![]() Then when I've done my first track, and the team hopefully likes it, then it goes back to the artists and animators, and then they do the real nitty-gritty with the art and animation and work with the music track to make everything sync up. I'm not confined to the restraints of a time-locked picture. So, I can write a piece of music that feels good to listen to musically. From that, it's very easy to tweak the length. Generally, the animation team or one of the artists put together a storyboard with a rough idea of what the timing is going to be. The cutscenes are definitely a more back and forth process. ![]() Gareth also emphasized the importance of nailing the music in a game like Ori, which has no traditional dialogue. Gareth remarked that while not directly, building more choreographed sequences such as the chase scenes or Ori's evocative cutscenes are more of a back and forth process than perhaps other aspects of the score. I asked if the game's music treatment had ever impacted the gameplay at all, changing and altering things. I am constantly writing to real gameplay with vision, rather than just working off a piece of concept art, or you know, a script or something like that. If I'm fiddling around with an idea that is kind of not meshing, I'll just start over again. So, there's no music in that video that I recorded, but there are sound effects. The one thing I do also is I keep the sound effects active. And I literally take that video and put it in my music software, and I just write. If the area is icy and cold, obviously I'm going to have different instruments compared to an area with a hot fiery area."But what I do is I record myself playing the game, five to six minutes of gameplay. But generally speaking, I don't write seriously until some of the art is in because what I'm looking at informs several decisions about what instruments I'm going to use. Even without art, it's useful to get a feel for the level design. Usually, something that's ready has the first pass of art in it. "I will always load up the latest build and see what's ready to be worked on. In a game like Ori that is about movement and interactive elegance, the importance to actually feel the game is probably elevated even further. For Gareth, the gameplay is key, playing a game while working music into it alongside it, rather than by working from concept art or a script. I asked Gareth to offer some detail on how he collaborated with Moon Studios, step-by-step, to build the game's excellent score. They all just blend so well together, feeling as though the art informs the gameplay and vice versa. I ultimately think that reflects in the game's combat, visuals, and music, as almost uniquely cohesive - creating a whole that can be difficult to separate into different parts. Moon Studios' size created fluidity and agility, with everybody talking directly to each other, rather than going through leadership and other middle-management connective tissue that you often seen in larger teams. I think we all felt the synergy between all of the elements. And I don't think it's particularly common. Not just putting the music together, but also the pacing, the editing, what we show. I had a big say in how all the trailers were put together. We had people jumping on all kinds of things that weren't necessarily in their actual job title. And to go and do it and to be proactive and ask questions. The onus basically is on you to find out what needs to be done. "We all have access to everyone else's material. Gareth Coker gave us a few more insights into Moon Studios' fluidity, and their uncanny ability to very closely marry all of their game's different elements, into a tightly-knit, cohesive whole. Moon Studios was always a bit unique in this regard, already designed from the ground-up for the ability to work from home. Every game studio has its own culture, many of which are currently being upended by work-from-home practices stemming from the global pandemic.
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