It’s not just Doran shuffling the musical deck-so does the player. It goes back to the aleatoric dimension of how I approach this stuff.” “Elements that you’re doing for one piece, you might be like, ‘Oh, this doesn’t really fit here, let’s try it over on this piece.’ You can really shuffle the deck, so to speak. “It becomes really easy to collage all of your material when you’re working like that,” Doran continues. It was recorded entirely in ”the key of C,” he laughs, an approach also used on Visible Cloaks’ 2017 album, Reassemblage (written in F#, he reveals). ![]() “The way I thought about the overall experience of the game was through the lens of it being a giant composition,” Doran says. The magic is in how enveloping the audio feels, the way it delivers so expressively on the medium’s dimensional possibilities. Sometimes this occurs through instruments found within the game world (an organ that sits atop a teetering cliff, for example) at others, it is through the sound of nature itself (“In-game wind that is pitched to double the melodic lines of the score,” explains Doran). However, in contrast to most games, Doran’s score bleeds into the environment itself to the point where diegetic and non-diegetic elements become essentially indistinguishable. Warbling woodwinds, plaintive piano, and chiming vibraphones accompany the player as they explore a picturesque valley on the cusp of an unnamed cataclysm. ![]() It should come as little surprise, then, that Season: A Letter To The Future sounds like few other video games (although fans of Doran’s previous output will feel at home with its typically artful compositions). Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track
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