“Then the animators will go back and time the sequence to the music. Then I write the music to the storyboards, which is super rough and not tight - don’t need to be timed accurately at all,” said Coker. “Then I get to see the environments and the artwork early, which helps me start to make choices about instruments that help me generate the right sound palette for each area.”Ĭoker worked most closely with the artists and animators when it came with the game’s cutscenes, which required a lot of collaboration. “It just allows me to make so many more decisions, like learning the speed of the gameplay helps me make a decision on tempo and pacing of the music,” Coker said. He worked closely with the entire team over the course of the games’ development, studying the story beats, looking at art assets, and watching how people play the game to make sure everything fit perfectly. The music played a clear part in this, accompanied of course by memorable characters and gorgeous art and animation filled with personality.Ĭoker was brought in by developer Moon Studios from the very beginning of both games’ creation, with the goal of making sure that the music fit with every area, moment, and possible gameplay style. The games were made with a barbed arrow aimed directly at players’ hearts, and judging from the reactions of players and critics alike, both games hit the mark. It’s a philosophy that makes sense coming from the man who composed the scores for both Ori and the Blind Forest and Ori and the Will of the Wisps. “Once I get there, hopefully it translates to all of the other people who are playing the game.” “I just keep going until I feel what’s appropriate for the scene,” said Coker. Emotion is the entire point, and he doesn’t want to waste anyone’s time with a piece of music that he knows doesn’t accomplish his goal. He is flexible in his work, but his natural style is more of fantasy and the mystery types.There’s a rule that composer Gareth Coker follows whenever he writes a piece of music: If it doesn’t make him feel the emotion he’s trying to get across, he never bothers sharing it. The works that he has created are usually about layering of sounds and dense arrangements with the right amount of reverb. He does confess that his production style and aesthetic choices is leaning more on the fantasy and mysterious genres. Preference on worksĬoker clarified that his style is usually due to his projects that he has been working on. He praises those titles that can have those two elements in place because it means they are serious about its development. He reveals that he has been a gamer for a long time and he knows if a game feels good for him. The best project, for him, would be having both because it is a very enticing proposition for him. He did confess that he could go for either one of those, as long as that factor could get him impressed enough. The other factor is that the story had to be engaging for him. The first one would be that the gameplay had to be compelling. Ori and The Will of the Wisps composer says gameplay and storyĬoker revealed that there are two factors that would make him get interested in a game project. Ori and the Will of the Wisps soundtrack composer Gareth Coker shared the things that developers would propose to him in order to get him interested in their projects.
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