GC: It's a bigger game and has more characters. RPS: As a composer what are your first steps with a sequel like this?
When you're revealing the game you want to remind people this is the Ori you know and love, except we've dressed it up considerably. Anyone who played the first game that's one of the things that jumps to mind. But I think it speaks to the audio visual presentation of the game as a whole.
I introduce it and then we focus on the visuals for the whole thing. So they only did it at the beginning and the end - the best of both worlds. But my emphasis was if you're going to put me on stage, let's not have too much camera on me, because the game looks so good. There was a backing track to fall onto, but all I could think about was if I screw up this is going to be on the internet forever.īut it's obviously a big honour to be put on stage. GC: When we first decided to do it like that, I have to be honest all I could think about was 'my goodness, I hope we don't screw up'. How did it feel having that put front and center at the reveal? RPS: The game was revealed with you playing the piano at E3, which I think shows how much music is associated with the game. We defy you to watch the opening cutscene or the final chase sequence without the hairs on the back of your neck jump up like an orchestra about to take a bow. It all makes more sense if you listen to the soundtrack in question, so why not watch our recent video first - it’s a collection of striking scenes from the first three hours of the game, with only minimal nattering to distract from them. Turns out it’s not just about playing the hits - although I am dying to hear “the most emphatic” version of the main Ori theme - but showing character psychology through subtle tweaks, and establishing a larger cast of characters without driving ears insane with repetition. With Ori 2 releasing on March 11, we got to chat to Coker about what makes the new soundtrack, and the game underneath, tick. Okay, it doesn’t have the star factor of a Keanu, but it’s breathtaking in its own way. So good, in fact, that it was Gareth Coker’s tinkling ivories that were first used to announce the game at E3 2017, where he sat at his piano and played a live accompaniment to that incredible footage. It’s quite rare for a composer to be offered as the spokesperson for an upcoming game, but it’s also quite rare for a game to sound as good as Ori And The Will Of The Wisps.
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