
Man-in-demand Woodkid composes for 'Death Stranding' sequel
French singer and director Woodkid has composed the music for the hotly awaited "Death Stranding 2" video game, with the 42-year-old telling AFP that the songs unfold "almost like origami."
The author of hit 2013 debut album "The Golden Age", who has previously worked with Taylor Swift and Lana Del Rey, has produced dozens of hours of music for the Japanese-made action-adventure title.
"The main challenge is creating procedural music -- music that evolves with the player, depending on their actions. And yet, still writing pop songs with vocals," Woodkid, whose real name is Yoann Lemoine, told AFP.
"You have to unfold the songs almost like origami, turn them into versions that last several hours, which are then condensed and reprogrammed by developers," he explained.
A longtime video game enthusiast, Lemoine calls it a "completely different approach" from scoring a film or writing a conventional album.
An album of 16 tracks taken from the game is set to be released on Friday, titled "Woodkid for Death Stranding 2".
They include a collaboration with American actress Elle Fanning, who appears in the game, and another with Bryce Dessner, guitarist of indie rock band The National.
Woodkid -- who said playing video games was "an escape" during his youth -- said he jumped at the chance of working with legendary "Death Stranding" creator Hideo Kojima.
Kojima's work in the 1990s, particularly the original "Metal Gear Solid", left a mark on Woodkid.
The pair met in 2020 through a mutual friend.
Kojima had already used one of Woodkid's tracks in the first "Death Stranding", a celebrity-packed adventure game that sees players act as couriers in a post-apocalyptic world.
The first one was set in the United States, while the second takes place in disaster-struck Mexico and Australia.
As well as a debut from Fanning, the sequel again includes actors Norman Reedus ("The Walking Dead") and Lea Seydoux ("No Time to Die") who play the main characters.
"We connected quickly, I think because we share common fantasies," Woodkid said of his collaboration with Kojima, which involved several months of immersion in Tokyo. "There's a darkness in us — dreamlike, fanciful, sometimes deeply melancholic — that bonds us."
Their work was "very impressionistic," Woodkid explained.
"We start with fragments: percussion, beats, textures, vocal sketches I might try. He brings scenes and characters he describes to me, and we build everything together like a ping-pong exchange," he added.
"Unlike a film, I didn't actually compose much to picture — it's more like thematic background music."
His skills as a composer and director have seen him called on by Taylor Swift for her video for "Back to December", Lana Del Rey for "Blue Jeans" and "Born to Die", and Katy Perry for "Teenage Dream".
Woodkid also directed French classical musician Mylene Farmer's most recent album, "L'Emprise" (2022), co-writing seven tracks.
For "Death Stranding 2", he worked with pianist Yvan Cassar, a long-time collaborator of the singer.
"I like staying in the shadows. I'm not a star. I believe in the works more than the artists, so I prefer focusing on the things I create," he said.
Asked whether he appears in Kojima's game himself, he lets the question hang, but can't help smiling.
"Death Stranding 2" will be available from June 26.
© 2025 AFP
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

