"Nerve-Damage"
Regular
Interview with flOw composer Austin Wintory
FlOw's music is breathtaking and creates a deep, vivid atmosphere within the game. What was your design process in creating the music? It sounds and feels so simple on the surface, was this a purposeful design or did it just work out that way?
Well I’m glad to hear you say that, because elegant simplicity was definitely what I felt Jenova was creating, but musically it posed quite a challenge. We sought something atmospheric and electronic, but not in the stark, soundscape sort of way. Something warm and organic, as if a symphony of instruments never before played on Earth. That sounds horribly pretentious, but that was sort of our guide. What resulted was a combination of literally hundreds of small audio files being triggered by the player interactions, and a steady background track. My very first demo for the music is actually what stuck, but where we did lots of experimentation was in those small sounds. All sorts of different programming structures were played with, and so what you hear is the result of lots of trial and error.
What emotions or aesthetics were your goals when composing the music for flOw? How did you want the player to feel when playing the game?
‘Relaxing’ was a word which came up a lot. But more than that we were really looking to create a whole world unto itself. The interface is so simple, as are the graphics, so we really wanted a musically simple world to accompany it. I created hundreds of sounds and modified my existing sound libraries to no end, but tried to be as subtle about it as possible. As you progress deeper into the game it gets darker. For the PS3 version it’s somewhat of a different story. Relaxing was paramount, but each campaign of the game has a very different take on it. Some are more oriented towards being fun and light, others darker, some mysterious, etc.