Yeah. This one took a while. Saying that it took two weeks to compose isn't really impressive as saying that I spent about 130 hours on it. I was tempted to take off The Rain Part 3 Redux, but I'm not quite that anti-sentimental yet. Any thoughts, good and bad, are very, very much appreciated, as I feel like this song is my best track ever, and really want to move forward from here.
(There's a part V, but, it's a rearrangement of Wolves (And won't be named as a part of Gier - instead, named Wolves II), and so, Gier itself is finished)
Copy pasted song info from soundclick:
In the new revisions to AURA, there are alotta new characters, and alotta female additions, as well as adding genuine character depth, period, to not only Protagonist, but every character in the game....
Part One (0:00):
Lantern is probably my scariest mother effing creation, EVER. You have to run from this thing almost from the very start of the game in the action and dark-tinged story-assist of Max "Stein" Weber and Ijihara Nondrao in their investigation of the Japanese government abuses in 2078. Even Keith, upgraded to all hell by the end of ACT III, can't even begin to stop this thing.
Needless to say, that nasty comatose side effect is gonna kick in. And does it ever - Keith reaches the top of the (once again completely trashed) Waveral building, and catches his breath, allegedly escaping from that thing, and begins to walk towards the other side of the roof. 5 seconds later, Lantern plows up from the floor and swallows him up, and so begins Part 2.
-----*NOTE, the delay inbetween part 1 and part 2 isn't really accurate as far as the in-game amount of time... but having 30 seconds of silence isn't doing much for me as far as I'm concerned, other than increasing my file size. SO FOR THE SAKE OF MUSICALITY, the delay is severely shortened.*-----
Part Two (3:12) :
The last thing Keith remembers is the ground giving way, a rush of wind, and then darkness. For a few seconds it's silent, and then metal starts to gather in the room *cuing in the synth*, and it continues to gather, forming the Night Lantern, until the strings start up - the fight begins.
The piano is the signal to switch over to Ingram Fallish's *losing* fight against Leviathan: unfortunately for Fallish, Leviathan is an extremely skilled pilot - just because you design a HBWM, doesn't mean you're that great at using it. The player's only real goal at this point is to make sure Fallish survives long enough - rather than winning - the same with Keith in his Deep Coma.
Surviving the drums and thickly layered piano part will cue in the climax, which is back to Keith and the Night Lantern, but the comatose environment is anything except stable at this point.
Part 3 (6:20):
After you finally survive the fight against Night Lantern, we learn that during all this, someone had been driving Keith to the battlefield. *Kinda sorta irrelevant but not really - the plotline the player chooses may or may not alter who drove it and whether or not they die in Gier Part 4.*
The vehicle is toppled over and Keith is wearing the Mk.3 Aura Suit. The Wavelength(Ingram Fallish'es HBWM) is battered and powered down a few hundred feet away, and Keith staggers over to it, which is somewhat awkward while surrounded by about 70,000x your weight in gunfire.
Seeing Ingram Fallish's dead body is not the greatest way for our main character to start off the new day. Part 4 is where the plotline the player has followed takes most of its effect.
Keith is really pissed off, to put it mildly. Not because he was frien
I can hear this in a big movie, great production, real good soundscape, love the way you change some of the sound texture and mood in the different parts, love the way this feels like symphonic music, it has to be bigger than life to fullfill its purpose, this is game music, and you did a great job.
This has me mystified because the music is actually very good but why render it as, what to me sounds like a caricature? A bit like filming War and Peace as a cartoon. Excellent though. ftlpope