"Assassin's Creed" franchise has only two full-fledged games so far (versions for portable platforms do not count), but for a progressive video games composer Jesper Kyd it has already become not less important than a series about Hitman, which has made this Danish electronic musician an icon of modern game music. Like Hitman, Assassin’s Creed is a game about a killer though very ancient one. A medieval setting for Kyd is not a barrier but vice versa it’s an incentive. It’s not just a stimulus to step into a territory of unusual for him creative directions, simply to do something new but to reinvent a particular music style, to deconstruct music, take all familiar elements to pieces so as to reconstruct them later to his own taste, gracefully ignoring standards and authenticity. For the composer who has long gone beyond the framework of electronic sound and pure genres, in whose career there was both cold IDM, organically woven into the disturbing orchestration, and choir of the Hungarian Radio, performing pseudo-Soviet patriotic songs in broken Russian to the accompaniment of techno rhythms and vintage synthesizers, there are no obstacles and nothing is impossible. Each new Kyd’s work is not similar to the preceding, it has no analogues in the game industry and sometimes no analogues at all.
