I have played the game 4 times at this point, fourth playthrough being the sort of "taste test" for the music system that you have described in this video. Three times I have moved from plateau to plateau in a way that game sort of implies- Cernos, then Sauro, then Nimue. I didn't move to another plateau if the current one wasn't cleared, so I heard no deviation from the route that music took from playthrough to playthrough. This time, however, I decided to deviate from the path, so to speak, and reached the Plains before venturing into the Redwood Steppe. To my absolute delight, after 70 hours of playing the game I started hearing new music I've never heard before, new instruments tied into the score that you wouldn't hear under normal circumstances. I was so engrossed with the music that I purposefully fled all across the map from Nimue so her red storm would not break the flow of the new melody that I was hearing. I noticed slight differences in the boss music as well: after clearing the spirits in a randomized way the small music cue you would hear after the first phase of the chase would change, lose or gain a few instruments (Sauro lost the flute motif after he went into the second phase of the chase). It shows how much thought went into the small details some players can never even experience. My conclusion? Go play Pathless, ya'll, it's good.❤
I played through Pathless two or three times, and I did notice how the music changed through the open world by the third time, but I couldn't tell what it was tied to, it was so subtle! The first time playing it I felt like the world was alive in a way that most open-world games never are, and I think that was because of how the music reflected the journey. At no point of time did I get tired of the music, or even after hours of collecting and replaying alongside my siblings, think feel like the music ever stopped being alive. You know, that's what I think shows in your world the most actually. The music is alive, and moves WITH the player, and not against. It makes it less primitive and more art. I had no idea that world map themes changed with the area you went to though! That is so cool! I will be listening even closer the next time I pick up the game. 👍
Simply brilliant! Thank you for your great work! I have played the game back in 2020/2021 and I enjoyed the overall atmosphere so much. It was such an immersive experience playing the game and the music had a lot to do with it. :)
I realize I'm coming to the party a few years late and maybe you'll never see this but I'm replaying The Pathless. There's an area in the Great Plains near the cliff connecting that area to the two earlier areas where you can shift between the three areas. I can't believe how seamless these transitions between the three solo instruments are. Kudos to you and the audio programmer you worked with. I'm just sad that so few people are likely to have experienced this element of your score. The first time I played this game, I wanted to get to the other areas before completing the first boss, because I had watched this video, but because of the level design and my unfamiliarity with the game, I didn't know how to get there, and then I inadvertently triggered the boss battle. On the playthrough I'm doing now, I managed to get to the Redwood Steppe and Great Plains prior to defeating any of the bosses. 3 flaps are required, which involves collecting nearly all of the golden diamonds in the Forest Plateau. But the effort was worth it. I've been enjoying hearing Kristin Naigus and your bassist play the Act I music. I'm looking forward to repeating this process with Acts II and III. I'm teaching this game in my first ever Game Music course in 2024/25. What a fresh take on the open-world form. I just wish there were somewhat less gating between the areas. Unfortunately many players won't hear much of your work.
i didnt notice the music was adaptative until it was pointed out to me. but i think that has to do with how _immersive_ it felt, that the music was just a part of it to me
I watched this vid before playing the game (months ago), and now have just finished playing it. Overall, the music worked brilliantly and re-watching this makes it clear, in retrospect, what I was hearing. It's beautiful music and I LOVE it What worked less well from a game mechanics perspective is that I couldn't appreciate what I was hearing all that much while playing, since there was the constant distraction of Hurry Hurry Don't Get Caught, and after I'd defeated each boss and could wander a plateau safely and take my time to enjoy it, there was no music left, so at least half my playtime was without music. That said, this is my playstyle; others who don't mind the looming threat of the storm while playing will have heard a lot more. Thanks again for sharing these videos, and for all the lovely music in what is now four of my favorite games 💛
The lack of music was one of the first things I noticed after beating bosses, but that's because I first played on PC and have noise-cancelling headphones. So without the background noises of my town, I noticed all I could hear was my friends talking on Discord. It gave me more of a desire to explore, because with just ambience, the map design takes the forefront. The whole team made a lovely game, sound/music included, so thank you for your part in that.
I had no idea all of that was in the game, however, i remember being HAUNTED by the feeling of progression. Every time i booted the game i heard a particular soundtrack, and even though i didn't pay much attention to it, it made me instantly remember what part of the game i'm in. So yeah, in my opinion you absolutely nailed what you aimed for. It was very subtle and felt.
The first time I played Pathless I was so engrossed by the game that I did not really pay too much attention to the change in ambient music that was playing on each plateau, I enjoyed the melody but when the percussion started- I wasn't linking it to me speeding across the map or flying. However, when I started my second playthrough those little changes in the music really became apparent to me: the way you hear a few very strong beats when you fly from a very high point in the first plateau, or the way the melody gains percussion when you run, or (and this took me an embarrassing ammount of time to realize, since I collected everything on a said location first and only then fought the boss) the way the music stops completely after every fight - those are the moments that are genius, and the fact that you and the Giant Squid put these little touches into the game says quite a lot about your passion and skill. Thank you for your music!
After fighting Cernos, I wandered around the plateau briefly and didn't consciously register that the music was gone, but now I realize the quiet is what made me feel it was time to move on. That's amazing. Also thinking about how the bounding layer created that feeling of wanting to keep moving, anywhere, even after my intended destination was behind me. For me, the scores and videos like this one help me listen to the music differently, and hear things that I wouldn't otherwise be able to identify as distinct elements. Definitely looking forward to replaying and experiencing the music again, and differently. Thank you for the walkthrough :)
In a way, this is a big version of our idea all the way back on JOURNEY, where music would stop after the exit to the next area was unlocked. It was a way of telling the player subtly this was complete, and the storytelling in this area was done
Holy shit I had NO IDEA that the instruments were tied to the plateaus and not the progression for the first plateaus, I’m absolutely gonna have to go back and play with that knowledge. Thanks as always for videos like these, it’s brilliant to get insight into the thought process behind these games’ soundtracks!
I have played the game, got the platinum trophy, and I must say this game was an absolute treat to the eyes AND the ears. The music is immaculate, as your music tends to be. I also immediately noticed the progression in the music as I progressed the game. Granted, I am very sensitive to music in games, but I daresay it was "obvious" enough for anyone to notice without making it too complicated or taking the focus away from the game. I found the musical progression to be rewarding, and helped me focus on the game and wanting more, rather than being in the way. And the idea of the score not playing in the cleansed areas, allowing for nature sounds to come through was beautiful. It gave a sense of closure, letting the player (or me, at least) know "You're done here now" without feeling like it was trying to usher me into the next area. I loved this game and I will be playing it over and over purely for the music as well as the visuals.
Finished this one about a month ago now, but still find myself wandering and taking in the quiet and the ambience, which seems strange to me when it comes to a game you’ve scored honestly. Brilliant, subtle, wonderful work as always.
I am a composer (amateur but still) myself and working on some projects with some friends and this is really inspiring. I am really sensitive to music when playing and your work for The Pathless is very impressive. I played the game having that feeling of progression you describe through the music, but without any idea on how you manage to achieve this. In part because everything seems really natural in the game, it feels like it has to be that way. All the transitions are very subtles, somehow expected yet unnoticed. That's very important, I think. A music lacking of that subtility could undermined the experience. In your music (in The Pathless, but also on your previous works) I hear the story, I feel it, I experienced it. It's deeply part of the magic of a game like The Pathless, for me. It would not be the same without it. “Without John Williams, bikes don’t really fly; nor do brooms in Quidditch matches; nor do men in red capes. There is no Force. Dinosaurs don’t walk the Earth." That's how Spielberg talk about John Williams musics. I kinda feel the same for you. I'm not saying that Journey, Abzû or The Pathless would not have been masterpieces in their own way. But without your music, it would not has been the same experience. Your music was part of the magic making those games what they are. That's the effect it had on me while playing. Knowing don't affect my previous experience of the game, but give me the need to play it again, just to experience that new knowledge, hear the progression, have a better understanding of the entire game. Thank you for this. It is really inspiring and helpful. I'm very grateful to you for sharing this !
