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Lena Raine, the composer for Celeste, put so much heart and feeling into each note. Raine was the developer and composer for ESC, with visuals created by Dataerase. It takes place within two character perspectives: a recreation of a text-based roleplaying MUCK, and a series of logs from a mysterious individual known as the Navigator. Various chip sounds, and their limited possibilities, created a palette to write with. Raine is best known for her work on the soundtracks of Celeste and Guild Wars 2. No matter what, I'm super excited to shove more of your ear candy into my brain, but what should fans expect? Lena: In my eyes, the differences lie primarily in the intended purpose of the music as informed by the venue where it's experienced. Again, it totally depends on the project. As a composer, are you just presented with a demo that gives a basic outline of the game and story, or is it a more reactive process where you're given segments of a game, in increments over time, to specifically write for? I can think of a number of reasons why you wouldn't (time, money, direction...), but I got into music because I wanted to write things no one else was writing. I was in there, playing levels, even before any final level graphics were created. For Celeste, I mostly planned out the cues and how I'd like them implemented. How does a piece of music being reactive define its composition? Light House - Out Now! I had the chance to chat with her last month about writing video game music and just what exactly that entails. Is this going to be something akin to visual novels, which focus specifically on narrative, and how will the change in gameplay elements affect your approach to writing music? This isn't just basic pop melodies either. I've got a lot of experience working part-time on my own projects, like my music work before going freelance, or writing a novel while working QA earlier on in my career. The demo features Christa's music as of the time of its release, but we're both going to be hard at work to flesh everything out! How does your music react? Having that kind of extreme hands-on experience really helped me a lot in learning the full iteration loop necessary to get music into a complex game. Thank you so much for taking the time to be a part of this! [4] She later attended Cornish College of the Arts for a degree in music composition. What sort of basic blueprint were you presented with when beginning to write for Celeste? It simplifies things for the programmer or designer implementing audio, so they can just put a simple call in the script -- thing plays or cues here -- and the audio tool handles the rest, from randomizing sound effects, to doing fancy fadeouts, or triggering dynamic music cues on the beat. The general way I've been pitching it is that ESC is an interactive novel about identity, roleplay, and dreams. The soundtrack is primarily ambient electronic, but verges into a bit of IDM, trance, and some generally weird, glitchy shit. I wrote and programmed the whole game, and of course composed the score, which is just under fifty minutes of music. They should be treated separately, but also cared for simultaneously. If at all possible, I always want to be playing the game both before and after my cues are in there, to make sure I've got the right vibe and pacing. Everyone generally knows that early game music was defined by its hardware limitations. ESC is more about focusing on the text itself, whether it's a roleplay chat log or first-person prose. Basically, FMOD is an implementation tool that works in conjunction with the game engine to handle how the game calls and deals with audio. [6] She worked at ArenaNet for six years, composing for Guild Wars 2 soundtracks. [5], Raine is best known for her work on the soundtracks of Celeste and Guild Wars 2. One fun exception to this was when I worked at ArenaNet as a designer on Guild Wars 2. LATEST . I then sent over the files and worked with our sound designer Kevin to get them into FMOD, the middleware tool we used for audio implementation. I've had a number of different situations over the years. Is the soundtrack going to be orchestral (like past works), electronic, or something entirely different? [14][15] Her soundtrack for Celeste was also nominated for Best Score/Music at the The Game Awards 2018. It's actually a very important part of my process, especially with dynamic music, to create a listenable "album version" of each series of tracks I write for a game. It's a beautiful thing, and you're working magic like a freaking wizard. It really depends on the composer and also how they're interacting with the team. After years of hard work in the industry, she’s finally starting to receive some of the recognition that she deserves. Chamber music was made, literally, for a chamber. It's slower than chamber music, meant to fill a huge resonant hall. I have no idea how you're doing it, but, please, don't ever stop. You went the extra mile and created something that stands alone as a full-on album. Then, Matt and Noel would take the triggers generated by FMOD and implement them in the level scripting. [A screenshot from ESC. It's movements within a larger whole. Is this your first time ever helming a video game's development from all angles like that? There's backgrounds, sound design, and music, but the primary focus is the writing. It's developing thematic material across movements. Lena Raine, also known as Lena Chappelle, is an American composer and producer. However, the incredibly tight gameplay and damn-near-perfect level design are only some of the factors that make it such a standout title. Kori Celeste Scroll. I have no idea what's going on here, but I'm into it.]. If I let myself use the mechanics, structure, and narrative of a level to help define the score, then the music is more interesting. Seriously, the sky is the fucking limit for you. Her father was also a violinist. Speaking of audio cues... As someone with limited knowledge of game development, I was curious how that process actually works. I often had the opportunity to write music for quests I was designing, which meant I was creating the content, determining how music would fit into the gameplay, writing the music, and then implementing the cues in my script. Alright, Date or Die has my attention. There is actually a fully-playable prologue demo available! He argues that music genres and styles arise out of the venue they're meant for. When you move from scene to scene, the music moves with you. It's defined because it happens while you're interacting with a game, and that's what sets it apart. But that also means that game music is something to be experienced within the context of a game. [12] Her work on Minecraft made Raine the only musician to contribute to the game's soundtrack since C418 in 2011. Really makes the process so much heart and feeling into each note on both a technical and philosophical,! Is not short on surprises, and that 's what sets it apart Minecraft and Chicory: Colorful. 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