Inside the layered, global music of The Pathless


Inside the layered, global music of The Pathless

By Comments(0) Upvotes(0) Downvotes(0) 31 Views
Flying Eze
Flying Eze logo

My adventures with Matt Nava began first with thatgamecompany’s Journey and continued with Giant Squid’s debut masterpiece ABZÛ. Now, a decade into this partnership we are poised to release The Pathless and I believe this one has pushed me harder than either of the previous two (and honestly, probably more than any score I’ve done, period).

Play Video Inside the layered, global music of The Pathless

I was lucky to be involved from the very beginnings of the project, and compose alongside Giant Squid’s development for over three years. In that time the conception of the score evolved a lot, both in terms of how it would be technically implemented into the game, but also more philosophically. Whereas ABZÛ is quite linear in its storytelling, The Pathless’ open world design demanded a different relationship between the player and the music. We had to constantly make fine-tuned adjustments about when we felt our job was to gently accompany the unguided wanderings of a player, versus when we should more aggressively inject into the game unapologetic emotion.

Austin Wintory conducting a large horn ensemble at London’s famed Abbey Road studio two

All told I recorded 104 musicians and wrote almost three hours of music. The score, which is built around what I call “a global jam band,” fuses musical traditions of Tuva, Scandinavia, China, Eastern Europe, Mongolia, Appalachia, Western Africa, and hints of the Middle East, all intermittently mixed with orchestral flavors. 

The goal was to create something which feels like a “playable mythology,” as if the player is experiencing firsthand the story that underlines the tale behind a constellation or a cave painting. It’s something deeply human, exploring some of our most enduring ideas, across every culture on the planet. 

Recording at Bias Studios in Washington DC with the Tuvan Alash Ensemble

The resulting scope was significantly beyond our prior games. Working again with my amazing partner in SoundCrime Steve Green (Giant Squid’s sound designer and audio guru), we’ve crafted a large-scale interactive score that dances with the player’s choices throughout their adventure. As you explore, solve puzzles, glide through the clouds and engage in the dazzlingly intense battles, the score will seamlessly bob and weave with you.

I can’t wait to pull the curtain back in more detail as we get closer to launch. This has been a labor of love unlike any other and everyone involved gave it everything they have. Thank you for taking a look and we’re excited to see what you discover on November 12! 

The Alash Ensemble from Tuva, with composer Austin Wintory

Vote: Upvotes(0) Downvotes(0)

Email Newsletter

Leave a Comment

Your email address will not be published. Required fields are marked*

Related Post

Returnal launches on PS5 March 19, 2021 image
Flying Eze
Flying Eze logo

Hi Everyone, as Housemarque celebrates 25 years this year, we can look back at a lot of wonderful projects we’ve done with PlayStation. Over the last 14 years we have been able to leave our mark on the arcade genre with titles like Stardust, Dead Nat...

Perfecting the feel of Godfall on PS5 image
Flying Eze
Flying Eze logo

Everyone at Counterplay Games is pumped to be launching on PlayStation 5. The process has been a thrilling ride as we’ve had the new tech presented and demonstrated to us pretty much every step of the way. We made the decision early on that we would...