Further thought was given to the physical position of locations. I felt music needed to do more than just accompany the player’s journey, so I set about the ambitious task of creating an entire sonic world that not only represented the game and it’s various factions in the ‘present day’, but also immersed the player with a sense of history, creed, musical development, and the emotional journey the people of the Ursee have experienced.Įvery location in The Falconeer has its own unique suite of music, written with guidelines for each faction, that varies depending upon your relationship with those people (friendly, neutral or hostile). After receiving the liberating guideline of “be bold and unique”, my creativity ran wild! Tomas knew that he wanted deep Mongolian singing to be the sound of the Ursee (the ocean-based world of The Falconeer), and so, as the waters provide a stark reminder of death below, it provides the bed for nearly all the music and ambiences. It’s been an incredible privilege to work on such a unique game, and it’s a pleasure to share a little insight into how I used music to bring the world of The Falconeer to life here with you today. I’ve worked with the game’s solo developer, Tomas Sala, for almost two years, helping to bring his vision for the game to life. Hi everyone, I’m Benedict Nichols, the composer and sound designer for the third-person aerial combat game, The Falconeer, which is coming to PlayStation 5, and PlayStation 4 on August 5.
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