Finally, to tie it all together and add emotional depth and power, we recorded an exquisite 86-piece orchestra. Additional ethnic wind solos were performed by Pedro Eustache. We also featured tubular bells, which have a legacy of being used in church towers, and we incorporated synthesizers to denote the protoss' highly evolved engineering. With that spirituality in mind, we gravitated toward the lyrical use of choir to suggest the beauty and harmony of the connection that protoss can share through the Khala. Most of my earliest efforts at Blizzard were centered on the story of the protoss, so it has been a thrill to come full circle with this gripping conclusion to the epic StarCraft II trilogy, Legacy of the Void, which focuses on the protoss.Īlthough they are alien to us in many ways, they have always felt spiritual to me, both in the way they can experience each other's emotions, and also in their high ideals and sense of honor. I distinctly remember being inspired by the enigmatic protoss race, with its wondrous advanced technology and the ability to communicate through telepathy.
The first game I worked on at Blizzard Entertainment was the original StarCraft in 1998, and the first piece of music I wrote for StarCraft was the "Protoss Briefing Room" theme that would play while a player received instructions about an upcoming mission.
The protoss face annihilation, and if they fall, the galaxy falls with them. Adrenaline-fueled brass and drums sound a clarion call to arms. Lyrical harp and woodwind melodies evoke hope, loss, and bittersweet yearning for home.
The dark god known as Amon has arisen, and with his ascension, the galaxy teeters on the brink of destruction.ĭelve into the mysteries of the protoss with this richly varied soundtrack. Struggling to unify them, their young ruler, Artanis, hopes to reclaim Aiur. Even so, the ancient hatred between the factions still runs deep. The protoss of Aiur have fled their infested homeworld to live among their former enemies, the dark templar.
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