THE MAKING OF . . .
METAL: HELLSINGER
From a cancelled project to locked-down singers: how the heavy-metal shooter was forged
By Khee Hoon Chan
Format PC, PS4, PS5, Xbox One, Xbox Series
Developer The Outsiders
Publisher Funcom
Origin Sweden
Release 2022
Picture it: an FPS in which you don’t just slay creatures from the bowels of hell, but do so in time to the pit’s music genre of choice: heavy metal. Metal: Hellsinger’s concept is an unholy union – and one that was born out of an appropriately demonic experience. Creative director David Goldfarb remembers playing Id’s 2016 Doom reboot while listening to Swedish metal band Meshuggah: “I was shooting on the beat, just because it was fun. And then I thought, oh, it would be cool to do this with a shooter, rather than a typical rhythm game.”
At the time, though, he didn’t give the idea much consideration. The Outsiders, the Stockholmbased studio led by Goldfarb, was busy working on Darkborn, an action-adventure game that cast the player as a monster being hunted by Vikings. All that changed, though, after development on Darkborn ceased in 2019. Seeking a publisher to help revive the project, Goldfarb approached Funcom CEO Rui Casais. It didn’t work out, but another idea mentioned during that meeting caught Casais’ attention: “A metal album come to life”.
It comes as no surprise, then, to learn that the people responsible for Metal: Hellsinger’s soundtrack – Swedish duo Elvira Björkman and Nicklas Hjertberg, aka Two Feathers – were involved right from the beginning of the project. The pair were already working with The Outsiders on Darkborn’s sound design; when they caught wind of this new prototype, they were keen to get involved. The initial assumption was that Two Feathers would play a similar role as on Darkborn. But once they discovered that the game was going to have a metal soundtrack, Hjertberg says, “we kind of re-pitched ourselves to [The Outsiders], because we hadn’t really shown our metal writing to them before.”
The duo are hardly newcomers to the genre: in 2019, they’d released their own symphonic metal album, under the moniker Two Feathers: Epoch. And they’d worked on plenty of videogame soundtracks, from Warhammer: Vermintide to Angry Birds. But they’d never before crossed the streams, nor worked on a game that tied its music so closely to its mechanics – and this meant working within some new constraints.