Little Hope

Jason scored Little Hope around the game’s late-1600s witch-trial setting, aiming for something antique, raw, and unsettling rather than modern or polished. He described the music as “an extension of the world in the game,” built through conversations with Supermassive’s creative and audio directors about plot, setting, story, and characters.

The score is almost entirely live, solo instruments performed by the composer. Jason intentionally kept performances loose, imperfect, and often out of tune. He used unedited takes to preserve a rough human quality, saying that cleaning the recordings up in the computer made them feel sterile and removed their character.

Instrumentation leaned into the historical setting. Live hammered dulcimer and hurdy-gurdy formed the backbone of the score, with de-tuned piano, bowed psaltery, dissonant strings, and low voices emphasizing the town’s foggy supernatural unease.

A major signature element was the processed voice of Jason’s youngest daughter, who sang the main theme and contributed whispers, chanting, and a general, creepy nursery-rhyme vibe. Those sounds tied directly into the game’s Puritan-era child imagery and witch-trial horror.