an hour ago
Why Do Adults Read Comics in Japan? How Pioneering Weekly Magazines Transformed the Image of Manga
When visiting other parts of Asia or the United States during the mid-2000s, I was constantly asked the same question: 'Why do adults read comics in Japan?' Back then, there was growing interest in Japanese anime in the United States thanks to cable television, and in Asia and Europe manga and anime were gaining popularity among older teenagers. Nonetheless, in most countries comics were still deemed as being mainly for children. I would always explain that this had also been the case in Japan until the 1960s, but that the public perception of manga had changed dramatically with the launch of dedicated weekly magazines. Breaking the Teenage Wall Japan's first weekly magazines targeting older boys ( shōnen ) were Kōdansha's Weekly Shōnen Magazine and Shōgakukan's Weekly Shōnen Sunday , both of which launched on March 17, 1959. The first editions of Weekly Shōnen Magazine (left), priced at ¥30, and Weekly Shōnen Sunday , which came with three supplements, at ¥40. (© Nakano Haruyuki) Sunday featured five manga series, including Tezuka Osamu's detective story Dr. Thrill , while Magazine carried eight, including the giant robot series Take Off, No. 13 by Takano Yoshiteru. The magazines also included fiction, baseball and sumō news, explanatory diagrams of trains and airplanes, and articles about amateur radio—all the rage among junior high school boys at the time—but their main focus was manga. With television regimenting entertainment into a set schedule of programs and adult weekly magazines already enjoying popularity, the stage was set at the end of the 1950s for Kōdansha and Shōgakukan to battle it out for the boys' magazine market. The two publishers' primary goal was to keep male members of the baby boom generation—those born from 1947 to 1949 and who had enjoyed monthly manga magazines through elementary school—as loyal readers into junior high school and beyond. In 1960, the older boomers turned 13 and entered junior high school, which up to then was considered the point when younger readers were expected to trade manga for more mature material. Japanese adults at the time considered comics as a distraction from studies, and an adolescent who persisted in reading manga ran the risk of being marked a problem student. A 1957 reading survey by major daily newspaper Mainichi Shimbun found that the three most popular magazines for sixth-grade boys were monthly magazines aimed at children, all of which prominently featured manga. By comparison, the three most popular magazines for boys in the third year of junior high school were education focused with almost no manga, while high schoolers favored magazines for adults. However, the launch of Magazine and Sunday were a fantastic success, with Kōdansha and Shōgakukan creating a new cohort of teenage manga readers as circulation of the publications grew over the subsequent years. Students read manga magazines in a convenience store in the early 2000s. (© Jiji) Magazines for older girls ( shōjo ) likewise changed to the weekly model. In 1962, Kōdansha launched the weekly Shōjo Friend as a successor to its monthly Shōjo Club , while Shūeisha started up Weekly Margaret in 1963 to replace its monthly Shōjo Book . Magazines for younger children also followed suit. Changing Manga Scene The shift toward weekly publication of magazines for teenagers helped transform the manga genre. Writers were influenced by Tezuka Osamu's championing of narrative-based 'story manga,' leading to a flourishing of wide-ranging settings and different worldviews. It also opened the way for the emergence of a new generation of manga creators as many veterans of the industry struggled to adapt to punishing weekly deadlines and left magazines to work on book-based educational manga. Among the new young stars were Ishinomori Shōtarō (known especially for Cyborg 009 ), Fujiko F. Fujio ( Doraemon ), Fujiko Fujio A. ( Ninja Hattori-kun ), Akatsuka Fujio ( Osomatsu-kun ), Yokoyama Mitsuteru ( Tetsujin 28 ), and Chiba Tetsuya ( Ashita no Joe ). Male creators were common for girls' monthly magazines, but the start of weeklies saw the rise of female mangaka like Mizuno Hideko ( White Troika ), Maki Miyako ( Maki's Whistle ), and Hosokawa Chieko ( Crest of the Royal Family ). A selection of postwar manga showing the influence of an emphasis on story. (© Manganight Books) Another transformation came with the establishment of production systems and their tight schedules. To meet rigid deadlines, many leading manga creators took to hiring assistants to help with various aspects of production, such as inking and creating backgrounds. A third change was the emergence of specialist writers. In the monthly age, almost all mangaka thought up the stories, as well as providing dialogue and art. With weeklies, however, the tight deadlines brought a need for people who could focus specifically on writing stories and dialogue. The Magazine editorial department went on the lookout for writers it could use, tapping young science fiction and mystery authors to handle complex stories. One notable example was Kajiwara Ikki, who would later go on to write the stories for megahits like the baseball manga Star of the Giants (illustrated by Kawasaki Noboru) and boxing comic Ashita no Joe (illustrated by Chiba Tetsuya). Working on manga was previously a side job for authors, but Kajiwara turned it into a profession. Star of the Giants , written by Kajiwara Ikki (left) and Ashita no Joe , written by Kajiwara under the name Takamori Asao. (© Kōdansha) Grittier Stories Manga publishers broke down age-related barriers for adolescents by making their comics more sophisticated, but with the baby boom generation still growing, there was the next wall at age 18 to contend with. To keep people reading manga at university or once they joined the workforce, new efforts were needed. The solution was gekiga , a more serious, cinematic style of manga that was already winning fans among older teenagers who made frequent use of comic rental services. Uchida Masaru, the editor-in-chief of Magazine asked popular creator Saitō Takao (known for Golgo 13 ) to come up with a new series to appeal to readers who were starting to outgrow the publication. Saitō responded with Muyōnosuke , a gritty historical story about a one-eyed rōnin that marked a turning point for the popularity of gekiga . An original picture from Golgo 13 that appeared at an exhibition marking the ninetieth anniversary of the creation held in Toshima, Tokyo. (© Manganight Books) The growing popularity of mangaka like yōkai specialist Mizuki Shigeru ( Gegege no Kitarō ), who made his name through rented gekiga works, and Shirato Sanpei (known for the ninja manga Sasuke ) helped establish gekiga as a social phenomenon. News and Manga In December 1966, Weekly Shōnen Magazine 's circulation hit 1 million and topped 1.5 million three years later. An image developed of university students holding ' Journal in the right hand and Magazine in the left'—in other words, enjoying both the hard news of Asahi Journal and the leading shōnen manga publication. While some adults raised their eyebrows at university students who read manga, without this development, Japan's manga culture would not have emerged as it did. Now that high schoolers and university students were reading Magazine and Sunday , in 1968 Shūeisha launched Weekly Shōnen Jump , targeting elementary and junior high school children. The content of these publications were almost entirely manga, marking the full recognition of the genre of weekly shōnen manga magazines. The previous year, Futabasha had started up Weekly Manga Action aimed at university students and young working adults. By finding teenage readers for manga, Magazine and Sunday laid the foundations for uptake among older generations, turning Japan into 'a strange country where adults read comics.' (Originally published in Japanese on July 10, 2025. Banner photo: Weekly manga magazines are a common sight on the shelves of Japan's bookstores and convenience stores. © Jiji.)


The Mainichi
9 hours ago
- The Mainichi
Japanese film wins top award at Swiss Locarno film festival
LONDON (Kyodo) -- The Japanese film "Two Seasons, Two Strangers" directed by Sho Miyake won the top award Saturday at the Locarno Film Festival in Switzerland. The film became the fourth Japanese winner of the Golden Leopard after Masahiro Kobayashi's "The Rebirth" in 2007, according to the Locarno Film Festival website. The film, which follows the journey of a screenwriter who reflects on her life in an encounter with a stranger, stars South Korean actress Shim Eun Kyung with Japanese actors Shinichi Tsutsumi and Yuumi Kawai also appearing. Miyake said at the award ceremony that he hopes films can make a difference in a world where many horrible events are occurring.


Japan Today
10 hours ago
- Japan Today
Japanese film wins top award at Swiss Locarno film festival
The Japanese film "Two Seasons, Two Strangers" directed by Sho Miyake won the top award Saturday at the Locarno Film Festival in Switzerland. The film became the fourth Japanese winner of the Golden Leopard after Masahiro Kobayashi's "The Rebirth" in 2007, according to the Locarno Film Festival website. The film, which follows the journey of a screenwriter who reflects on her life in an encounter with a stranger, stars South Korean actress Shim Eun Kyung with Japanese actors Shinichi Tsutsumi and Yuumi Kawai also appearing. Miyake said at the award ceremony that he hopes films can make a difference in a world where many horrible events are occurring. © KYODO