![]() ![]() The scoring process on any project depends on the relationship dynamic between the composer and the director. From the onset, the development team and I had aspired to create a poignant orchestral soundtrack hopefully as timeless and inspiring as those that touched our lives as a child.Ĭould you talk us through the scoring process? How does your experience working on The Last Guardian, and video games in general, differ from your work in film and TV? While some of the aforementioned changes required the music to be conformed through revisions and re-writes, the overall vision for the score also remained unchanged since its inception. The game has always simply focused on the intimate bond between the boy and Trico, never aspiring to dazzle with gratuitous gimmicks or superfluous spectacle. Has the game changed much during that time?ĭetails such as level design and gameplay mechanics were altered and refined as development progressed, however Ueda-san’s overall vision remained singular. My composing efforts therefore started in earnest about three years ago, and lasted until early this spring. However, creative work was temporarily suspended shortly thereafter as the game was transitioned to the PlayStation 4 platform. Takeshi Furukawa: I joined the project about five years ago when Tommy Kikuchi, the music producer who also supervised the music for Shadow of the Colossus, invited me to submit a demo for the game. The Last Guardian has been in development for almost a decade. In a recent Q&A with Gamasutra, Furukawa spoke at length about the challenges of creating a naturalistic, emotive score, and shed some light on his involvement with the project, which began around five years ago. One person who knows more than most about bringing that relationship to life is The Last Guardian composer, Takeshi Furukawa. It's a relationship that anchors players in The Last Guardian's strange world, and as they become more emotionally invested, it evolves to become the game's driving force. A tale of a boy and beast - in this case, a cat-bird-dog creature called Trico. Ueda has stated that he believes "each player will have a different Trico to work with depending on how he or she chooses to interact with him".On the surface The Last Guardian is an otherworldly adventure through a dangerous land draped in shadow and mystery. Drill down, though, and you'll find something altogether more human. The player will gain better command over the creature as the game advances, but Trico will always be his own animal, with its own interests, needs, and wants. The player will have to care for Trico, removing spears and arrows from it, feeding it, and possibly healing it. Ueda has stated, as an example, that the player cna have the boy through a barrel that captures Trico's interest, moving it to that lcoation then, the player can climb up Trico to move to an area previously inaccessible. Trico augments the boys movement, allowing him to jump and climb to places he would otherwise be unable to. Though he is initially unarmed, he can use both Trico and the environment itself to avoid or defeat the various "shadow-being" guards. The player controls an unnamed boy who can run, jump, climb, and perform other motions. The Last Guardian is set in the third-person perspective, and combines both action-adventure and puzzle elements into a cohesive experience. The Last Guardian incorporates elements of previous Team Ico titles, innovating in several areas brand new to the team. ![]()
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