I feel that music, for me, is just one of those things I'll never really get. I can't play any instruments or sing very well. But I have a deep love for it and I like learning about it. So thank you releasing these videos. It's always cool to see how you put these incredible scores together and it's cool to get a peek behind the curtain :)
I am very happy that these videos make sense to those who don't call themselves musicians or composers. It's never my goal that it too "insider" feeling, so thank you !!
Wow. This video isn't *just* filled with a TON of really fascinating information, but it's also edited together beautifully. All the onscreen graphics and relevant gameplay footage are super helpful at making this otherwise somewhat complicated breakdown effortlessly followable.
Amazing that seriously composed music is intended to strengthen the play and even to guide the game's protagonist, the Last Hunter. Not being a gamester i wonder if this is a new breakthrough in gaming. I will try this game for myself. The last game i tried was called Nanosaur. I hope there is a short musical arc for the Last Hunter's sidekick, the eagle.
The music was the main reason i bought this game and I am so impressed at this additive/adaptive music system you've built. It makes so much sense. It's so simple and brilliant and the transitions are seemless
The music progression through gameplay felt amazing to me, especially when you glide off one of the obelisks and the “bounding” cue you talked about kicks in as you fly to your next destination. For when you beat the boss of an area I can understand why you guys decided to do no music but when you’re trying to get all the puzzles done in a plateau it definitely gets weird having no music around lol. But that would probably be the one and only peeve I had with this game in terms of music, everything else was awesome
Having played the game a few months ago, most of the experience was very serene and I never felt like I was listening to the same loops but what really stuck with me was the parts that had a big narrative impact : the end of each boss or some of the specific mecanics of each boss enabling "hero moments". The subtlety was definetly there, but when it needed to, the OST did not pull punches.
I couldn't pick out exactly how things shifted in the music, but absolutely felt the drive of the bounding layer. The subtle way that things kept shifting, and the peaceful lack in cleansed locations, was very impactful on my play
I had no idea the music went this in depth! Great work, I definitely felt the progression and the fact that the music itself is amazing too just makes this perfection. My favorite was the Nimue boss music but great work overall!
I am truly fascinated by how developers implement music into their games and have been ever since I learned about the adaptive music engine they used in Monkey Island. I pride myself on noticing these things, and I think that you and the team did great work. I also wanted to say how I appreciate that you went for a subtle approach with the dynamicity of the music, because in my opinion, dynamic music that is 'too noticeable' can really ruin the illusion when playing a game.
Agreed. As distracting as mindlessly looping, totally non-interactive music can be due to its obliviousness to the player/game, so too can ultra interactive, mickey-mousing music pull you out by constantly waving its arms in your face
As fantastic as the music was in The Pathless, I also really appreciated those little moments where there was no music, or it was sparse. I love this silent moments a lot, as they only help to enhance the parts where music is. The music implementation was sooooo well done
In response to the question at the end of the video: The only real dynamic change in music that I noticed while playing was the difference in the percussion when I was/was not traveling quickly. I will say that it definitely added a LOT to the exhilaration I felt while running for my life from the red storms. Oh, and the special music for the bigger puzzle rooms was perfect. I'm gonna replay this game again at some point, and I'll definitely be on the lookout for these dynamic changes now. :D
Hey Austin! Appreciate the insights into how and why things were done. For me, especially on this game, I spent a lot of time just exploring the levels and just enjoying wandering around trying to look for things I may have missed. I've never been one to speed run through games, but want to experience the game world, and just enjoy the journey (no pun intended) more so than the destination. I don't think that knowing how the music was done changes game play, but it makes me appreciate the level of interactivity that's there when I'm trying to run/fly/glide for so long and then relaxes if I'm just wandering around.Well done, sir!
After seeing this, I probably won't be able to help but look at video game soundtracks and their usage a lot more consciously. I think the stuff you guys did for The Pathless is quite unlike anything I've seen so far, at least down to all those little details!. This was a really well-made video too, using all the graphics and animations to reinforce the point. It certainly shows you enjoyed making it. You should def add this to the "Nerdy video essays" playlist though or have one playlist where you put in all your video essays together.
The difference is that "Nerdy video essays" are generally me talking about OTHER peoples' work, whereas the "Behind the Scenes" playlist is about me talking about my own work. And thank you for the kind words!!
I have only recently discovered bedroom music production but have been fascinated by video games and music all my life(I'm a pianist)! I hope I get to do projects with such grandeur, complexity and musicality. Bless me Sir!
I remember watching this when it came out, I was immediately intrigued and of course bought the game as soon as I was done with university/could afford it. I've just finished The Pathless and I really appreciate having played it with the knowledge given by this video: it gave me the opportunity to enjoy the score and the gameplay itself even more, to be more aware of what was happening in the background and all the work that was behind it. It was absolutely brilliant. I loved the music immensely, just as much as I loved the soundtrack in Journey and ABZU (actually, more..! But that's a personal opinion) and I am as always blown away by your skills and incredible ideas. An amazing experience! Thank you so much for this video and for the work you do :)
I just beat this game and it was very good, the music no small part of it. Although some of the peaceful bird sounds I found were actually quite unnerving, I thought there was some animal in pain I was supposed to look for. It took me until I heard them again that I realized it was probably just an elk or something? XD
Thank you for this video Mr. Wintory The music you made for the game is perfect and it was a really important part in my path(less) during the game. I played the game in a more linear way so I want to explore now all the different sounds and changes in the 3 plateaus of Cernos, Sauro and Nimue. Thank you again for your time and your music!
Yes, i felt the changes, i was actualy doing an active listening while playing, however it was briliant call to eliminate the music after defeating the boss when i stayed there i really felt that the other zones were beconing me as i felt that i wasnt really needed there anymore.
This is so intricate. It's incredible. As for myself, I didn't know about this musical algorithm until after I finished the game-all I knew was that when I completed the game itself, the absence of music felt very prominent. It was a little sad, just given that I love the soundtrack so much. I almost want to go back and replay the game to experiment with the music more. Also, I absolutely must know what "The Godslayer's Favorite Napping Spot Canon" is... someday.
I think these progressions in the music were perfectly balanced between being subtle and attention-stealing. They added alot to the over all feel of the different plateaus/bosses even though I barely noticed the changes on my first playthrough. And thank you for making these videos, I learn a lot from them. :)
Hey Austin, great video! That was really interesting and fascinating. As I was playing through the game, I took quite the usual path and cleared one plateau after another. After watching this video, I was surely missing some interesting musical changes but enjoyed my time nevertheless. As I was speaking with a friend who played the game too, we were both kind of sad to cleanse the music from the plateaus, after we defeated each of the bosses. We enjoyed the music & to know, that the exploration would be without it stopped us both from entering the fog/bossfight, although we wanted to help the gods. That was quite the inner struggle ( I don't know if this was the intended outcome from you ). I loved the transition to the puzzle music. I merely recognized the switch in music, although it changed (in parts) completely its mood. It had just the right balance of interesting melodies & being in the background without distracting me from solving the puzzle. Really well done! Tbh, I tried to read out the ways I could manipulate what you called the "bounding" layer, but most of the time it didn't show the reaction I was hoping/searching for... I couldn't figure the exact actions. Maybe I wasn't patient enough, but I also didn't hear it start whenever I was flowing at high speed through the forest. Overall, I think you guys took it really far to create immersive music, that suits the narrative of the game in an organic way. Maybe you pushed it a bit too far in the means of getting all musical feedbacks, but I think it was worth it! Thank you very much, sir! This game (you) taught me much about music implementation!
So, I dont think I noticed the ramping up in musical, I dont know, "intensity" I guess, until I got to Kumo's area. And I wish I had noticed sooner because going back through, it's really interesting how you weaved the soloist instruments in and out of the same piece. I think the reason I didn't notice is because I tended to explore the areas I wanted to in a given area, fight the boss, and move on, as that meant progression for me. So I thought that each area just naturally got more intense, which, in my thinking of how game development might go, kinda makes sense as that could also signal that the player is advancing the journey. Anyways, love the video and the music as always, Austin!
This is amazing, Austin. I, a newly born musician/composer of the indie world, appreciate the tremendous effort and love you put on all your videos. It means an awful lot to me having the opportunity to take a look at your process, methods and overall creativity. Thank you for sharing all of this!!! Greetings from Argentina.
