The main game I’m running these days is a Planescape campaign (for those that know the setting well, I’ve set it before the Faction War, using all the AD&D boxed sets and a lot of my own notes; for those that don’t know the setting well, you can find out more here). I run the setting very much as a sandbox: we’ve got a big, sprawling map of Sigil in the middle of the table that the players can interact with, and at any given time there’s about half a dozen plot-threads they can engage with and intertwine. Planescape is a challenging setting to run for a lot of reasons, but one of the biggest is tone.
As I interpret the setting, there are two major stylistic/generic elements at play in Planescape: noir and myth. On the one hand you’ve got a sort of gloomy urban fantasy vibe. Planars (especially Sigilians) cultivate a kind of hardened, jaded cynicism – they’re hardboiled. The world of noir is, in the words of famous noir critics Borde and Chaumeton, “oneiric, strange, erotic, ambivalent, and cruel.” The noir element is dark, surreal, world-weary; it’s about conspiracies, mysteries, dubious motives, and off-kilter misadventures. On the other hand there’s the myth element, which is kind of the opposite of noir – it’s about big, larger than life heroism and archetypes, spiritual forces, allegory, and ritual. These things are, in some sense, ultimately and inescapably opposed. Noir is a nihilistic genre about existential crisis, about grappling with the dark sides of the psyche in a universe without the comforts of some greater meaning or telos; there’s horror and terror and awe, but people in a noir universe are detached from these emotions, perhaps almost in contempt of them. Myth, on the other hand, is all about greater meaning, all about sublimity and intensity. Myth has Heroes in the Cambellian vein; noir has anti-heroes.
This noir-mythic tension – which, to me, is endlessly fascinating and rewarding to play with and mash up – brings me to the actual purpose of this post, which is music. I use music in all of my games these days. The right music can set the tone perfectly, while the wrong music can wreck the tone completely. A Planescape soundtrack requires eclecticism: you’re in Acheron one minute and Elysium the next, and walking down a street in Sigil, Devils rub shoulders with Elementals and lycanthropes and sentient robots. I also want the music to reflect both elements of Planescape’s ethos, the interplay between dark noir fantasy and myth. I favour video game soundtracks for my games, because by their nature they’re designed to be ambient and repetitive, but I also use soundtracks from movies and other sources. So, without further preamble, here’s my Planescape soundtrack:
Planescape: Torment Soundtrack – a good all-purpose score specifically designed for the Planescape setting.
Grim Fandango Soundtrack – excellent for taverns and clubs, and a nice alternative to the stereotypical quasi-medieval harp music you often here in taverns in rpgs.
The Void Soundtrack – one of the most hallucinatory soundtracks I’ve ever heard,with a mystic, dream-like tone shot through with a lot of unease. The Turgor Theme
is especially brilliant.
Sherlock Holmes Soundtrack – especially good for frenetic chases, back-alley fights, and street scenes. I have mixed feelings about the films (in essence: superb popcorn cinema, god-awful as Holmes adaptations) but the soundtrack is quite marvelous.
Alice: Madness Returns Soundtrack – brilliant for dark doings, twisted realities, Kafkaesque trials, gigantic machines, Wonderland-inspired vistas and the like. I use this one a lot. Dollhouse is probably my favorite track.
Zeno Clash Soundtrack – for suspenseful moments, fights, and exploration of alien wildernesses. Another one I use very frequently. Danger in the Mist is a particularly useful track in crazed alley-labyrinths haunted by Chaosmen who’ve decided to adopt the personae of ravenous hyenas, or fungal forests in the Plane of Ooze infested by savage vegepygmies, etc.
Riven Soundtrack – for conspiracies, forgotten temples, and moments when the players glimpse the wheels-within-wheels play of power and pain that keeps Sigil from flying apart at the seams. I’m especially partial to the Moiety Theme which has a wonderful aura of sinister mystery and immense age to it.
Vampire: The Masquerade – Bloodlines Soundtrack – a nice, dark fantasy urban soundtrack, especially good for demonic dance clubs.
Thief Soundtrack – for sneaking around, naturally. A rich mix of ambient sounds, ominous trills, and vague discord.
Dishonored Soundtrack – more good city music. A very melancholic sort of soundtrack, to be used in quieter moments.
Amnesia Soundtrack – for my annual month-long Ravenloft segments and occasionally in other especially horrific situations. I use this one sparingly.
Beetlejuice Soundtrack – for encounters with Xaositects (who I interpret as Dadaists and Absurdists) and Limbo. The main theme is brilliant in chaotic, madcap situations that call for a comedic touch.
Rune Soundtrack – for moments of mythic horror, cold planes, Ysgard, and anything involving Dwarves. Also some good pitched battle music.
Sin City Soundtrack – I actually use this one fairly rarely as it’s a bit too recognizable in places, but I would like to make greater use of Old Town in the future.
Note: obviously the big sonic/thematic influence I’m neglecting here is punk, which is also important for the setting.
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