Most environments have several music loops that play in them over the course of the game. It’s not enough to have a good music system that reacts to what the player is doing, the timing and logic behind when the music changes is incredibly important as it affects the overall flow of the game. But before implementation, one of the key things that I think can get overlooked in a soundtrack is the *placement* of where the music changes and when each cue happens. It worked out for the first game but we wanted to expand on the implementation in the second game. It’s well known at this point that Ori and the Blind Forest did not use any audio middleware such as Wwise or Fmod. Much more granular approach to implementation The reason for this is based purely on gameplay, as Shriek is stalking Ori and Ku through the Silent Woodlands. This is best shown in the track “ Ash and Bone” where Ori’s theme is mixed with Ku’s theme, and Shriek’s theme. We spend some time with each character, much more than in the first game, and it allowed for the building of complimentary themes. One of the major benefits of Will of the Wisps was the additional characters brought into the game, Mora, Shriek, Kwolok and of course Ku. However, I’d say that Ori’s main theme was used far more sparingly than in Blind Forest. It was always going to be the case that we brought back music from the first game. Ori and the Blind Forest (Original Soundtrack) by Gareth Coker Re-use of key themes, but interspersed with new additional secondary themes. This was handled in a few different ways. One of the main challenges when commencing Will of the Wisps was finding a way to take what people liked about the first soundtrack, but also advance it in a way that didn’t feel like the same game. Ori is not a new life in this game and the music overall was designed to reflect Ori having a greater sense of purpose, as opposed to the lighter and more reckless Ori from the first game. Will of the Wisps is heavier from the beginning, which reflects where Ori is in his life. Ori and the Blind Forest to me, has a naïve charm which can be extremely inviting and welcoming. When you combine this with the fact that the story has a darker tone, and that the gameplay is more combat-focused, it’s pretty clear that we didn’t just try to make Ori 1.5. One of the things I feel strongly is that the game itself evolved from Blind Forest to Will of the Wisps, but also the studio and the people making the game – including myself! The logic of experience: gameplay first, then musicĪs a result, the sequel feels very different. I listen to the music from the first game and there’s so many decisions I made then that I likely would not make now. The composer who wrote Ori music for Will of the Wisps is very different from the person who wrote the music for Blind Forest.
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