Thanks for taking time to explain your work, this is truly useful and inspirational ! I only defeated the first boss ingame, but barely noticed any of theses transitions, Despite my main concern in games is sound and music. Very smooth implementation indeed. Also, i'm very glad you bring such a beautiful diversity of instruments in the VGM world, especially your collaboration with Alash Ensemble
I just beat the game about 2 weeks ago, and I'm not sure if I knew what it was at the time but I could definitely tell a difference between listening to the soundtrack on it's own and playing the game. I think this may have been to me unknowingly moving between each of the major areas and experiencing the music more as an organic "thing" than just a song playing from a specific area. Great breakdown, only thing you haven't answered at this point is where is that bass kazoo!
This explanation is fascinating, everything makes sense now. I did feel the music was organic and non-intrusive, never pulling me out of the exploration, but still always by my side, pretty much like my eagle companion. I also felt more motivated to keep going the farthest I was into the story, as if the music was giving me strength to complete my quest. And after watching this video, I see it really did. I just finished the game a few moments ago, and now I'm listening to the soundtrack while letting the feels sink in. What a great experience.
I love the idea behind it! Might steal that for an album of mine, it's just such an amzing concept ahah As soon as I get the chance I'll get the vinyl of the Pathless, there's a lot to learn from your music:)
This is really, really impressive! I wasn't going to buy Pathless (although I absolutely love the score), but now I might reconsider that, simply to experience all of that amazing music in-game ❤️
Amazing! You are a great composer. I'm a musician and I am done my first game, I will start compose the music for my game in the next week, your work is a great inspiration. Thank you!
I really loved the oud addition in the first act I think. So much so that after defeating the boss I started to really miss that instrument. It gave me a bit of a longing feeling of sadness, just as I was reading lore messages of the denizens of the island lamenting the corruption of their home. I missed that instrument and knew I would never hear it again in the game because of my actions. Made me more receptive of the regretful sadness of this world.
as someone who has a hard time focusing solely on the music while I play, I do remember feeling the music and tone growing more confidently and epic as played through this game. Seeing this explanation makes me want to go back and play it again.
This honestly feels like this implementation system should be the new default for a large number of games. It just makes perfect sense to link the narrative progression and location into a weaving story using audio. Also It almost feels like the music is it's own obstacle to overcome, and the serenity of nature and the meditative aspects of nature are what you are striving to gain by defeating each boss. Audio implementation is my personal favorite art form that seems to be regularly neglected, which is why I personally loving messing with Wwise and can't wait to implement more ideas for my own projects. From one Austin to another, thank you so much for sharing this!
In playing _The Pathless,_ I felt it became easier to pick up on the ways the music was progressing as more and more was happening. I began to really notice this in the Redwood Steppe, although I was never quite sure what caused it. It was perhaps at its most (gloriously) obvious during the more intense moments of the game, namely the boss fights and their aftermaths. Truthfully, I think you and Giant Squid have gone about composing this together in the most deliciously detailed way possible. Every moment of music feels like, most literally, the world is attempting to communicate with the player, beacuse of how it adapts and fleshes itself out through the interactive elements. Only geniuses are capable of doing it so effectively.
This is such a fascinating topic, and it's really cool to see the scope of ideas and thoughts that went into making an interactive music system like this. Usually when there are hard cut line of 'enter zone 1, play zone 1 music' etc, it can end up breaking some of the immersion and feeling of being in a cohesive world. I feel like you really struck a healthy balance between keeping the player grounded musically to the narrative, while also rewarding exploration through the introduction of the varying solo instruments. The marrying of the narrative progression and the musical evolution felt so natural and immersive to me playing through the game that I never thought about it for a second. But I DEFINITELY felt it.
Currently playing the game, and I did notice when the music was not present, but I didn’t care because I just enjoyed exploring the game and just staring at the vast regions in it, or I was so focused on something else that I barely registered the fact that music started playing until it was a bit into the song
I wouldn't have been able to tell you that was going on, but I definitely felt it. Much more involved/subtle interactive system than a lot of the other open world games I've played. 👌
Great video! Thanks for the insight in the planning for the score, it's super interesting and your videos give a great visual presentation to complement what you are saying! I didn't play The Pathless yet, but I'm looking forward to it!
Wow this is amazing! Reminded me a bit of the music of outer wilds, where every main character also has their own instrument and they kind of blend into each other. But this progression through the story seems so ingenious, that I really want to play the game now!!
Brilliant use of bringing in themed instruments to indicate the bosses, and removing them when they are defeated. These are some really helpful tips to bring the player along with the story and to avoid repetition. Thank-you for showcasing this, Austin!
Hey man, I'm studying a degree in videogames, and the professor gave us your video as an example of adaptative music. Just wanted to let you know and say that it's an incredible video and a very interesting subject. I didn't knew the game and now I'm looking forward to play it. Just that, have a great day man, greetings from Argentina 😂 🇦🇷.
Incredible video. I am developing an action game and I want it have an adaptive soundtrack that reacts to the player's play style. This is super helpful as a framing tool, thank you! As for the music in the exploration sections, in my personal opinion I was missing a little more recognizable melodic motifs in addition to the individual instruments that represent the bosses. Once the actual boss fights starts you can very clearly feel the music evolve with the intensity of the battle until its resolved when the boss is defeated. Gives me all the feels!
Finished the game just yesterday. Even though i like the fact about the cleansing of the area also erasing the music i kinda worked around this once i realized that. Im a completionist at heart so running around clearing the rest of the map felt a bit empty without the score. So ended up doing and collecting everything before illuminating the final tower so i could enjoy the music for longer :) Even though that also meant constantly running away from the storm...
i haven't played the pathless yet (don't have a PS/PC to play on), but your question reminds me of one of my favourite parts of breath of the wild: there's a side quest called 'from the ground up', where you help a character build 'tarrey town' by finding residents for it from the four main peoples of the world. each of those peoples have their own music playing while you're in their home town, with their own melodies and instrumentation. but a piece of that melody/instrumentation shows up in tarrey town once someone from that part of the world moves to tarrey town. once i figured out that was happening, it changed how i played - i kept going back and forth between the different towns, trying to figure out which musical parts had 'traveled' to tarrey town. it was fun trying to pick up on the changes, and to find connections between the characters and the instruments. anyway, that system isn't nearly as complicated as the one you describe here, so i'm so excited to check out the pathless one day! i hope a switch version is in the works, otherwise i'll have to borrow a ps from a friend at some point.
Honestly I wasn't sure I was going to buy the game, but this video sold me on it. I'm studying music composition and all of this is just so cool. Looking forward to it!
When I played the game, I just went in the kinda standard order from Cernos to Suaro to Nimue so I never really got to see this system in action. I also listened to the OST sooooo much, and that also made me think there were just different songs for each area. But now I wanna replay the game and try to hear From the Antlers with a bamboo flute or The Plains with an oud... this is such a cool system!
The game naturally takes you in that direction but earlier designs it was far easier to travel b/w them. So ironically, the system was more useful in early iterations of the world map design, but it still functions for those who are intrepid explorers! :)
that last part got me thinking - is there ever a part of you that wants to leave these sorts of things truly up to "magic" as it were? the word 'seamless' has come up a lot in respect to your scores - do you think that you might be taking something away from your own work by simply discussing it's seams? personally, i will often leave an appropriate amount of time between experiencing art and taking in content describing how it was made - something i've done often with regards to your scores and videos. i want to leave myself enough time to appreciate the final piece in a "let it all wash over me" sort of way, before i dive into appreciating it in a different way, in a way where i can recognize the 'seams', details, and the little tricks used by the artists. to give a recent example, when i was playing the last of us part 2, i was awestruck by the graphical prowess - particularly the texture work (i'm a massive texture nerd), and i was just taking in how it all felt like a real, living environment. it wasn't until just before my second playthrough that i dove into the twitter and artstation posts from a specific artist at naughty dog (shout out matthew trevelyan johns). to not get too technical they were describing things like the layers the materials were built of, the different 'kits' used through the levels (for example, different preset setups of items that could be slotted into the bed of a pickup truck. leaf kit, debris kit, etc). then on my second playthrough i was looking at the environment in a completely different light. i was recognizing specific assets and textures - specifically when they were used multiple times - in a way i never had previously. again, it wasn't a worse experience, it was just a different kind of appreciation that took me out of the flow and immersion the game (and its textures) was trying so hard to uphold. wow, lots of text. at the end of the day, i really appreciate these videos. they kick started my motivation into composing as a career in a time when i felt like i had no possible paths forward (not to get too moody in the youtube comments). TL,DR: i really enjoy the moment of recognition i have re experiencing your work after these sorts of deep dives, but i just wonder if you've ever thought about how they might impact someone's experience, especially if they were to watch them prior to experiencing it in the game. cheers :) (also, i know this one specifically is a month old, but shout outs to dallas on all these too. amazing editing that i've really enjoyed watching evolve)
It's an interesting question but my goal is to hopefully do my part, little though it may be, to elevate the art of game making and game music. I am not a fan of holding on to secrets, as if they are somehow that impenetrable or precious anyway!
