Legendary game composer Mick Gordon has detailed his approach to creating the climactic boss fight music for Warhammer 40,000: Boltgun 2. Gordon, known for his work on the Doom series, explained his involvement began with an email to the developers after the first game, expressing his admiration for their unique blend of the boomer shooter genre and the Warhammer 40K universe. When the opportunity arose to score the sequel's "giant boss battle," Gordon saw it as a perfect fit for his style and his long-held desire to contribute to the Warhammer setting.
Gordon stressed that he does not rely on pre-existing musical ideas, emphasizing that his primary role is to develop a unique sound tailored to each specific project. He works closely with development teams to identify and amplify what makes their game distinct. For Boltgun 2's final boss encounter, this meant creating something "big and bombastic and silly" to match the scale of the in-game event. He described his process of using gameplay capture footage, screenshots, and concept art to understand the game's pacing. Gordon explained he plays this footage with a controller in hand, not plugged in, to find the ideal tempo for the music. He uses a metronome app to tap out potential beats per minute, aiming for a tempo that enhances, rather than overwhelms or detracts from, the player's experience. Too fast, and the music becomes annoying; too slow, and the game can feel sluggish. Finding the right tempo is the crucial first step before building the music around it.
Collaboration is central to Gordon's process, especially when starting with a blank canvas. He values working with teams where he can freely experiment and present potentially "stupid" or "extreme" ideas, knowing the developers can provide crucial feedback. He described this as a "back and forth process" where the team's input shapes the final track, making them feel like co-creators. This collaborative approach helps overcome the "choice paralysis" that can arise from the vast possibilities in digital music creation.
Scoring a game's climax presents a unique challenge, as it's intended to push the player's experience to its peak. Gordon views this as an opportunity to embrace a more "arrogant" and "obnoxious" musical style, fitting for a final confrontation. He acknowledged that only a fraction of players might reach this specific boss battle, drawing a parallel to his work on Doom where extended tracks or hidden musical elements might go unheard by most. However, Gordon embraces this, likening it to a childhood discovery of a secret area in a game, fostering a deeper, more personal connection with the players who do experience it. He believes this exclusivity makes the music feel more special for that dedicated segment of the audience.
Gordon also elaborated on the concept of "forward momentum" in game music, highlighting that video games are a unique art form with a direct, cyclical link between the creator and the audience. The player is an active collaborator, and the game only truly exists through their interaction. His music is designed to be dynamic, adapting to the player's actions, health status, or in-game situation. He likens his role to that of a conductor, with the music acting as a single, cohesive song that is rearranged and reinterpreted based on the player's real-time input. This inherent interactivity ensures a constant relationship between the player and the music, a fundamental aspect of game design he always considers.
Warhammer 40K: Boltgun 2 is available on PlayStation 5, PC, and Xbox Series X|S, with a Nintendo Switch version planned for release later. IGN's review awarded the game an 8 out of 10, calling it "an explosive sequel that packs a bloody punch."