![]() ![]() I can’t wait to pull the curtain back in more detail as we get closer to launch. As you explore, solve puzzles, glide through the clouds and engage in the dazzlingly intense battles, the score will seamlessly bob and weave with you. Working again with my amazing partner in SoundCrime Steve Green (Giant Squid’s sound designer and audio guru), we’ve crafted a large-scale interactive score that dances with the player’s choices throughout their adventure. The resulting scope was significantly beyond our prior games. ![]() Recording at Bias Studios in Washington DC with the Tuvan Alash Ensemble It’s something deeply human, exploring some of our most enduring ideas, across every culture on the planet. The goal was to create something which feels like a “playable mythology,” as if the player is experiencing firsthand the story that underlines the tale behind a constellation or a cave painting. The score, which is built around what I call “a global jam band,” fuses musical traditions of Tuva, Scandinavia, China, Eastern Europe, Mongolia, Appalachia, Western Africa, and hints of the Middle East, all intermittently mixed with orchestral flavors. We had to constantly make fine-tuned adjustments about when we felt our job was to gently accompany the unguided wanderings of a player, versus when we should more aggressively inject into the game unapologetic emotion.Īustin Wintory conducting a large horn ensemble at London’s famed Abbey Road studio twoĪll told I recorded 104 musicians and wrote almost three hours of music. Whereas ABZÛ is quite linear in its storytelling, The Pathless’ open world design demanded a different relationship between the player and the music. ![]() In that time the conception of the score evolved a lot, both in terms of how it would be technically implemented into the game, but also more philosophically. I was lucky to be involved from the very beginnings of the project, and compose alongside Giant Squid’s development for over three years. ![]()
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