Awesome video! I love seeing game composers deconstruct their work, it really helps demystify the process for an aspiring composer like me. I'm working on a dynamic score for a game myself so seeing a detailed example of this kind of thing is very reassuring because it makes it feel like far less overwhelming a task, so thanks very much! :D I wanted to clarify Something about the structure of the scores various acts that was a bit ambiguous to me. The graphic you have at around 5:00 shows a series of 'explore' pieces separated by 'loops'. Are each of those loops the same piece, and the graphic is simply showing an example of the first four iterations of the music (with each iteration featuring some unique exploration verse followed by the loop chorus), or is that literally the structure of the music, with four unique looping sections separated by one-shot sections (and if that's the case, when do the loops end and move on)?
The explore pieces are different, per act and often quite long (5-8 minutes each, with all the various layers / elements therein). The loops are per-act also, and contain separate layers to account for bounding AND a series of short stingers that play at random (also per-act) to inject variety. The loops are very very minimalist / ambient by nature otherwise
Thanks so much for talking about these kinds of things! I have a few questions more on the technical side of things: - How many layers can you have going independently before it becomes a problem for the available memory or processing power? - Is it hard to have the layers stay perfectly synchronized? - Are there any technical limitations to this technology that you've had to adjust for? - What do you wish was possible with this that currently isn't? Sorry if that was perhaps a bit too many, but this field of interactive music is just SO interesting!
My answers! 1) You can have a ton of players; I think the most we ever needed would hover around 10 or so. In the old days memory / processesor power were issues but no longer (though I know the WWise setup gave the team handling the iOS port a bit of a challenge!) 2) Nope, software like WWise handles that very well 3) We always bump up against challenges of some sort or another but it's nothing we don't eventually find a workaround for 4) The million dollar question .... stay tuned :)
@@awintory You actually answered! Thank you! I can see a ton of potential with interactive layering, and I love how you used music as a contrast to things being restored to peace rather than music being used to embody that peace like I feel most composers would have done. In that sense you've made the mere presence of music become a leitmotiv in and of itself, as well as the absense of it. John Cage, but put in proper context to give it meaning. I imagine the same could be done with interactive reverb and other effects put over individual layers. Filters and delays rendered in realtime based on triggers can add meaning similarly. So many things are yet possible, and I'm excited!
O god. I just started playing with fmod. I was still thinking in a lucasfilm i-muse system frame of mind. I have sooo much to lurn. Yay! Thanks for sharing this knowledge.
I do really hear something different during gameplay but I dont notice what it is...But I can feel some kinda emtion drifting? Thanks to your explain I finally find it is your elaborate design made it.
I played the game but did not finish it, but for years now the spotify album for it has been one of my most listened to pieces of music, and i swear i must be at least in the top 20 people for most listined of that album. i love it so so much, i was wondering if the bandcamp version is full quality? and also is there any and i mean any extras that you can share?
This is so interesting. I'm in my last year of studying music composition, and am going to do my graduation work about interactive music ; be sure I'll talk about your work on this game !
Ahhh I watched this, and amazing, but I actually miss the music. I end up spending a lot of time in an area after the boss so it makes me kind of sad I can't hear the music, like the world isn't alive anymore. That's just my opinion though. Edit: though yeah it's so incredible how it's integrated and I can't ever stop listening... I think that's why the music makes the world feel alive it's how much I listen to music and how well it's done.
I hadn't much noticed how involved this is and assumed it was all just regional music. But that's mostly because I didn't cross region borders unless I was completely done with the current region. That being said I _did_ notice the Bounding music but funnily enough I thought it was for when the storms chase you. I guess that's where I did most of my running
This is actually Melia's husband. I'm too intimidated by your intellectual and musical intelligence to reveal my real name. Well done, my friend. There is brilliance in what you do.
I know this is a... bit late but (Spoilers for others) Is the little graph at 9:25 a little easter egg hint map for musical cues? I assume "The Godslayer's Favorite Napping Spot Canon" is a musical cue that coincides with the location of one of the 8 secret shells and that whole Abzu reference? The one on the edge of the cliff in that cave? Just curious because I never noticed it!
So how do you channel such an interactive score into a cohesive album release? Maybe it's a dumb question but I don't care😅👍 Regarding your question in the video: I may have felt it, but if so only ever so slightly. Yes, I noticed new tunes and melodies, but I think the overall change with regards to progression was indeed very subtle and I think most of the time I was mentally preoccupied with the tasks at hand, orientation etc. etc.
The more interactive the music, the harder it is to make the album (and also the more subjectively "my version of the music" that album becomes, versus some sort of objective "official" version). I am actually planning a video on this exact thing later!
Love this kinda Content. Austin, assuming you are using Wwise ( correct me if im wrong) how possible would it be to have like a "Wwise Tour" of The Pathless in the future... HeHe dont know if its too nerdy for a video though.Oh also, out of pure curiosity, Do you implement the music in Wwise yourself or you have a Wwise guy? (Assuming you guys use Wwise)
I was going to maybe do that for this video but decided to keep it simple. The closest to that is the little glimpse you see in the "how to make 1 minute of music" video I posted to my channel a while back
Good stuff! Curious about a few things... 1. So from what I understand, the 3-act music structure supports the protagonist's growing confidence. Is this philosophy reflected in other aspects of the game as well? Or is this more like scoring the actual player's experience, rather than the protagonist's? 2. Vertical layering... Regular crossfades, on-the-beat (or at configured positions) switching/fading, or did you implement something more advanced? 3. Syndicate easter egg...? That sounds like either a licensing hell, or you being a hell of a negotiater. Either way... top hats off!
An answer to 3. - all those track names are silly jokes, riffing on the idea of what the Pathless would have looked like if it was strictly based on location, without the adaptivity. There is at least one game referenced in the score, though...
Dallas already answered #3 correctly but re: #1 Yes absolutely, the player is getting power-ups etc to mirror her increasing confidence, purpose, etc. #2 we do a bit of everything, including everything you mentioned here
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I have played the game 4 times at this point, fourth playthrough being the sort of "taste test" for the music system that you have described in this video. Three times I have moved from plateau to plateau in a way that game sort of implies- Cernos, then Sauro, then Nimue. I didn't move to another plateau if the current one wasn't cleared, so I heard no deviation from the route that music took from playthrough to playthrough. This time, however, I decided to deviate from the path, so to speak, and reached the Plains before venturing into the Redwood Steppe. To my absolute delight, after 70 hours of playing the game I started hearing new music I've never heard before, new instruments tied into the score that you wouldn't hear under normal circumstances. I was so engrossed with the music that I purposefully fled all across the map from Nimue so her red storm would not break the flow of the new melody that I was hearing. I noticed slight differences in the boss music as well: after clearing the spirits in a randomized way the small music cue you would hear after the first phase of the chase would change, lose or gain a few instruments (Sauro lost the flute motif after he went into the second phase of the chase). It shows how much thought went into the small details some players can never even experience. My conclusion? Go play Pathless, ya'll, it's good.❤
I played through Pathless two or three times, and I did notice how the music changed through the open world by the third time, but I couldn't tell what it was tied to, it was so subtle! The first time playing it I felt like the world was alive in a way that most open-world games never are, and I think that was because of how the music reflected the journey. At no point of time did I get tired of the music, or even after hours of collecting and replaying alongside my siblings, think feel like the music ever stopped being alive.
You know, that's what I think shows in your world the most actually. The music is alive, and moves WITH the player, and not against. It makes it less primitive and more art.
