Well, I’m here … Sackboy: The big adventure has finally hit the shelf. Exploding with the most incredible roster of new (and old!) Music, the soundtrack built on a completely revamped interactive system is by far the heaviest he’s ever assembled for a franchise. is. So I wanted to take this opportunity to share some insights into what we’ve done over the last two years and touch on what we hear when we embark on our big adventure. There is no spoiler!
We are all big fans of the original LittleBigPlanet games, and many of us have been working on franchises for quite some time. That’s why we’re naturally passionate about respecting the heritage of music.
As both Sackboy’s latest outing composer and director, what we consider very important is a unique compromise focused on improving the gameplay experience and the willingness to make brave choices. Was to have the freedom to compose a typical mix.
With this in mind, the first two important questions were, “How can we evolve in a new direction while respecting the legacy of the soundtrack?” And “How can we expand our reach while continuing to introduce new and exciting music to our fans?”
The answer to these questions we thought (well, expected!) Was to further diversify the content. Magnifies in all directions. So we considered increasing stakes with more mainstream artists, but we went even further in our efforts to discover new talent. Combining this with modern production techniques, I explored music of a more vintage nature. We worked even closer with established artists to broaden our search for unique new composers. And above all, I was always looking for a chance to evoke the smiles of the players and it was a lot of fun.
Juke Box Hero
You may have already read Ned’s excellent blog post, but one of the key pillars in planning your design direction was diversity. There was a strong desire to feel that every level was unique in order for the game to constantly amaze players with new and entertaining game mechanics. We thought it was right to support this with music, so we aimed to provide a unique musical experience for all core levels of the game. My big personal goal was not only to excite the player to the current level, but to be revealed at the next level.
There are plenty of original works from both new faces and franchise favorites, and there is also a monopoly of some really exciting artists. Over the centuries, we have an unprecedented roster of licensed music with everything from fast-growing new talent to superstar DJs and the Rock and Roll Hall of Fame. I also wanted to see how to try out some new ideas, so I incorporated some original remixes and mashups into the soundtrack, not to mention some recognizable songs rethought in the new light. I did!
Put “Play” in the playlist
Interactivity has always been a really big issue for us. Earlier titles made heavy use of interactive music on composed tracks, but licensed music tended to remain a fairly linear experience. Sackboy: For A Big Adventure, I’d like to rethink how licensed music can be handled, specifically how to arrange those tracks to become a more integral part of the experience. It was.
So I called for the interactive implementation of all music, whether composed or licensed. This means that all tracks in the game will be split into instrumental layers and edited into component sections. This not only allows you to rearrange the mix in real time, but also allows you to reposition it to suit the player’s actions and whereabouts.
What this means from the player’s point of view is that each track feels much more meaningful to the experience. Music is built throughout the opening moment, evolves with the story, reacts to your actions, crescendos, and ends. And the fact that we were able to do this with the King Gizzard and Lizard Wizard song is a big bonus!
I wanted to explore not only the track itself, but also how to push the interactivity of music to other areas of the sound. With so many sound effects rich in sonic elements, we started thinking: “Can these sounds be implemented in a way that makes them more essential to the musical experience?”
This ultimately led to the development of both harmony and rhythm systems. These allow sound designers to create sound effects that adapt to the key signatures of accompanying music tracks and synchronize those events to beats and key motifs.
The result is a sound effect ensemble that effectively sings sound effects along the soundtrack, from checkpoints to collector bells, level badges, and major UI events. Even the embarrassing topic of the oncoming boom Bullby!
Since then, the natural evolution of these systems has allowed us to create a number of “more prominent” music set pieces. We wanted these levels to be a clearer experience, more like a music video, and make the player feel like they were starring in the video. However, there was also a strong desire to avoid a straight-line on-rail approach that basically forces the player to pass the level. Instead, beats, flows, and even lyrical references have been tailored to allow players to live in a world full of songs by turning the game into one big dance party.
Anyway, that’s enough for me for now.Listen to it with the official soundtrack featuring all bespoke music released today on all digital platforms here. We have also compiled most of the official playlists of licensed music. here..
We really exploded this soundtrack together, and I’m so excited to finally get it in your hands (and ears!) Like the game itself, it explodes with joy It was a real love labor for the whole team. It’s a lot of fun and lots of details that make you smile. And I think we can do it a little now!