The Indie Game Magazine July 2015 | Issue 51 | Page 14

r : The
a lot better Coke
lp pace the game
y is a
e team to he
is very little stor
allowed me and th
the end. As there
-ofis is something
d come on at
d that can coming
issues of sacrifice. Th
I think, than if I ha
y which deals with
driven by music, an
urne
ocess. The score
e scenes are
e approach age jo
y early on in the pr
dialog, a lot of th
es. The collaborativ
nted to convey fairl
n wa
Ori is experienccertain scen
us to create Moo
w of Ori and what
define the pacing of
partments allowed
kes the point of vie
s ta
because I would
d the other de
e scene to alway
gs simpler in a way,
between music an
d very well from on
actually made thin
e game myself
This
e think) flowe
ad when playing th
as effectively ing.
something that (w
to get into Ori’s he
d have been done
i’s state of mind
simply try
sure this coul
ically represent Or
the next. I am not
k - “If I could mus
rly.
and thin
lved so ea
if I hadn’t been invo
eating right now, what would it be?”
ith developers, cr
n someer to collaborate w
off as a mix betwee
mpose
IGM: Do you pref
e soundtrack comes
level, or do you co
particular
IGM: To me, th
a time to suit each
g. Were there any
one music track at
g them over?
something upliftin
thing sad and
once before sendin
with the music?
multiple tracks at
e looking to evoke
question. Because emotions you wer
e last
whelmingly sad,
follows on from th
velopers all
dtrack can be over
Coker : This sort of
ed studio, with de
In parts, the soun
ker :
with elements of
a distribut
e repository Co
balance that out
Moon Studios was
all times, the onlin
was important to
it
otions and pace
eant that at
builds were and
to mix up the em
over the globe, it m
hen you are able
content, and new
.W
– we hope – feel
d with new
uld try stuff hope
me, the player can
was getting update
. This meant we co
cordingly in the ga
. Ori starts the
em ac
of us to play
rd for their actions
rk. Sometimes th
being made for all
scious sense of rewa
edback on our wo
ic reflects that,
bcon
t instant fe
ustratingly a su
ture, and the mus
out, and get almos
ite a pathetic crea
and other times (fr
r example – he
me qu
ic updates,
ift tone when – fo
st a trickle for ga
there’d be big mus
it’s important to sh
there would be ju
enters the Spirit
t then
I imagine!)
nce, when Ori first
red the game bu
for the developers
new ability. For insta
the music that ente
ic represents his
ts a
e. Usually
the game, the mus
. Once some ge
some period of tim
g the visuals were
s, quite early on in
rn
ng, anything to
how far alon
ing to find somethi
to work out Cave
was informed by
mind; he is lost, try
in location, I’d start
an Ancestral Tree,
state of
re in a certa
aking contact with
ins had a cold,
basic art assets we
m. Then, through m
ple, the Forlorn Ru
lp hi
a moment of joy/
. For exam
p up walls. This is
choices based he
music for that area
nt
s the ability to jum
e instrumentation
gain
d I felt it paramou
so I’d mak
n and gongs, he
ore the player) an
icy desolate theme,
se metallic percussio
anges happen
for Ori (and theref
would choo
These kinds of ch
intimate hope
on that visual and
ds with a smaller,
t that in the music.
d hopefully bring
ore to represen
stained string soun
lly a bit m
ck and the game, an
longer more su
rangement genera
hout the soundtra
keep the ar
ring this throug
Ori.
orchestration, and
feeling when ente
the player closer to
what Ori might be
to it, in the
arse to match
sp
ry natural feeling
in.
undtrack has a ve
Is there a
Ori’s so
large, strange ru
unded by nature.
t to you IGM:
fits in a world surro
d Forest stand ou
iration?
at it
Ori and the Blin
u looked to for insp
ce the sense th
IGM : What makes
w did that influen
al-world culture yo
particular re
andpoint, and ho
from a thematic st
soundtrack?

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