REFERENCING – Shackled

AIM

The aim of this blog is to curate relevant information about the genre and styles of game audio/game music that best suits this project. Furthermore, to critically analyze the elements of the music in regards to;

Genre

  • Does it adhere strictly to a predefined genre?
  • or is it perhaps a fusion of sub-genres?
  • What elements of the music define the genre?

Themes

  • What emotions are conveyed through the music?
  • Are they obvious?
  • Do the themes of the music apply to the style of music you wish to create for “Game”?

TOOLS
If able to; research and include tutorials/videos/articles about critical techniques that will absolutely used in the production of the game audio. The more you can include the better your understanding of this project.

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The Score

Shackled is a 2.5D RPG Fantasy game that aims to explore a dungeon-like realm with a myriad of enemy and bosses to fight against. Using Dark Souls and other similar well-known game titles I’ll be referencing the range of styles and aesthetics in order to create an overall sonic palette appropriate for this game.

 

 

I have discovered that the Elder Scrolls III: Morrowind OST is an incredibly valuable source for referencing largely due to its great dynamics, composition and theatre. The use of orchestral instruments is generally common among similar types of RPG’s and seem’s to build a solid foundation for the game and story.

Blessing of Vivec (17:59) boasts a dynamic shift between soft harp plucks, lush string layers and alternatively; grand ensembles. This song illustrates depth and restraint and would allow the player to focus more towards the story rather than battle. I think that it is important to include such a type of song in Shackled because although I believe the game will be challenging and battle-driven, there needs to be some middle ground for the player to step back, recuperate and absorb.

Another example of this would be Peaceful Waters – (1:55), again this track conveys similar messages but also adds hints of mystery which could possibly compliment the players’ quests/searches.

 

 

In the next installment of the Elder Scrolls series; Oblivion, again composed by Jeremy Soule, follows on from Morrowind in many ways. The production seem’s to have more depth and clarity but retains much of the same epic/cinematic themes and exotic and orchestral instrumentation.

The first track Reign of the Septims, introduces a generic type theme song which speaks loudly of this genre of game. There are some elements of drama on a grand scale in the first climax mainly caused by the use of french horns and supporting string section.

 

 

Jeremy Soule creates a type of musical language which flows purely through the Elder Scrolls OST series with the seamless use of particular instruments. His soundtrack compositions for The Elder Scrolls: V – Skyrim is built on the same foundations but obviously has been pushed further beyond the others.

I believe this soundtrack demonstrates immense depth and detail through the digital clarity of the mixes, incredibly detailed sonic palette and even the fact that he’s created a fictional language to accompany his original compositions. The overall expansiveness of these soundtracks compliment the vast universe contained within these games, the use of epic climactic points help to immerse the player within the game universe.

 

 

 

 

 

http://logic-pro-expert.com/logic-pro-blog/category/free-kontakt-instruments#.VwPDnRN96Rs

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