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? 14 The Indie Game Magazine