RPG Game News
RPG Game News
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Immerse yourself in the world of RPGs. Stay updated with the latest news, updates, and reviews of the best RPG games. Dive into epic adventures and create your own story!
Koshmar: The Last Reverie Announced
Koshmar: The Last Reverie Announced Developer Purple Ray Studio announced Koshmar: The Last Reverie , a dark fantasy game that blends action adventure, roguelite, and RPG elements. The third-person title is in development for PC and consoles, with its release window yet to be announced. It is available to wishlist on Steam . Koshmar: The Last Reverie is set in a gothic-inspired realm of dreams and nightmares, with players controlling Violet, a teenager growing up in a small town. After nightmares break through her dreams, she must use her unique lucid dreaming ability to help those affected by a sleeping sickness while keeping her sanity. Players are able to use Dream or Nightmare weapon styles, which unlock resources that amplify delusions or impact Violet's mentality when she returns to reality as well as different abilities. Violet's Delusion or Madness states affect her appearance and how she sees the world. The game features platforming and puzzle-solving elements, as well as replayable Nightmare Rifts and multiple endings.   [foogallery id="188638"]   The post Koshmar: The Last Reverie Announced appeared first on RPGamer .
RPGamerApr 8
Bylina Releasing on PC This Month
Bylina Releasing on PC This Month Publisher Digital Vortex Entertainment and developer Far Far Games announced that isometric action adventure title Bylina will release on PC on April 20, 2026. The PC version of the game will be available through Steam . PlayStation 5 and Xbox Series X|S versions were planned under the game's previous publisher, but have not been dated. Bylina is based on Slavic myths and folklore. It follows Falconet, a young bogatyr (effectively a wandering knight) who is born without heroic powers and shunned by those around him. He finds himself in the Far Far Kingdom, where a mysterious spirit ends up sharing his body. The game sees players exploring various locations, from sunlit forests to gloomy dungeons and castles, that have their own strange inhabitants, challenges, treasures, and puzzles.   [foogallery id="188628"]   The post Bylina Releasing on PC This Month appeared first on RPGamer .
RPGamerApr 8
Cyberpunk 2077 Receives PS5 Pro Update
Cyberpunk 2077 Receives PS5 Pro Update CD Projekt RED released a free PlayStation 5 Pro update for Cyberpunk 2077 . The update, available for those with a PlayStation 5 Pro console, includes additional performance optimisations, enhanced visual fidelity with upgraded PlayStation Spectral Super Resolution upscaling support, advanced ray tracing features, and more. It gives players three graphics modes to choose from: Performance Mode, Ray Tracing Pro, and Ray Tracing. Cyberpunk 2077 originally released in 2020. It is based on Mike Pondsmith and R. Talsorian Games’ Cyberpunk tabletop RPG and follows V, a player-created character in Night City who is left for dead after a failed heist and becomes entwined with the legendary figure Johnny Silverhand, played by Keanu Reeves. The game received both a major Update 2.0 patch as well as the Phantom Liberty expansion in 2023. Those looking to read more about the Phantom Liberty expansion and Update 2.0 release can check out RPGamer’s Deep Look .   The post Cyberpunk 2077 Receives PS5 Pro Update appeared first on RPGamer .