I had no idea that world map themes changed with the area you went to though! That is so cool! I will be listening even closer the next time I pick up the game. 👍
As someone who feels that music either makes or breaks a game/movie/show, this video is so cool allowing me to learn how the music works in this game.
Simply brilliant! Thank you for your great work!
I have played the game back in 2020/2021 and I enjoyed the overall atmosphere so much. It was such an immersive experience playing the game and the music had a lot to do with it. :)
I realize I'm coming to the party a few years late and maybe you'll never see this but I'm replaying The Pathless. There's an area in the Great Plains near the cliff connecting that area to the two earlier areas where you can shift between the three areas. I can't believe how seamless these transitions between the three solo instruments are. Kudos to you and the audio programmer you worked with. I'm just sad that so few people are likely to have experienced this element of your score. The first time I played this game, I wanted to get to the other areas before completing the first boss, because I had watched this video, but because of the level design and my unfamiliarity with the game, I didn't know how to get there, and then I inadvertently triggered the boss battle. On the playthrough I'm doing now, I managed to get to the Redwood Steppe and Great Plains prior to defeating any of the bosses. 3 flaps are required, which involves collecting nearly all of the golden diamonds in the Forest Plateau. But the effort was worth it. I've been enjoying hearing Kristin Naigus and your bassist play the Act I music. I'm looking forward to repeating this process with Acts II and III. I'm teaching this game in my first ever Game Music course in 2024/25. What a fresh take on the open-world form. I just wish there were somewhat less gating between the areas. Unfortunately many players won't hear much of your work.
i didnt notice the music was adaptative until it was pointed out to me. but i think that has to do with how _immersive_ it felt, that the music was just a part of it to me
I watched this vid before playing the game (months ago), and now have just finished playing it. Overall, the music worked brilliantly and re-watching this makes it clear, in retrospect, what I was hearing. It's beautiful music and I LOVE it
What worked less well from a game mechanics perspective is that I couldn't appreciate what I was hearing all that much while playing, since there was the constant distraction of Hurry Hurry Don't Get Caught, and after I'd defeated each boss and could wander a plateau safely and take my time to enjoy it, there was no music left, so at least half my playtime was without music.
That said, this is my playstyle; others who don't mind the looming threat of the storm while playing will have heard a lot more.
Thanks again for sharing these videos, and for all the lovely music in what is now four of my favorite games 💛
The fact your providing this level of insight is amazing. Can't thank you enough. Loved the game, and the music was a huge part of it.
The lack of music was one of the first things I noticed after beating bosses, but that's because I first played on PC and have noise-cancelling headphones. So without the background noises of my town, I noticed all I could hear was my friends talking on Discord. It gave me more of a desire to explore, because with just ambience, the map design takes the forefront. The whole team made a lovely game, sound/music included, so thank you for your part in that.
I do love that this is basically proof that in a parallel universe you became a software engineer instead of a composer
I had no idea all of that was in the game, however, i remember being HAUNTED by the feeling of progression. Every time i booted the game i heard a particular soundtrack, and even though i didn't pay much attention to it, it made me instantly remember what part of the game i'm in. So yeah, in my opinion you absolutely nailed what you aimed for. It was very subtle and felt.
This is so validating. Thank you so much ! :)
The first time I played Pathless I was so engrossed by the game that I did not really pay too much attention to the change in ambient music that was playing on each plateau, I enjoyed the melody but when the percussion started- I wasn't linking it to me speeding across the map or flying. However, when I started my second playthrough those little changes in the music really became apparent to me: the way you hear a few very strong beats when you fly from a very high point in the first plateau, or the way the melody gains percussion when you run, or (and this took me an embarrassing ammount of time to realize, since I collected everything on a said location first and only then fought the boss) the way the music stops completely after every fight - those are the moments that are genius, and the fact that you and the Giant Squid put these little touches into the game says quite a lot about your passion and skill. Thank you for your music!
Thank you for this!!
After fighting Cernos, I wandered around the plateau briefly and didn't consciously register that the music was gone, but now I realize the quiet is what made me feel it was time to move on. That's amazing. Also thinking about how the bounding layer created that feeling of wanting to keep moving, anywhere, even after my intended destination was behind me.
For me, the scores and videos like this one help me listen to the music differently, and hear things that I wouldn't otherwise be able to identify as distinct elements. Definitely looking forward to replaying and experiencing the music again, and differently. Thank you for the walkthrough :)
In a way, this is a big version of our idea all the way back on JOURNEY, where music would stop after the exit to the next area was unlocked. It was a way of telling the player subtly this was complete, and the storytelling in this area was done
one thing to compose and implement all this cool music but i also think the way austin articulates his process is an art on its own
Holy shit I had NO IDEA that the instruments were tied to the plateaus and not the progression for the first plateaus, I’m absolutely gonna have to go back and play with that knowledge. Thanks as always for videos like these, it’s brilliant to get insight into the thought process behind these games’ soundtracks!
I have played the game, got the platinum trophy, and I must say this game was an absolute treat to the eyes AND the ears. The music is immaculate, as your music tends to be. I also immediately noticed the progression in the music as I progressed the game. Granted, I am very sensitive to music in games, but I daresay it was "obvious" enough for anyone to notice without making it too complicated or taking the focus away from the game. I found the musical progression to be rewarding, and helped me focus on the game and wanting more, rather than being in the way. And the idea of the score not playing in the cleansed areas, allowing for nature sounds to come through was beautiful. It gave a sense of closure, letting the player (or me, at least) know "You're done here now" without feeling like it was trying to usher me into the next area. I loved this game and I will be playing it over and over purely for the music as well as the visuals.
I'm so so so happy reading this :)
Finished this one about a month ago now, but still find myself wandering and taking in the quiet and the ambience, which seems strange to me when it comes to a game you’ve scored honestly. Brilliant, subtle, wonderful work as always.
I am a composer (amateur but still) myself and working on some projects with some friends and this is really inspiring.
I am really sensitive to music when playing and your work for The Pathless is very impressive. I played the game having that feeling of progression you describe through the music, but without any idea on how you manage to achieve this. In part because everything seems really natural in the game, it feels like it has to be that way. All the transitions are very subtles, somehow expected yet unnoticed. That's very important, I think. A music lacking of that subtility could undermined the experience.
In your music (in The Pathless, but also on your previous works) I hear the story, I feel it, I experienced it. It's deeply part of the magic of a game like The Pathless, for me. It would not be the same without it.
“Without John Williams, bikes don’t really fly; nor do brooms in Quidditch matches; nor do men in red capes. There is no Force. Dinosaurs don’t walk the Earth." That's how Spielberg talk about John Williams musics. I kinda feel the same for you. I'm not saying that Journey, Abzû or The Pathless would not have been masterpieces in their own way. But without your music, it would not has been the same experience. Your music was part of the magic making those games what they are. That's the effect it had on me while playing.
Knowing don't affect my previous experience of the game, but give me the need to play it again, just to experience that new knowledge, hear the progression, have a better understanding of the entire game.
Thank you for this. It is really inspiring and helpful. I'm very grateful to you for sharing this !
Thank you for these immensely kind words
I feel that music, for me, is just one of those things I'll never really get. I can't play any instruments or sing very well.
But I have a deep love for it and I like learning about it.
So thank you releasing these videos. It's always cool to see how you put these incredible scores together and it's cool to get a peek behind the curtain :)
I am very happy that these videos make sense to those who don't call themselves musicians or composers. It's never my goal that it too "insider" feeling, so thank you !!
@@awintory truly appreciate that :)
Wow. This video isn't *just* filled with a TON of really fascinating information, but it's also edited together beautifully. All the onscreen graphics and relevant gameplay footage are super helpful at making this otherwise somewhat complicated breakdown effortlessly followable.
This makes me so happy to read!
So glad you enjoy it!
Amazing that seriously composed music is intended to strengthen the play and even to guide the game's protagonist, the Last Hunter. Not being a gamester i wonder if this is a new breakthrough in gaming. I will try this game for myself. The last game i tried was called Nanosaur. I hope there is a short musical arc for the Last Hunter's sidekick, the eagle.
