3/15/2024 0 Comments Ghost of tsushima interactive map![]() Everyone seems to have different opinions on why this is the case. ![]() Game music interactivity is one of those terribly under-discussed subjects within the game audio community. Interactive music can be incredibly empowering when done well, and it’s an absolute treat when it feels like the music is responding to you. It often doesn’t feel like the score is really saying anything about what the player is doing, and is relegated to setting the mood in the background. Variation is only one of the issues with non-interactive music, though, as its most important one is exactly that lack of interaction. ![]() And while it’s true that there’s no force on this planet that can make a score not feel repetitive after fifty hours, there’s a world of difference in the player noticing that repetition early in the game, as opposed to much later, maybe even near the end of the experience. This problem is magnified tenfold when dealing with an open-world game that is meant to be played for upwards to fifty hours. But it doesn’t solve the fundamental problem– it’s the exact same piece of music playing over and over again. Even more so if it’s done the way most games approach combat music– a simple loop that plays out for as long as the player is fighting, and then it fades to silence when the fight is over at best, the majority of games nowadays have traded the fade-to-silence for proper outro stingers. It can be very repetitive, as action games tend to feature a lot of it. For those of us that care about interactivity in game scores, combat music implementation can often be a source of frustration.
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