RPGamerApr 8
Avowed PS5 Review
Avowed PS5 Review Shiitake Happens!  Climate change is happening all around us, from land erosion to melting polar ice caps. In some ways, many writers have been conjuring stories of how the climate crisis could destroy the world. While I've not played Obsidian Entertainment's Pillars of Eternity series, I am a sucker for well-realized fantasy settings, and I find the subject of climate disasters both horrifying and intriguing from a narrative standpoint. Avowed is one of those games with an interesting narrative and a world that will leave players wanting to explore and understand the finer details. While the game doesn't translate perfectly to consoles, its presentation and world-building certainly keep it exciting. Taking on the role of a godlike envoy from the Aedyr Empire, the player is tasked with investigating the "Dreamscourge," a mysterious plague that is corrupting the inhabitants of the Living Lands. The infection begins as erratic behaviour but eventually leads to its victims transforming into fungi-like creatures known as Dreamthralls. After escaping a plague-filled island, the Aedyrian Envoy ends up in the metropolis of Paradis, where they are swiftly murdered, but then revived by a god hidden inside them. This deity decides to assist the Envoy, though their motivations are vague. With each part of the Living Lands in both ecological and political strife, the Envoy and their companions are forced to mediate the political discourse amongst the various elites and the zealots known as the Steel Garotte, all while trying to identify who or what started the Dreamscourge. There is a lot of gripping and mysterious political intrigue in Avowed . From how each political group grasps the Dreamscourge and their lack of understanding of each other, there is constant drama to capture the player's attention. Players will get to solve their own murder, assist in moving illegal substances from different areas, and even give Dreamscourged individuals their last rites. Decision-making in many of the sidequests can be quite the challenge, as many of the choices never feel like they truly solve the problem, but they feel right at home with the usual morally grey nature of Obsidian games. While sidequests are plentiful, some of the best come in the form of companion quests, which do a phenomenal job of making the player care about their party members. Kai and Marius, in particular, have some of the best and most emotionally rewarding quests that offer insight into their traumas surrounding their relationships with their relationship to their home nations and the Living Lands themselves. [caption id="attachment_160795" align="aligncenter" width="640"] Don't mess with everyone's bestie, Kai![/caption] This is on top of the fact that the game's writing is truly wonderful. There is so much character banter, and it balances both humour, heart, and struggle spectacularly. Players will go from wholesome moments, such as the party stealing all of Marius' travel snacks, to having to make a horrific decision about putting down someone's life, only to find out there are more complications than merely giving them mercy. While main quests and sidequests are well written, it's the relationship between the Envoy and their companions that truly brings everything together in the game's storytelling. It also helps that the companions are well-voiced, providing emotion and quippiness to each character. Anjali Bhimani's portrayal of the curious, coy, and quirky Yatzli is a standout, and Brandon Keener, who voices the affable Kai, gives a wonderful performance for a character who feels like an everyman, but doesn't fit in anywhere in the Living Lands. The story and characters truly do a great job of enticing players to explore the Living Lands to the fullest, making players explore every nook and cranny for more narrative kernels. While exploring the Living Lands, players will have to engage in action-based combat, wherein the Envoy and their companions will battle tons of possessed creatures and fungi. Players only control the Envoy, but they are granted tons of flexibility in how they wish to build their character. While there are three main classes — Fighter, Ranger, and Wizard — players are not limited to where they can put their skill points. Multi-classing is encouraged, and there are tons of unique and useful abilities within each class. Players can readily wield a sword in one hand and a magic tome in another, and both are effective ways of mowing down enemies. If players do not like their build at any time, they can also reset all of their skill points for a small fee. In addition, the Envoy also has unique abilities gifted by the deity inside them throughout the story, and these abilities are game changers in tough encounters. The ability to raise party members when they have been knocked out, instead of having to hold down a button and hope they stand back up, is a lifesaver. Even with all this flexibility, the combat itself is serviceable, but nothing amazing. There are tons of opportunities in the game to experiment with skills and weapons, but many of the weapons don't feel very unique, lacking a wow factor that makes them truly stand out. There's also not much in the way of customizing the Envoy's companions outside of their skills, and even then, it feels very barebones. Even with the godlike's ability, which is fantastic and unique to the Envoy, it just feels like the companions didn't get the same amount of care or flexibility, which is a real shame. Overall, combat is solid, but it needs more oomph to avoid feeling so repetitive in each encounter. [caption id="attachment_151556" align="aligncenter" width="640"] Don’t truffle with me.