Loop 7

The Loop 7 soundtrack is built from layered patterns: bass and electric bass carry the rhythm, a piano joins in the middle part, and a highlight melody on top. A space-like synth pad runs through the whole track and ties everything together.

I worked with the Fruity Parametric EQ 2 and the Fruity Reverb 2 on all instruments. The EQ shapes the frequencies of each sound, and the reverb gives it space.

For mastering I used Maximus with the Clear Master preset and some adjustments of my own, to get the best possible sound quality. A Parametric EQ 2 on the master adds a 20 Hz low cut and an 18 kHz high cut.

We thought it would be a cool anomaly if a spaceship appeared at a certain trigger point. I recorded and adjusted all the sounds for it myself. I also created the engine flames trailing behind the ship, using a particle module in Unreal Editor for Fortnite (UEFN).

The poster belongs to the anomaly. I took the spaceship that appears in the game and turned it into pixel art, to create the Last Transmission poster in a retro pixel style. In the anomaly version of the poster, the spaceship is missing. As soon as the player gets too close to the picture, the event is triggered and the spaceship appears.

I created a material in UEFN that projects LED screen visuals onto objects. We used it on every screen in the station to make the world feel more immersive.

I was also tasked with creating a holo screen. It displays a number that shows how far the players have progressed. I underlaid it with my LED screen material, so the screen feels very immersive.

I created this glitch effect for a special anomaly: a computer inside the spaceship that glitches when the anomaly is triggered. In regular Unreal Engine this would be easy, but UEFN can’t play videos. So I split a glitch video into single PNG images and packed them into one sprite sheet with TexturePacker GUI. The material then plays the frames one after another, so it looks like a video.

Loop 7 has a unique twist, and the portals are part of the game loop. That is why they had to be quite flexible while still feeling immersive. I built this material with exactly that in mind.

The first part of the material creates the movement. A noise texture is wrapped around the center in a circle with the VectorToRadialValue node. A Multiply node stretches it, and a Panner moves it all the time. Two layers move in opposite directions, and a Screen blend mixes them into a swirling, restless pattern. This is what makes the edge of the portal look alive.

The second part turns the pattern into the actual portal. Radial gradients draw a circle, and the moving noise cuts a ragged edge into it. I made the edge a very bright orange so it glows, while the middle stays dark.