The music was the main reason i bought this game and I am so impressed at this additive/adaptive music system you've built. It makes so much sense. It's so simple and brilliant and the transitions are seemless
The music progression through gameplay felt amazing to me, especially when you glide off one of the obelisks and the “bounding” cue you talked about kicks in as you fly to your next destination.
For when you beat the boss of an area I can understand why you guys decided to do no music but when you’re trying to get all the puzzles done in a plateau it definitely gets weird having no music around lol. But that would probably be the one and only peeve I had with this game in terms of music, everything else was awesome
Having played the game a few months ago, most of the experience was very serene and I never felt like I was listening to the same loops but what really stuck with me was the parts that had a big narrative impact : the end of each boss or some of the specific mecanics of each boss enabling "hero moments".
The subtlety was definetly there, but when it needed to, the OST did not pull punches.
I couldn't pick out exactly how things shifted in the music, but absolutely felt the drive of the bounding layer. The subtle way that things kept shifting, and the peaceful lack in cleansed locations, was very impactful on my play
Dude. This is so awesome, thanks for explaining it
I had no idea the music went this in depth! Great work, I definitely felt the progression and the fact that the music itself is amazing too just makes this perfection. My favorite was the Nimue boss music but great work overall!
I LOVED the game. The music was great. Really liked the music in the final plateau
Thanks for making this video! Iliterally was wanting to know more in depth on how this was designed after finishing the game
This video is invaluable!!!
Very cool, Austin! Thanks for showcasing this music system in The Pathless. The kids and I look forward to playing this game!
I am truly fascinated by how developers implement music into their games and have been ever since I learned about the adaptive music engine they used in Monkey Island. I pride myself on noticing these things, and I think that you and the team did great work.
I also wanted to say how I appreciate that you went for a subtle approach with the dynamicity of the music, because in my opinion, dynamic music that is 'too noticeable' can really ruin the illusion when playing a game.
Agreed. As distracting as mindlessly looping, totally non-interactive music can be due to its obliviousness to the player/game, so too can ultra interactive, mickey-mousing music pull you out by constantly waving its arms in your face
As fantastic as the music was in The Pathless, I also really appreciated those little moments where there was no music, or it was sparse. I love this silent moments a lot, as they only help to enhance the parts where music is.
The music implementation was sooooo well done
Note to self: explore everything in an area, and THEN beat the boss! I want to keep listening to that score, you killed it man!
"The Godslayer's favorite napping spot canon"
good to know
In response to the question at the end of the video:
The only real dynamic change in music that I noticed while playing was the difference in the percussion when I was/was not traveling quickly. I will say that it definitely added a LOT to the exhilaration I felt while running for my life from the red storms. Oh, and the special music for the bigger puzzle rooms was perfect.
I'm gonna replay this game again at some point, and I'll definitely be on the lookout for these dynamic changes now. :D
Hey Austin! Appreciate the insights into how and why things were done. For me, especially on this game, I spent a lot of time just exploring the levels and just enjoying wandering around trying to look for things I may have missed. I've never been one to speed run through games, but want to experience the game world, and just enjoy the journey (no pun intended) more so than the destination. I don't think that knowing how the music was done changes game play, but it makes me appreciate the level of interactivity that's there when I'm trying to run/fly/glide for so long and then relaxes if I'm just wandering around.Well done, sir!
After seeing this, I probably won't be able to help but look at video game soundtracks and their usage a lot more consciously. I think the stuff you guys did for The Pathless is quite unlike anything I've seen so far, at least down to all those little details!. This was a really well-made video too, using all the graphics and animations to reinforce the point. It certainly shows you enjoyed making it.
You should def add this to the "Nerdy video essays" playlist though or have one playlist where you put in all your video essays together.
The difference is that "Nerdy video essays" are generally me talking about OTHER peoples' work, whereas the "Behind the Scenes" playlist is about me talking about my own work. And thank you for the kind words!!
I have only recently discovered bedroom music production but have been fascinated by video games and music all my life(I'm a pianist)! I hope I get to do projects with such grandeur, complexity and musicality. Bless me Sir!
I remember watching this when it came out, I was immediately intrigued and of course bought the game as soon as I was done with university/could afford it. I've just finished The Pathless and I really appreciate having played it with the knowledge given by this video: it gave me the opportunity to enjoy the score and the gameplay itself even more, to be more aware of what was happening in the background and all the work that was behind it. It was absolutely brilliant. I loved the music immensely, just as much as I loved the soundtrack in Journey and ABZU (actually, more..! But that's a personal opinion) and I am as always blown away by your skills and incredible ideas. An amazing experience! Thank you so much for this video and for the work you do :)
I just beat this game and it was very good, the music no small part of it. Although some of the peaceful bird sounds I found were actually quite unnerving, I thought there was some animal in pain I was supposed to look for. It took me until I heard them again that I realized it was probably just an elk or something? XD
Thank you for this video Mr. Wintory
The music you made for the game is perfect and it was a really important part in my path(less) during the game.
I played the game in a more linear way so I want to explore now all the different sounds and changes in the 3 plateaus of Cernos, Sauro and Nimue.
Thank you again for your time and your music!
So so fascinating. Beautiful design
This is awesome; thanks for sharing! :D
Also I love the Easter eggs at 9:26!
Yes, i felt the changes, i was actualy doing an active listening while playing, however it was briliant call to eliminate the music after defeating the boss when i stayed there i really felt that the other zones were beconing me as i felt that i wasnt really needed there anymore.
That's pretty much exactly what the hope was :)
This is so intricate. It's incredible. As for myself, I didn't know about this musical algorithm until after I finished the game-all I knew was that when I completed the game itself, the absence of music felt very prominent. It was a little sad, just given that I love the soundtrack so much. I almost want to go back and replay the game to experiment with the music more.
Also, I absolutely must know what "The Godslayer's Favorite Napping Spot Canon" is... someday.
I think these progressions in the music were perfectly balanced between being subtle and attention-stealing. They added alot to the over all feel of the different plateaus/bosses even though I barely noticed the changes on my first playthrough.
And thank you for making these videos, I learn a lot from them. :)
Hey Austin, great video! That was really interesting and fascinating.
As I was playing through the game, I took quite the usual path and cleared one plateau after another. After watching this video, I was surely missing some interesting musical changes but enjoyed my time nevertheless. As I was speaking with a friend who played the game too, we were both kind of sad to cleanse the music from the plateaus, after we defeated each of the bosses. We enjoyed the music & to know, that the exploration would be without it stopped us both from entering the fog/bossfight, although we wanted to help the gods. That was quite the inner struggle ( I don't know if this was the intended outcome from you ).
I loved the transition to the puzzle music. I merely recognized the switch in music, although it changed (in parts) completely its mood. It had just the right balance of interesting melodies & being in the background without distracting me from solving the puzzle. Really well done!
Tbh, I tried to read out the ways I could manipulate what you called the "bounding" layer, but most of the time it didn't show the reaction I was hoping/searching for... I couldn't figure the exact actions. Maybe I wasn't patient enough, but I also didn't hear it start whenever I was flowing at high speed through the forest.
Overall, I think you guys took it really far to create immersive music, that suits the narrative of the game in an organic way. Maybe you pushed it a bit too far in the means of getting all musical feedbacks, but I think it was worth it! Thank you very much, sir! This game (you) taught me much about music implementation!
This was fascinating thank you for the explanation, eager to play the game now!
So, I dont think I noticed the ramping up in musical, I dont know, "intensity" I guess, until I got to Kumo's area. And I wish I had noticed sooner because going back through, it's really interesting how you weaved the soloist instruments in and out of the same piece. I think the reason I didn't notice is because I tended to explore the areas I wanted to in a given area, fight the boss, and move on, as that meant progression for me. So I thought that each area just naturally got more intense, which, in my thinking of how game development might go, kinda makes sense as that could also signal that the player is advancing the journey. Anyways, love the video and the music as always, Austin!
Very interesting video, thank you very much for sharing the architecture of the game music !
This is amazing, Austin. I, a newly born musician/composer of the indie world, appreciate the tremendous effort and love you put on all your videos. It means an awful lot to me having the opportunity to take a look at your process, methods and overall creativity.
Thank you for sharing all of this!!!
Greetings from Argentina.
Thanks for taking time to explain your work, this is truly useful and inspirational !
