Reviving the Raiders era: a mission to capture the film score for a new game
The audio team behind Indiana Jones and The Great Circle set out to recreate the audacious, adventurous tone that fans associate with the classic films, while ensuring the score could live and breathe within an interactive video game world. At the center of this ambitious project was Pete Ward, the game’s audio director, who brought microphones, recording gear, and even a bullwhip into a cave in Sweden to chase the right sonic texture. The goal was to honor John Williams’ towering legacy without simply mimicking it, delivering music that feels both nostalgic and newly responsive to player choices.
Blending nostalgia with interactivity
Ward and composer Gordy Haab pursued a delicate balance: craft linear, cinematic passages that evoke the Raiders of the Lost Ark-era grandeur, while weaving in adaptive music that responds to a player’s actions. The team logged more than four hours of original orchestral material and mapped the score to the game’s flow, distinguishing cinematic cutscenes from interactive sequences. This approach demanded a structural blueprint that could accommodate dynamic gameplay without sacrificing the sweeping emotional arc of a traditional film score.
Learning from the past, planning for the future
Haab’s prior experience guiding music for Star Wars games helped shape a blueprint for balance between linear content and interactivity. The project relied on careful orchestration and pacing: moments of a sweeping theme rise during key discoveries, then ebb to let player agency take the lead. The team even looked to the Raiders of the Lost Ark sessions for arranging players and seating to mirror the original ensemble, ensuring a sonic continuity that fans would recognize and savor.
Recording on legendary stages, composing for new characters
The score was captured at Abbey Road Studios in London and the Vienna Synchron sound stage, the same environments that helped birth the film scores that inspired this project. In addition to revisiting classic motifs, new pieces were created for Indy’s ally, Gina Lombardi, portrayed by Alessandra Mastronardi. Ward describes aiming for a “leitmotif” approach—distinct musical themes that represent Gina and other characters, echoing the way Williams’ scores attach memorable identities to key figures.
Echoes of the film, with a new interactive heartbeat
Recording nuances extended beyond orchestration. Actor Troy Baker voiced Indiana Jones in the game, leaning into Harrison Ford’s accent and characteristic sounds during physical moments. Working with voice director Tom Keegan, Baker’s performance helped translate Ford’s on-screen grunts and breathing into a convincing in-game portrayal, bridging the gap between film fidelity and player immersion.
From cinematic cues to player-driven moments
The opening sequence mirrors the Peruvian temple sequence from Raiders, using the original score as a foundation but re-recorded and extended to accommodate exploration at the player’s pace. The challenge lay in integrating reactive elements—music that swells as relics are discovered or as players maneuver through forest paths and perilous traps—without breaking the cinematic spell. Ward emphasizes that the aim was for players who assume the role of Indy to feel the film’s iconic energy while guiding their own pace through the adventure.
Respecting fans while delivering a fresh experience
Ward and the team were aware of the franchise’s passionate fan base. They identified core film cues early and built a live, interactive soundscape around them. The result is a score that nods to the John Williams-inspired legacy while offering new musical moments and adaptive layers that respond to each playthrough. In this way, Indiana Jones and The Great Circle strives to please longtime fans and new players alike, delivering both the familiarity of the classic films and the excitement of an evolving interactive narrative.
As Ward reflects on the project, the objective is clear: honor the spirit of the films, respect the audience’s expectations, and create a sound environment where the music remains a vital character in the journey. The team’s careful collaboration across studios, orchestras, and voice talent underscores a broader goal—make the player feel like they’re stepping into an Indiana Jones movie, but with the freedom to explore, discover, and influence the score along the way.
Key contributors and creative milestones
• Pete Ward, audio director, coordinating location recording in Europe and studio sessions across Abbey Road and Vienna Synchron.
• Gordy Haab, composer, balancing cinematic and interactive elements with experience from the Star Wars games.
• Johnny Öhgren, recorded for consistent, high-quality sound effects, with a cave-side approach in Sweden.
• Alessandra Mastronardi, cast as Gina Lombardi, with new leitmotifs crafted to sit beside Williams-inspired themes.
• Troy Baker, Indiana Jones in the game, delivering performance cues that echo Harrison Ford’s film portrayal.
Conclusion: crafting sound that travels with the player
The Indiana Jones game score is a careful synthesis of classic film music and modern interactivity. By recording in historic studios, aligning with iconic motifs, and enriching the score with new characters and adaptive dynamics, the project aims to deliver a sonic experience that feels timeless yet unmistakably contemporary. Fans can expect a soundtrack that sounds like the movies they love, while offering a flexible, player-centered listening journey that defines Indy for a new generation.
