I should point out that game's story actually ends in the early 1950s, but I didn't want us to miss out on the phenomenon of rock and roll, so I put the cutoff date for the music at 1960, though I did allow a few songs on the soundtrack that were recorded after 1960. What you have in there are the songs I didn't find annoying after listening to them a few thousand times. I kept on listening to those songs, especially as I worked on the game's script, and eventually narrowed it down to what you hear in the game.
I listened to almost nothing but this music for a long time and ended up with around 1,000 songs that I liked. I ended up with thousands of songs from around a dozen different licensors' catalogs. I asked for everything recorded between 19. JS: Early on in development, I requested submissions from all of our regular partners in the music industry and a few smaller labels we discovered when we were working on BioShock. GS: How do you decide what tracks make it into the game and what doesn't? Unlike most of our other projects, I actually became part of the dev team for a while. All the fun stuff, basically.įor Mafia II, in particular, I took a personal interest in the game and functioned as lead writer, music supervisor, casting director, and voice director.
My team and I deal with things like a game's story, dialogue, casting, voice-over recording, mo-cap, cutscene and trailer production, orchestral score, and licensed music. At 2K, I'm director of creative production. Jack Scalici: I've been in the game industry for about 12 years now, and I'm lucky to have worked on so many fun projects. GameSpot: Tell us about yourself and your role on Mafia II. By clicking 'enter', you agree to GameSpot's
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