From screen to stage: How gaming music is transformed for the concert hall

Game music concert producer SOHO Live is set to present a world tour of music from hit 2019 action-adventure game Death Stranding this autumn. Death Stranding: Strands of Harmony will feature orchestras from Sydney’s Metropolitan Orchestra to the Thailand Philharmonic, as well as the London Metropolitan Orchestra under the direction of conductor Andrew Brown.

CM sits down with composer Ludvig Forsell, who composed and oversaw the game’s original soundtrack, and orchestrator (and composer in his own right) Chad Seiter to find out how the duo have transformed Forsell’s ambient and atmospheric soundtrack for the concert hall – and what they’re most looking forward to sharing with fans of the game.

How did you get involved in the world of gaming music and orchestrating it for the concert hall?

Ludvig Forsell (LF): Video games had always been a big part of my life growing up. I was always interested in all sorts of games, and inspired by music of all kinds. After moving to Japan and realising that I wanted to make a life for myself out here, the choice of career path became pretty evident as I always wanted to further my work with music. The gaming industry presented itself as a very stable way for me to make a living doing just this.

That being said; while all types of media have their own quirks and traits, I guess I was always drawn to the interactive side of video game music; being able to create a piece of art that is an inherently different experience for each person is such a fun way to interact with the audience.

Chad Seiter (CS): I actually started in film and TV scoring – super ‘linear’ stuff where every moment lines up with the action on screen. That experience is super helpful when I need to reshape game music into something that feels like a satisfying, structured concert piece. Game scores can often be ridiculously complex – way more than people actually realise, so knowing how to break them apart, dissect them down to their basic elements and rebuild them for orchestra is key.

“As an orchestrator, I’m kind of a translator – I take what they wrote and figure out how to make it about the orchestra”

Game scores are usually made of modular bits – layers looping and reacting to what the player’s doing in real time – I call that ‘non-linear’ music. It’s designed to go on forever, but still keep your ears interested. Game scores and concert music live in two totally different worlds, and honestly, it takes a solid grip on both to bridge that gap.

You’re both collaborating to adapt the Death Stranding score for the concert hall. How do you approach partnerships like this?

CS: Every time I work with another composer, my default mode is to blend their voice with mine, especially when we’re shifting something from the game into a live setting. As an orchestrator, I’m kind of a translator – I take what they wrote and figure out how to make it about the orchestra, because that’s why we’re there.

Ludvig’s been awesome to work with. He’s super chill, gives me space to be myself creatively, and understands what I do. That trust lets me take some risks musically and try cool stuff. For example, the first Death Stranding game does not have much brass, and in our concert, we have a massive brass section. But it’s not always like that. Some folks are very hands-on and specific, which is fine too, but this project has been extra fun because of how open he’s been. I’ve really enjoyed getting to know him.

“Creating a piece of art that is an inherently different experience for each person is such a fun way to interact with the audience”

LF: For a collaboration like this to really pay off it’s important to have trust and I find that trust can only be gained through honest conversation about the concepts and ideas that were the key to the original music. Once the trust and understanding is there, I think it’s then my job to give Chad as much freedom as possible. Especially with something as weird, ambient and far removed from a traditional orchestral setting as the Death Stranding score, it is of great importance for me to be able to completely hand things over to the arranger and give them the freedom to go wild – of course, with the full understanding of the key components to each piece.

Chad Seiter, what’s your top priority when beginning a new orchestration project?

CS: First, I gather everything I can – full scores, sheet music, stems, and audio. If I can, I’ll have a chat with the original composer: I want to really understand the material. Once I feel confident I’ve acquired enough knowledge and game assets, that’s when the logistics come in and I put on my ‘producer hat’; I need to plan how big the orchestra should be, how much it’s all going to cost, what instruments I’m going to use – that kind of thing. I look at venue budgets, local musician fees, even how expensive it is to move instruments and equipment around (cartage can be a beast!). So I try to nail all that early so there are no surprises down the road – solid budgets make solid art! Thankfully I love doing that stuff. It creates the box in which I will live in until the premiere finally arrives (and I’m getting really excited for that)!