[/caption] First-person platforming is a large part of Avowed 's gameplay to navigate the maps in the Living Lands. Sometimes it can be very difficult to assess whether or not a player can make a jump or potentially fall to their death. The game can be a bit difficult in terms of understanding an area's size and scope, meaning players will have to either experiment with how to solve their navigation problems, such as throwing ice bombs into rivers to make platforms. Navigating the Living Lands can be quite challenging, as everything in the game feels quite vertical. The areas are small, but dense, with Obsidian taking advantage of both vertical space and underwater. While the world is interesting, the areas feel a bit small, so players must constantly guess whether they need to traverse vertically or go underwater. Clocking in at over thirty hours, Avowed feels as though it has the right amount of content and busywork for players to enjoy without getting tired. Outside of the fantastic sidequests, players can hunt down bounties, map the Living Lands for a local cartographer, and find powerful totems to enhance the Envoy's godlike abilities. There is also a robust crafting system in the camp menu, wherein players can craft or dismantle weapons for ingredients, to magically enhance their weapons for better combat bonuses, and cook food to replenish health and mana. All of these gameplay elements have been streamlined to respect the player's time and allow them to focus on exploration and story. [caption id="attachment_165242" align="aligncenter" width="640"] I'm always told I am never ready for the answer. I want to be ready for the answer, dammit![/caption] Unfortunately, as has been the case with many of the developer's previous titles, performance issues need to be addressed, and Avowed is not immune to them. The game has tons of textures popping in and out during cutscenes, as well as instances in camp conversations where the companion isn’t making direct eye contact with the player, but often looking in the opposite direction entirely. The audio mixing in some areas of the game is also off, with cutscenes where voiced audio should be heard, but isn't. There are also moments where the visuals do not feel crisp or clean, but rather quite fuzzy. These issues are a shame, given that the world itself is beautifully designed, popping with tons of colour, unique architecture, and even character and monster designs simply burst with personality. In terms of audio, the voice acting is well-done, and a lot of the game's score is mostly pleasant, but again, not completely memorable. I haven't played an Obsidian game in a long while, and I have to say that in terms of characters, storytelling, and worldbuilding, I felt right at home with everything that was happening throughout Avowed 's modest runtime. Even with the uninspired combat and the performance issues, I found myself constantly wanting to explore the Living Lands, make potentially life-altering decisions that could affect the world, and steal Marius' snacks for good measure. Avowed does a fabulous job of keeping players on their toes while also weaving stories that make players want to see everything through to the end. While Avowed has some blemishes, there is a lot to love in this world, and I want to see more of it. Disclosure: This review is based on a free copy of the game provided by the publisher. The post Avowed PS5 Review appeared first on RPGamer .
RPGamerApr 8
Diorama Break Demo Released, Kickstarter Campaign Beginning This Month
Diorama Break Demo Released, Kickstarter Campaign Beginning This Month Studio Massimo Gauthier released a demo for pixel-art tactical RPG Diorama Break . The demo for the game, which sees players directly communicating with its hero, is available now for PC via Steam and lets players go through its first chapter, covering around two hours of content. It comes ahead of a Kickstarter crowdfunding campaign , which is set to begin on April 28, 2026. Diorama Break  is set in a science fantasy world, with players themselves connected to its protagonist. They act as a guide for the hero, who has been raised for the role, with the player's treatment of him impacting how the story plays out. In combat, each turn is split into six substeps. Players and enemies queue multiple actions that are executed concurrently, with different actions taking up different substep durations and having different areas of effect. The game is currently expected to release in 2029 for PC, Mac, Linux, PlayStation 5, Xbox Series X|S, and Nintendo Switch consoles.   [foogallery id="188602"]   The post Diorama Break Demo Released, Kickstarter Campaign Beginning This Month appeared first on RPGamer .
RPGamerApr 8
Fuga: Melodies of Steel Coming to Mobile This Summer
Fuga: Melodies of Steel Coming to Mobile This Summer CyberConnect2 announced that it will be releasing Fuga: Melodies of Steel on iOS and Android. The game will release on the mobile platforms this summer, with pricing to be confirmed. The mobile versions will feature smartphone-optimised controls and include the game's character costume DLC packs, plus a Dummy Soul for the Soul Cannon and a set of in-game items. Originally released in 2021, Fuga: Melodies of Steel is currently available on PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X|S, and Nintendo Switch. Part of CyberConnect2's Little Tail Bronx universe, it takes place in a setting inspired by France during World War II. The game follows a group of eleven children in command of a tank as they aim to rescue their captured families. The tank has a very powerful weapon, the Soul Cannon, but using it requires one of the characters to sacrifice themselves. It is the first part of a trilogy, with sequels Fuga: Melodies of Steel 2 and Fuga: Melodies of Steel 3 released on PC and consoles in 2023 and 2025.   The post Fuga: Melodies of Steel Coming to Mobile This Summer appeared first on RPGamer .
