League of Legends Dev Tracker

Thank YOU so much for being a fan. It's so amazing and humbling to hear that it's been part of your life on a daily basis.

What are your fav tracks?

I have two from a music project management perspective:

1. Above all else, make working on projects a positive and fun experience. There are times where it can get stressful, but if we can still joke and laugh at the end of a meeting, we're going to make it through.
2. The production plan will change, so build in some time/buffer for it do that.

When he murdered the communist robot my friend and I just started cracking up. The absurdity of that moment was incredible, and the final zone boss being a RR statue with that soundtrack...that's some primo Fallout 1/2 humor there.

Biased, since it's the one I got to work on, but Lost Chapter. It's a mix of Metal styles done in a narrative-focused way, and I loved the arc of it, and the ability for us to base a whole storyline around a concept album.

The bridge of "GIANTS" is in my top 3 or 5 music moments we've done. I love TD, and I alluded to it earlier but while we you shouldn't expect anything immediate, they're not forgotten and they are a part of our future.

Our composers are really really good at their jobs and although I don't work the music directly, I'll definitely show them this -- capturing the essence of a champ is such a fine art and they kill it.

First off, THANK YOOOOOU. Spotify's wrapped this year was funny as hell, I loved knowing the bizarre subgenres I apparently am obsessed with.

I didn't work on BIAD, but I can pretty confidently say nah it was not for K/DA. I can hear some of the elements you mean, though.

PK is insanely fun to work on. Thanks so much for listening :)

Kim was awesome. She totally clicked with the song brief and Eve as a character, and was really impressive with every take she did. Madison is also super chill and the combination of voices was just perfect. I love Kim's work and it was a dream come true.

Favorite memory of her was when we had a listening Hangouts call for the debut of Villain's music video -- she was really cool to hang out with, loved the weird parts like the snakes in the video, and it was awesome (especially during COVID) to connect with someone like that over a project we'd all been doing remotely for a while. She hadn't seen the video yet, and seeing her reaction just made my day.

The moment I learned my coworker was from WoW I started complaining about Rogue balance (Rogue main since 2011). I haven't played since BfA. There's something wrong with me.

WE WERE BORN TO...

DIIIIIIIIIEEE

1. No favorite, but I personally resonate with Eve's whole deal just so much. But as someone who worked on the marketing creative for All Out, yeah you really do kind of fall in love with each in their own way. I think the album being about each individual's quirks and creative approach helped.

2. SY on Baddest was brutal magma, and I love how confused y'all were at the song structure (heh). It's going to be hard, but she and Akali are truly one of a kind, and I think there's always going to be something surprising and different possible with that combo.

That's "Escape from the Arcade" from Arcane Vol 1.

I think the main difference is that with reworks, it feels like there's just a bit more at stake - the champion is already fully formed in players' minds, and we want music that supports that - we don't want to contradict it or let the mains down. With new champions it's a bit more of a blank canvas.

Thank you! I was an Irelia main long before her rework was announced even internally, so I asked/begged to work on her music for the rework. I wanted to create something that felt ferociously agile but also effortlessly flowy, and at times tragic and introspective. For the arrangement, I settled on a string octet for the primary arrangement because I felt like it was small enough to have visceral intimacy of hearing individual players rather than monolithic sections, but large enough to create a motion blur when we needed it to.

Thanks! I have to admit that scene was a bit intimidating to work on. When we decided to try a more grandiose, old-school sound for it, part of me wanted to modernize it a bit, but I'm glad I got the chance to just go for it and not hold back :)

I can't speak for everyone but I think most of us usually start in a DAW, using whatever method of sketching seems most comfortable, produce a fairly polished demo, and then move to Sibelius when we're preparing sheet music for any live recordings as one of the final steps.

There is usually a lot of communication between the sound designers and composers. We actually just did an interview with A Sound Effect where we chat a bit about music and sound for Arcane, and specifically on that collaborative aspect and making sure achieving a cohesive sonic experience and not stepping on each other's toes, if you want to check it out! Many of the things we touch on apply to other non-Arcane projects and workflows as well.

I think it varies - in the absence of a particular musical idea I tend to default to 3/4 as a starting point but I know many of us probably start with 4/4. I love 5/4 and 7/8 but sometimes it does feel like you get locked in to more rigid rhythmic structures in those meters. For whatever reason I've found myself gravitating towards 3/2 or 6/4 at moderate tempos lately because I really like how it feels like melodies have ample time to breathe in those meters.

Interesting thing about the Ekko time signature - because his theme was one of the earlier Zaun themes, and one of the more enduring ones, sometimes the use of mixed-meters actually gets interpreted as a core element of Zaun music. But we always saw that as being specific to Ekko and his ingenuity, and a part of his music almost in spite of Zaun rather than because of it.

We don't currently have plans for this but I'll keep it in mind!