I only defeated the first boss ingame, but barely noticed any of theses transitions, Despite my main concern in games is sound and music.
Very smooth implementation indeed.
Also, i'm very glad you bring such a beautiful diversity of instruments in the VGM world, especially your collaboration with Alash Ensemble
I just beat the game about 2 weeks ago, and I'm not sure if I knew what it was at the time but I could definitely tell a difference between listening to the soundtrack on it's own and playing the game. I think this may have been to me unknowingly moving between each of the major areas and experiencing the music more as an organic "thing" than just a song playing from a specific area. Great breakdown, only thing you haven't answered at this point is where is that bass kazoo!
I assure you the bass kazoo is very hidden :)
Thank you SO MUCH for doing these types of videos! So informative and interesting to watch!
This explanation is fascinating, everything makes sense now. I did feel the music was organic and non-intrusive, never pulling me out of the exploration, but still always by my side, pretty much like my eagle companion. I also felt more motivated to keep going the farthest I was into the story, as if the music was giving me strength to complete my quest. And after watching this video, I see it really did. I just finished the game a few moments ago, and now I'm listening to the soundtrack while letting the feels sink in. What a great experience.
I love the idea behind it! Might steal that for an album of mine, it's just such an amzing concept ahah
As soon as I get the chance I'll get the vinyl of the Pathless, there's a lot to learn from your music:)
This is really, really impressive! I wasn't going to buy Pathless (although I absolutely love the score), but now I might reconsider that, simply to experience all of that amazing music in-game ❤️
Amazing!
You are a great composer.
I'm a musician and I am done my first game, I will start compose the music for my game in the next week, your work is a great inspiration.
Thank you!
I really loved the oud addition in the first act I think. So much so that after defeating the boss I started to really miss that instrument. It gave me a bit of a longing feeling of sadness, just as I was reading lore messages of the denizens of the island lamenting the corruption of their home. I missed that instrument and knew I would never hear it again in the game because of my actions. Made me more receptive of the regretful sadness of this world.
as someone who has a hard time focusing solely on the music while I play, I do remember feeling the music and tone growing more confidently and epic as played through this game. Seeing this explanation makes me want to go back and play it again.
This honestly feels like this implementation system should be the new default for a large number of games. It just makes perfect sense to link the narrative progression and location into a weaving story using audio.
Also It almost feels like the music is it's own obstacle to overcome, and the serenity of nature and the meditative aspects of nature are what you are striving to gain by defeating each boss.
Audio implementation is my personal favorite art form that seems to be regularly neglected, which is why I personally loving messing with Wwise and can't wait to implement more ideas for my own projects. From one Austin to another, thank you so much for sharing this!
This is absolutely amazing! Thank you for this fascinating inside look and your great work and music! I love that 😍
Wow that is inspiring!
In playing _The Pathless,_ I felt it became easier to pick up on the ways the music was progressing as more and more was happening. I began to really notice this in the Redwood Steppe, although I was never quite sure what caused it. It was perhaps at its most (gloriously) obvious during the more intense moments of the game, namely the boss fights and their aftermaths.
Truthfully, I think you and Giant Squid have gone about composing this together in the most deliciously detailed way possible. Every moment of music feels like, most literally, the world is attempting to communicate with the player, beacuse of how it adapts and fleshes itself out through the interactive elements. Only geniuses are capable of doing it so effectively.
really interesting great video Austin :)
This is such a fascinating topic, and it's really cool to see the scope of ideas and thoughts that went into making an interactive music system like this.
Usually when there are hard cut line of 'enter zone 1, play zone 1 music' etc, it can end up breaking some of the immersion and feeling of being in a cohesive world.
I feel like you really struck a healthy balance between keeping the player grounded musically to the narrative, while also rewarding exploration through the introduction of the varying solo instruments.
The marrying of the narrative progression and the musical evolution felt so natural and immersive to me playing through the game that I never thought about it for a second. But I DEFINITELY felt it.
Currently playing the game, and I did notice when the music was not present, but I didn’t care because I just enjoyed exploring the game and just staring at the vast regions in it, or I was so focused on something else that I barely registered the fact that music started playing until it was a bit into the song
I wouldn't have been able to tell you that was going on, but I definitely felt it. Much more involved/subtle interactive system than a lot of the other open world games I've played. 👌
Great video! Thanks for the insight in the planning for the score, it's super interesting and your videos give a great visual presentation to complement what you are saying! I didn't play The Pathless yet, but I'm looking forward to it!
I love interactive scores ❤️
Liked the game, but the music is what really stood out to me. Preordered the vinyl😍👍
Wow this is amazing! Reminded me a bit of the music of outer wilds, where every main character also has their own instrument and they kind of blend into each other.
But this progression through the story seems so ingenious, that I really want to play the game now!!
Brilliant use of bringing in themed instruments to indicate the bosses, and removing them when they are defeated. These are some really helpful tips to bring the player along with the story and to avoid repetition.
Thank-you for showcasing this, Austin!
Hey man, I'm studying a degree in videogames, and the professor gave us your video as an example of adaptative music. Just wanted to let you know and say that it's an incredible video and a very interesting subject. I didn't knew the game and now I'm looking forward to play it.
Just that, have a great day man, greetings from Argentina 😂 🇦🇷.
I haven't located a ps5 yet but this is the 1st game on my wish list and the music is a big part of that, thank you
This soundtrack was very inspirational. I loved it immediately. Even made me download albion one to learn strings instead of my traditional synth use.
Incredible video. I am developing an action game and I want it have an adaptive soundtrack that reacts to the player's play style. This is super helpful as a framing tool, thank you!
As for the music in the exploration sections, in my personal opinion I was missing a little more recognizable melodic motifs in addition to the individual instruments that represent the bosses.
Once the actual boss fights starts you can very clearly feel the music evolve with the intensity of the battle until its resolved when the boss is defeated. Gives me all the feels!
Thanks man, helped me understand game music a little, thanks!
The music really out shined the simple gameplay, to a point where I would just stop playing and let it be.
Finished the game just yesterday. Even though i like the fact about the cleansing of the area also erasing the music i kinda worked around this once i realized that. Im a completionist at heart so running around clearing the rest of the map felt a bit empty without the score. So ended up doing and collecting everything before illuminating the final tower so i could enjoy the music for longer :) Even though that also meant constantly running away from the storm...
i haven't played the pathless yet (don't have a PS/PC to play on), but your question reminds me of one of my favourite parts of breath of the wild: there's a side quest called 'from the ground up', where you help a character build 'tarrey town' by finding residents for it from the four main peoples of the world.
each of those peoples have their own music playing while you're in their home town, with their own melodies and instrumentation. but a piece of that melody/instrumentation shows up in tarrey town once someone from that part of the world moves to tarrey town.
once i figured out that was happening, it changed how i played - i kept going back and forth between the different towns, trying to figure out which musical parts had 'traveled' to tarrey town. it was fun trying to pick up on the changes, and to find connections between the characters and the instruments.
anyway, that system isn't nearly as complicated as the one you describe here, so i'm so excited to check out the pathless one day! i hope a switch version is in the works, otherwise i'll have to borrow a ps from a friend at some point.
Tarrey Town is a fun quest and the music is really cool!
Honestly I wasn't sure I was going to buy the game, but this video sold me on it. I'm studying music composition and all of this is just so cool. Looking forward to it!
When I played the game, I just went in the kinda standard order from Cernos to Suaro to Nimue so I never really got to see this system in action. I also listened to the OST sooooo much, and that also made me think there were just different songs for each area. But now I wanna replay the game and try to hear From the Antlers with a bamboo flute or The Plains with an oud... this is such a cool system!
