Q&A: “DEAD BY DAYLIGHT” Creative Director Dave Richard talks music, artwork


Last week, we had the chance to chat with Game Director Mathieu Cote about the design and console release for DEAD BY DAYLIGHT. We’ve also caught up with the game’s Creative Director Dave Richard to talk about the music composition and gory imagery.

REMINDER: DEAD BY DAYLIGHT console release debuts Tomorrow, June 20th!

FANGORIA: The music definitely adds to the suspense of the game. Who produces the music for each level?

Richard: Music is composed by the very talented Michel F. April, under the direction of Frederic Poirier. Fred is also responsible for the dynamic music system which controls which musical arrangement should be played during specific game moments.

The style itself was developed through a lot of research, trials and errors  you might say. We were looking for the proper balance, somewhere between action, suspense and horror, sometimes invisible, sometimes heart-pounding intense. Like pretty much everything in the game, the music is asymmetrical and serves two very different purposes: the fear, stress and urgency felt by the survivor on A-Side, and a sense of power and adrenaline rush to the Killer on its B-Side.


FANGORIA: One of the many factors that make DEAD BY DAYLIGHT stand out is the gory imagery. Can you give us some insight regarding the process for designing the artwork?

Richard: We take great care into creating deep characters and rich environments. It is important that killers and survivors have backgrounds and stories which make their visual appearance, voice, movements, powers and abilities believable. When building characters and environment we go through several rounds of concepts to establish the direction. It is only then that we start production. The story, concept, game play, art, animation and audio design feed each other in an iterative process to shape into the character you see on screen. Same goes for the environments. A lot of attention is put into details. Not a single accessory or props found on characters and in the world are there as filler, every single object as a reason to be there.

Last but not least, let’s not forget that everything and everyone in the realm of DEAD BY DAYLIGHT is under the influence of The Entity, the malevolent, all-powerful creator and jailor. The world and the monsters we create are twisted by The Entity, which adds the final touch, and flavor to the game.

FANGORIA: The levels are very dark, adding to the complexity of the game play along with fog, smoke, fire and tall grass. How are these elements and obstacles developed for each of the locations?

Richard: At the very beginning of the project, we had to spend time and effort to find and define the limits concealment. Through play tests, we managed to find what was right for the type of game play we were aiming for. Even though we now have solid metrics and experience building these maps, every new theme we try to renew ourselves and keep the game fresh for our veterans.  This means we have to re-balance the various components you are referring to.

For example, in the last chapter we released: “Spark of Madness”, we introduced Léry’s memorial Institute, the first map being almost completely IN a building. Hiding and chasing becomes a whole lot different when vegetation cannot be found, lighting is bright and full walls block your movement and vision.


FANGORIA: What was your favorite part of the process when designing DEAD BY DAYLIGHT?

Richard: For me, it’s definitely all about the characters. Creating the universe and introducing new monsters to our community is really exciting. As an entertainer, I love to surprise, and since the Dead by Daylight universe is one of the richest I have been able to work with, it’s not the occasion that are missing! We have a lot stored for the future and a lot to add to the universe.

Stay tuned here at FANGORIA.com for a review and more on DEAD BY DAYLIGHT!

About the author
April Bedan
April serves as a FANGORIA Staff Member and Manager of its record label, Fangoria Musick. She also works full-time within the University of Texas system where she serves as a data specialist in Admissions and Enrollment Management. She spends her scarce downtime making music videos and short films of things from your nightmares.
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