objects. Exotic gameplays like puzzles or races… 

All those features and content are exciting. It sometimes adds depth, it helps build the lore and makes the experience immersive. But it’s also a bit tiring. Playing those games is like learning a new language. There is so much content that, naturally, it means a lot to learn and remember. 

In order to create that relaxing feeling in Haven, we had to drop all that content. We had to reduce the amount of information needed. It’s a game where we want you to feel free: you broke from your chains and you explore a mysterious planet. We don’t want the game to be a drag by asking you to remember too much. To make it feel simple, we needed to make it lighter. 

Here is a bunch of concrete design decisions that came from this philosophy: 

No quest log

A RPG needs a main quest and side quests, right? Well, there are lots of secondary things to do in Haven, they are just not formatted in a “to-do list”. If you are like me, you already have tons of to-do lists in your real life… I didn’t want Haven to be yet another game with a list of objectives to complete. So in Haven, there’s a simple main objective, given by the story and no objective list! 

You can always have a chat on the couch to get a reminder of what to do.

After that it’s just about you exploring Source. To be honest, Yu and Kay do have a logbook. It helps you remember what to look for on the different fragments of the planet. But it’s not a list of tasks. There are no “tasks to complete” in Haven, because tasks are boring and tiring.

The logbook (bottom right) lists what’s been done and left to do on each fragment.

Simple economy

In many games, you have to manage resources, currencies, and optimize your spendings to save every little gold coin you can. In Haven you won’t have to worry about micro management. You have enough or you don’t, that’s it. 

The inventory screen is rather simple compared to most RPGs

On Source, Yu and Kay gather flow, a very handy energy they use for many things. The flow meter isn’t a detailed gauge with number and an advanced refill system. It’s a ball of energy that’s more or less bubbly depending on how much flow you have. 

You never need to know “precisely” how much flow you have, you just need to know if you’re running out.

You don’t have to check how much rust (the red crust that covers the planet) or food you have, you just go craft something and you’ll see. Basically, you never really think about managing your inventory. 

Very few numbers

Even action games can be crowded with numbers these days. In Haven, you don’t have a precise health bar in combat, but instead your characters show their health status through the color of their energy suit and by the way they move. The game is designed so that you don’t need the precise info (note: and it’s also designed to be colorblind-friendly). 

When their health state changes, the characters walk and stand differently.

Their stamina and hunger are reminded through the dialogs. The only number you see is the damage when hitting an enemy or taking a hit. 

Numbers here are not really important, they just show which attack deals more damage.

Simple crafting

Crafting can be very fun and prompt experimentation. But it can also require a lot of memorisation. In Haven, the UI simply shows you the ingredients you have. You can start mixing them and you’ll see a preview of the result. 

Aaah… Creamberry flambé <3

No weapons or skill tree

I’m a RPG lover. I can appreciate spending hours choosing the best equipment for my team. But Haven’s taking a break from that. There’s no choice of weapon or skill tree. Sometimes it’s also fine to just focus on being good in combat, by yourself. And to drop the burden of comparing stats for each item in the game.

Yu and Kay evolve and gain new skills, but the game is not about becoming more powerful.

Very little HUD and UI

It seems easy to state “there will be no HUD”, but eventually you find out that people don’t understand a complex game without help from the interface… That happened to me on many games, indie and AAA alike. The only way you can achieve this is by actually having a very simple game. Journey pulled it off brilliantly. In Haven, the HUD is really super light, because the game is simple from the root.

While gliding, you just need to focus on your characters and where you want to go. 

Play coop seamlessly

Even starting a co-op session has been designed to be easy and simple. If you’re playing solo and want someone to join your game, they just have to take the gamepad and press a button. Co-op will start automatically. There’s no menu. You don’t have to start over a new game. 

A second player can join simply by pressing a button on their gamepad.

Of course simplicity is not the only way to go. I love a hairy and dense RPG as much as anyone else. But sometimes, between these deep and exhausting systems you learn in games, it’s good to take a little break. It’s what we wanted to achieve with Haven. Make it a gentle breeze, a soft hand that will take you through its journey without asking you to care too much about details. In Haven, we only want you to care about Yu and Kay. 

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