Comrades, greetings! Today, we’ll talk about a somewhat unexpected aspect of our new project, "Korea. Il-2 Series": The music. Yes, naturally, we operate in the genre of hardcore combat flight simulators where realism of physics models, weapons, systems, and NPC behavior prevails. Even when it comes to audio, the priority is the actual sounds produced by the machinery. We have discussed—and will continue to discuss—our approach to these elements in our dev diaries and briefings over the years. However, as we’ve mentioned before, the project’s atmosphere is equally important. Sometimes, it is the atmosphere alone that compels us to return to a game again and again, to immerse ourselves in its world and savor the moments spent there. Music plays a massive role in shaping that atmosphere.
We don’t have to look far for an example. Just recall the menu theme from the classic "IL-2." It was one of those melodies that would get stuck in your head and refuse to leave. In fact, simply thinking about the "IL-2" main menu is enough to make the tune start playing in your mind. Of course, some people might not have liked it or found it repetitive after a while, but one cannot deny how powerfully it established the atmosphere and shaped the player’s impression—especially upon first launching the game. And impressions are, after all, one of the main reasons we seek out games in the first place. Looking back at the genre’s heyday—not just for flight sims, but for simulators in general—music was an integral part of the gameplay experience. Just think of "MechWarrior 2: Mercenaries." With all this in mind, we decided to give this aspect more attention in Korea: IL-2 Series than is currently the norm in our genre.
Korea: IL-2 Series will feature its own original score. This music will not only greet you in the menus but also create a unique atmosphere during actual gameplay. We would like to say a few words about the musical tracks we plan to include with the game. The music comes from composer Dmitry Silantyev, whose previous work includes projects such as Rogue Trader, Pathfinder: Wrath of the Righteous, Pathfinder: Kingmaker, Armored Warfare, Skyforge, Allods Online, our own project Tales of Old Rus (Skazki Staroy Rusi), and others.
You can explore more of his work on his YouTube channel.
Creating the musical score was no simple task; the melodies had to evoke specific associations and establish a unique atmosphere. It is the mood of the dawn of the jet age—a time when humanity is on the verge of spaceflight and just ten years away from landing on the Moon. Yet, even now, a pilot commands a powerful machine capable of traveling at the speed of sound at altitudes of up to 15 kilometers; from the ground, it appears as a white arrow piercing the infinite blue of the sky.
If you have watched our trailers, you are already somewhat familiar with the atmosphere we are crafting for the project. Watch on YouTube Watch on YouTube And the wonderful music featured in those trailers is Dmitry's own work. Here is what he says about the musical score:
"Music plays a vital role in establishing the game's atmosphere; it shapes the emotional backdrop, defines the character and pacing of scenes, and enhances the visuals. Above all, a composer must understand the soundscape of the on-screen action at any given moment of gameplay. It is not merely a matter of assembling memorable melodies, textures, or harmonies to set a mood. A key factor is the composer's ability to grasp the genre for which the music is being created. For me, it was important not only to convey the realistic atmosphere of a military flight simulator but also to give it a cinematic, spectacular quality—allowing the player to feel like a participant in the Korean War and to experience what it was like to be a pilot on either side. It was crucial to emphasize not just the sound itself, but its connection to the game's events. Sections of the symphony orchestra—specifically the brass—played a pivotal role in the composition, effectively highlighting the main theme's leitmotif. Another significant technique was the use of Asian ethnic elements to evoke the Korean setting. We also incorporated live electric guitars and analog synthesizers into the musical textures. This allowed us to make the music stand out and feel unique, while underscoring the technological nature of the Cold War era."
We decided to categorize the music used during missions into the following scenarios: takeoff, steady flight, high-altitude flight, night flight, ultra-low-altitude flight, and combat. Each mode features a dedicated melody, specially composed to convey a specific "mood" and evoke particular emotions. With this in mind, Dmitry created musical themes that conjure images of vast airfield expanses filled with silvery jets preparing for takeoff. Listening to the music brings to mind the endless, inky-black void of the stratosphere. When combat begins, the music builds the necessary tension, helping the mind perceive the action as a life-or-death struggle—a situation where one’s very life hangs in the balance—while momentarily blurring the awareness that this life is merely virtual. In addition, the music player module will feature a sophisticated randomization system to ensure that each melody feels slightly different and doesn’t become repetitive. We also plan to include flexible music settings, allowing players to choose between the default soundtrack, their own music, or a mix of both. Players will be able to control how often music plays during calm flight segments and specify exactly which situations trigger the music. After all, some players might enjoy music during long flights but prefer silence during tense moments, where hearing every subtle sound from their combat vehicle is crucial. Others, conversely, find it easier to concentrate when listening to battle-appropriate music, allowing them to focus entirely on contacts rather than on extraneous noises. In short, we aim to create a system that lets you tailor the musical experience to your personal taste. Furthermore, we want to give players the option to place their own tracks into designated folders for specific in-game situations. To do this, a player simply needs to convert any favorite tune into the OGG format using a standard converter and place it in the appropriate folder. You’ll be able to experience all the tracks, the full feature set, and the music’s overall impact on the gameplay atmosphere when the project launches on August 4th.
However, starting June 25th—with the launch of Early Access—you can already enjoy the main menu music.
Our goal is to revive the tradition of high-quality audio design in flight simulators. We will closely monitor the gaming community's reaction after the update featuring this music is released; if the response is positive, we will certainly continue to develop this aspect of the game.
To stay updated on our efforts to advance the genre, please subscribe to our channels YouTube, Facebook, Reddit, X, and Discord and follow the news.
In addition, we would like to inform you that we have opened the application process for the IL-2 affiliate program. You can find more information at the following link:
https://il2-series.com/en/partnership/
Stay tuned!