You’ve done a lot of video game work recently, from ARK: Survival Evolved to Darksiders Genesis and of course, the Ori games. That may not be the right philosophy but it’s my philosophy. My thinking behind that is if it doesn’t work for me, how on Earth can I expect someone who isn’t me to also think it’s going to be good. And then if I’m playing back the video with the music and it doesn’t really work or if I put the music into the game and it doesn’t work then I’ll never submit it to the team.
Ori and the will of the wisps composer software#
Just to give you a bit of insight into the way I work, is I record myself playing the game, and then I bring that video into my music software and then I write to that video. There is very limited control but if you watch it as opposed to actively taking part, if feels completely different so I guess I’m saying that the only rule I really have is to make sure I am as familiar as I possibly can be with whatever I am working on so I can get inside the the gamer’s head and shoes with them, when they’re playing the game, as best as possible. If we take the first one, Ori and the Blind Forest, all you’re doing with the controller is just moving from left to right and you’re triggering a new cinematic and you can jump, that’s it.
Some people might ask ‘why don’t you just watch a video of the gameplay?’ and I always reject that because it’s never ever the same as if you have the controller in your hand. And it’s very important to me to be able to play the games that I work on as much as I possibly can, and subjective to NDA’s and security and all that, because obviously some companies don’t want their early versions of the game going off site, but I do what I can to play the game so I feel like that gives me the best chance to understand exactly what the gamer is going to be going through when they play the game. So I’ve been gaming since I was 4 and as a result I feel like it’s the the medium I understand best and I carried over into my work. When you’re writing music, do you have a rule or a philosophy that you follow? What’s your guiding principle? I recently got a chance to have the fattest of chats with Coker on his work for Ori and the Will of the Wisps, his guiding philosophy for crafting a soundtrack, defining the melody of horror and the final push to nail the landing for this momentous sequel. Some of those tracks were melodic, others were haunting and all of them were capable of sticking an emotional landing that would stay with you long after you’d put your controller down. That’s thanks to Gareth Coker’s return to the series, as he was tasked with evolving his iconic score and growing the sound of Ori. A visually stunning showcase of art and tight platforming that evolved the gameplay of Ori and the Blind Forest to glorious new heights, this sequel wasn’t just a triumph for your thumbs and eyeballs but also your ears. One of those games that took us by the emotional collar and never let go, was Ori and the Will of the Wisps by Moon Studios. The gaming year may be halfway over already, but we’re heading into exciting territory with some fantastic treasure in tow already.
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