The game naturally takes you in that direction but earlier designs it was far easier to travel b/w them. So ironically, the system was more useful in early iterations of the world map design, but it still functions for those who are intrepid explorers! :)
that last part got me thinking - is there ever a part of you that wants to leave these sorts of things truly up to "magic" as it were? the word 'seamless' has come up a lot in respect to your scores - do you think that you might be taking something away from your own work by simply discussing it's seams? personally, i will often leave an appropriate amount of time between experiencing art and taking in content describing how it was made - something i've done often with regards to your scores and videos. i want to leave myself enough time to appreciate the final piece in a "let it all wash over me" sort of way, before i dive into appreciating it in a different way, in a way where i can recognize the 'seams', details, and the little tricks used by the artists.
to give a recent example, when i was playing the last of us part 2, i was awestruck by the graphical prowess - particularly the texture work (i'm a massive texture nerd), and i was just taking in how it all felt like a real, living environment. it wasn't until just before my second playthrough that i dove into the twitter and artstation posts from a specific artist at naughty dog (shout out matthew trevelyan johns). to not get too technical they were describing things like the layers the materials were built of, the different 'kits' used through the levels (for example, different preset setups of items that could be slotted into the bed of a pickup truck. leaf kit, debris kit, etc). then on my second playthrough i was looking at the environment in a completely different light. i was recognizing specific assets and textures - specifically when they were used multiple times - in a way i never had previously. again, it wasn't a worse experience, it was just a different kind of appreciation that took me out of the flow and immersion the game (and its textures) was trying so hard to uphold.
wow, lots of text. at the end of the day, i really appreciate these videos. they kick started my motivation into composing as a career in a time when i felt like i had no possible paths forward (not to get too moody in the youtube comments).
TL,DR: i really enjoy the moment of recognition i have re experiencing your work after these sorts of deep dives, but i just wonder if you've ever thought about how they might impact someone's experience, especially if they were to watch them prior to experiencing it in the game. cheers :)
(also, i know this one specifically is a month old, but shout outs to dallas on all these too. amazing editing that i've really enjoyed watching evolve)
It's an interesting question but my goal is to hopefully do my part, little though it may be, to elevate the art of game making and game music. I am not a fan of holding on to secrets, as if they are somehow that impenetrable or precious anyway!
Awesome video! I love seeing game composers deconstruct their work, it really helps demystify the process for an aspiring composer like me. I'm working on a dynamic score for a game myself so seeing a detailed example of this kind of thing is very reassuring because it makes it feel like far less overwhelming a task, so thanks very much! :D
I wanted to clarify Something about the structure of the scores various acts that was a bit ambiguous to me. The graphic you have at around 5:00 shows a series of 'explore' pieces separated by 'loops'. Are each of those loops the same piece, and the graphic is simply showing an example of the first four iterations of the music (with each iteration featuring some unique exploration verse followed by the loop chorus), or is that literally the structure of the music, with four unique looping sections separated by one-shot sections (and if that's the case, when do the loops end and move on)?
The explore pieces are different, per act and often quite long (5-8 minutes each, with all the various layers / elements therein). The loops are per-act also, and contain separate layers to account for bounding AND a series of short stingers that play at random (also per-act) to inject variety. The loops are very very minimalist / ambient by nature otherwise
Thanks so much for talking about these kinds of things!
I have a few questions more on the technical side of things:
- How many layers can you have going independently before it becomes a problem for the available memory or processing power?
- Is it hard to have the layers stay perfectly synchronized?
- Are there any technical limitations to this technology that you've had to adjust for?
- What do you wish was possible with this that currently isn't?
Sorry if that was perhaps a bit too many, but this field of interactive music is just SO interesting!
My answers!
1) You can have a ton of players; I think the most we ever needed would hover around 10 or so. In the old days memory / processesor power were issues but no longer (though I know the WWise setup gave the team handling the iOS port a bit of a challenge!)
2) Nope, software like WWise handles that very well
3) We always bump up against challenges of some sort or another but it's nothing we don't eventually find a workaround for
4) The million dollar question .... stay tuned :)
@@awintory You actually answered! Thank you!
I can see a ton of potential with interactive layering, and I love how you used music as a contrast to things being restored to peace rather than music being used to embody that peace like I feel most composers would have done. In that sense you've made the mere presence of music become a leitmotiv in and of itself, as well as the absense of it. John Cage, but put in proper context to give it meaning.
I imagine the same could be done with interactive reverb and other effects put over individual layers. Filters and delays rendered in realtime based on triggers can add meaning similarly. So many things are yet possible, and I'm excited!
this is mindblowing!
O god. I just started playing with fmod. I was still thinking in a lucasfilm i-muse system frame of mind. I have sooo much to lurn. Yay!
Thanks for sharing this knowledge.
I do really hear something different during gameplay but I dont notice what it is...But I can feel some kinda emtion drifting? Thanks to your explain I finally find it is your elaborate design made it.
I played the game but did not finish it, but for years now the spotify album for it has been one of my most listened to pieces of music, and i swear i must be at least in the top 20 people for most listined of that album. i love it so so much, i was wondering if the bandcamp version is full quality? and also is there any and i mean any extras that you can share?
Have you listened to the Meditations album or the drones TH-cam exclusive? Lots of extra music there!
This is so interesting. I'm in my last year of studying music composition, and am going to do my graduation work about interactive music ; be sure I'll talk about your work on this game !
Send a link when it's done!
Ahhh I watched this, and amazing, but I actually miss the music. I end up spending a lot of time in an area after the boss so it makes me kind of sad I can't hear the music, like the world isn't alive anymore. That's just my opinion though.
Edit: though yeah it's so incredible how it's integrated and I can't ever stop listening... I think that's why the music makes the world feel alive it's how much I listen to music and how well it's done.
I hadn't much noticed how involved this is and assumed it was all just regional music. But that's mostly because I didn't cross region borders unless I was completely done with the current region.
That being said I _did_ notice the Bounding music but funnily enough I thought it was for when the storms chase you. I guess that's where I did most of my running
Very clever, Austin!
This is actually Melia's husband. I'm too intimidated by your intellectual and musical intelligence to reveal my real name. Well done, my friend. There is brilliance in what you do.
LOL!!! Something is smelling very crispy ....
Also
I know this is a... bit late but
(Spoilers for others)
Is the little graph at 9:25 a little easter egg hint map for musical cues?
I assume "The Godslayer's Favorite Napping Spot Canon" is a musical cue that coincides with the location of one of the 8 secret shells and that whole Abzu reference? The one on the edge of the cliff in that cave?
Just curious because I never noticed it!
Sadly, no (editor here). I just made a bunch of joke track names 😅
@@DallasCrane damn, you got me then
haha yeah total silliness :)
So how do you channel such an interactive score into a cohesive album release? Maybe it's a dumb question but I don't care😅👍
Regarding your question in the video: I may have felt it, but if so only ever so slightly. Yes, I noticed new tunes and melodies, but I think the overall change with regards to progression was indeed very subtle and I think most of the time I was mentally preoccupied with the tasks at hand, orientation etc. etc.
The more interactive the music, the harder it is to make the album (and also the more subjectively "my version of the music" that album becomes, versus some sort of objective "official" version). I am actually planning a video on this exact thing later!
@@awintory thx 4 your response and looking forward to the video on this topic!🙌
Love this kinda Content. Austin, assuming you are using Wwise ( correct me if im wrong) how possible would it be to have like a "Wwise Tour" of The Pathless in the future... HeHe dont know if its too nerdy for a video though.Oh also, out of pure curiosity, Do you implement the music in Wwise yourself or you have a Wwise guy? (Assuming you guys use Wwise)
I was going to maybe do that for this video but decided to keep it simple. The closest to that is the little glimpse you see in the "how to make 1 minute of music" video I posted to my channel a while back
@@awintory yeah¡ awesome video too btw
Good stuff! Curious about a few things...
1. So from what I understand, the 3-act music structure supports the protagonist's growing confidence. Is this philosophy reflected in other aspects of the game as well? Or is this more like scoring the actual player's experience, rather than the protagonist's?
2. Vertical layering... Regular crossfades, on-the-beat (or at configured positions) switching/fading, or did you implement something more advanced?
3. Syndicate easter egg...? That sounds like either a licensing hell, or you being a hell of a negotiater. Either way... top hats off!
An answer to 3. - all those track names are silly jokes, riffing on the idea of what the Pathless would have looked like if it was strictly based on location, without the adaptivity.
There is at least one game referenced in the score, though...
@@DallasCrane Haha, ok that makes more sense. Hats back on (and covering slightly embarrassed face)
Dallas already answered #3 correctly but re: #1 Yes absolutely, the player is getting power-ups etc to mirror her increasing confidence, purpose, etc.
#2 we do a bit of everything, including everything you mentioned here
Syndicate easter egg where? :O I'm interested!
@@starflowersea6031 9m19