“Game scores and concert music live in two totally different worlds, and it takes a solid grip on both to bridge that gap”

As well as composing video game soundtracks you were also audio director at Kojima Productions – how did this experience on both the creative and practical sides of production influence your work?

LF: Being the audio director and composer for the first Death Stranding game was a huge undertaking, not only because of the amount of work needing attention, but also because it was my first time in that role – I honestly didn’t really know what I was getting myself into! It was through this experience, that I think I got a chance to see the production from angles not usually available to the composer, and it was definitely a privilege to sculpt the soundscape with both the sound design and music in tandem. I think this helped create an original approach to the aural experience that I hope carries over to the sequel as well.

I think people will get even more of a kick out of the music from the sequel and how it’ll be presented for the concert. I wrote the music for the sequel much more from a listener’s perspective; I wanted it to not only carry the story, but stand on its own in a different way than its predecessor.

Ludvig Forsell: ‘I firmly believe that music for films, games and TV is enormously strengthened by the bonds we as viewers build with these stories, and when we then listen to the music we also relive those moments’ © Niko Lanzuisi

When adapting Death Stranding for the concert hall, are you aiming to replicate the experience of the game or create something new?

CS: I always try to bring something new to the table, and I work hard to build something fresh for the stage, but I make sure it still hits the same emotional beats; I want it to feel like an extension of the game, not just a concert. The people who come to these shows have poured hundreds of hours into these games. They know when something feels off – gamers can tell if you don’t understand the material.

“Game music has gone from niche to mainstream and it’s been incredible to watch that shift happen”

LF: We are trying to create something that really elevates the music for a full orchestral experience. This is then accompanied by – and empowered by – the live visuals. The gaming experience varies from person to person, so I think it is important to keep what makes each piece special and not stray too far from there, so the core elements will still resonate with each person. I firmly believe that music for films, games and TV is enormously strengthened by the bonds we as viewers build with these stories, and when we then listen to the music we also relive those moments. Our goal is to give everyone a chance to relive Death Stranding again, albeit through a different lens.

Why is it important for game music to be heard in concert halls?

LF: As with any kind of music, getting to see musicians interpreting music in a live setting is a natural progression for that music to live beyond the bounds of its original state. As a composer for media, I am not often given the opportunity to bridge the gap between myself, the screen and the people interacting with my music. From a personal standpoint, I couldn’t be happier to get a chance to be part of the experience along with an all the fans who trekked all those miles in the boots of Sam Porter Bridges. I hope that what we bring to each show will let people transcend their understanding of their connection to the game and its story.

“I work hard to build something fresh for the stage, but I make sure it still hits the same emotional beats”

CS: When I first started doing this, game music wasn’t really a thing orchestras took seriously, and I felt like I had to push to even get it considered. Thankfully, I was much younger and full of hubris, so I had the energy to keep pushing for this! But things have changed these days. Now, orchestras actually come to me asking if I’ve got any game music concerts ready to go.

There’s a whole new generation of musicians and orchestra managers who grew up with games, and they love playing gaming music. Audiences have grown up with games, as well – game music has gone from niche to mainstream, and it’s been incredible to watch that shift happen. The demand for these shows – especially after Covid – has skyrocketed.

What are you most excited for audiences at the Death Stranding Strands of Harmony World Tour to experience?

LF: Death Stranding; both the first game and its sequel are all about connections. These concepts are core to the story and telling that story through music has been a huge privilege. With music taking centre stage, I believe it is our duty to create something that strengthens these connections, and I am hugely excited to take the stage and not only get to present the music but also to directly interact and play along with the orchestra, being as present as possible in connecting with people all over the globe.

CS: Honestly, I’m most excited by how ambitious this show is. We’re not just playing the score – we’re doing full-on songs too, with live vocalists performing music by Low Roar and other artists. I have been deep in arranging those for orchestra, working with the original artists and producers to get an authentic sound, and the sound we’re getting is massive. Sadly, Ryan Karazija, the lead singer of Low Roar, passed away in 2022, so I’m working with his legendary producer, Andrew Scheps, to make sure we pay him proper respect. I really hope the audience enjoys his songs.

It’s been an incredible amount of work in the best way. I’m pumped to see fans realise this isn’t just a concert of symphonic greatest hits – this is a whole experience, and we’re going all out.