RPGamerApr 8
Pillars of Eternity Turn-Based Mode Released
Pillars of Eternity Turn-Based Mode Released Obsidian Entertainment has released its turn-based mode update for cRPG Pillars of Eternity . The update is available for the game's PC, Mac, and Linux versions through Steam, GOG.com, the Epic Games Store, and the Microsoft Store. It works similarly to that of Pillars of Eternity II: Deadfire , with players able to switch between the original real-time-with-pause system and turn-based mode at any time. Pillars of Eternity primarily takes place in the nation of Dyrwood on the fantasy world of Eora. It sees players control a “Watcher”, one who can see and interact with people’s souls. The game originally released in 2015, with PlayStation 4 and Xbox One versions released in 2017 and a Nintendo Switch release following in 2019. It received a two-part expansion titled The White March , while sequel Pillars of Eternity II: Deadfire released in 2018, with recent first-person action RPG Avowed also taking place within the same world.   The post Pillars of Eternity Turn-Based Mode Released appeared first on RPGamer .
RPGamerApr 7
Absolum Switch 2 Release Announced
Absolum Switch 2 Release Announced Silver Lining Interactive and DotEmu announced that beat-’em-up action RPG Absolum is coming to Nintendo Switch 2. The Switch 2 version will be available later this year, including a full-cartridge physical release. The physical edition is available to pre-order from Silver Lining Direct and selected local retailers for $49.99/£44.99/€49.99, and will release later this year. Absolum is currently available digitally on PC, PlayStation 5, Xbox Series X|S, and Nintendo Switch. Developed by Streets of Rage 4 developers DotEmu and Guard Crush Games, as well as Supamonks, Absolum sees players fighting as one of four rebels in the fantasy world of Talamh, which was shattered after wizards caused a magical cataclysm. With magic untrusted by the common people, Sun King Azra took advantage, enslaving wizards and putting loyal subordinates in charge of his conquered realms. Players join the rebels, under the mentorship of Uchawi and the Root Sisters, who utilise a forbidden magic, and seek to topple Azra’s grip on power.   The post Absolum Switch 2 Release Announced appeared first on RPGamer .
RPGamerApr 7
People of Note Review
People of Note Review Hitting All the Right Notes I love music of all genres and types, and I have a super big soft spot for musicals, so when I heard a turn-based musical RPG was on the horizon, I was all ears. In People of Note , music is everything, and everything is musical in some way, shape, or fashion. From the battle system to the lore, creatures, and society, music reigns supreme. While it's certainly an odd pitch, happily, its novel, refreshing take on turn-based RPGs delivers on every front. The combat is deliberate and tightly designed, while its story strikes chords both hilarious and touching. All the while, bright, eye-catching visuals jazz up the experience, and the soundtrack harmoniously ties it all together, making for a well-paced, impressive, and highly original adventure. People of Note takes place on the continent of Note, starting players in the pop-based city of Chordia as Cadence, an aspiring, headstrong singer who wants nothing more than to bask in the limelight of music stardom. Luckily for her, the Noteworthy song contest is on the horizon, and winning ensures a major contract deal. However, Cadence has two issues: first, the chart-topping boy band Smolder has won the contest for nine consecutive years. Second, their manager, Councilman Sharp, is one of the five members of Chordia’s ruling government, the Council of Fifths. After her initial audition flops and Sharp shuts her out of the contest, Cadence realizes the inherent corruption. She deduces that, if she wants any shot of breaking through, she'll need something different from Chordia’s pop-centric sound. Hence, she sets off across Note to corral a band together to form a new, fresh sound, capable of winning Noteworthy. [caption id="attachment_187467" align="aligncenter" width="640"] The K-pop district of Chordia, featuring the Whirls Generation nightclub.[/caption] As Cadence travels across Note, she discovers many other societies, such as the rock-based desert city of Durandis, split into multiple districts for grunge, punk, and metal; Lumina, the cyberpunk nighttime EDM metropolis; and Pyre, the ornate, towering kingdom of rap. Along the way, she recruits Fret, a washed-up old classic rocker, Synthia, an EDM superstar topping the Lumina charts, and Vox, the reluctant prince of Pyre. The cast has a very enjoyable dynamic, feeling real and organic. There's natural conflict between them as they journey across Note, uncover a world-threatening conspiracy, and confront the country-based Homestead faction. The world is full of tons of music-related puns and references, with the game being self-aware enough to make them land properly, lending it a great sense of humor. People of Note isn't afraid to touch on more serious or emotional topics, such as the impact of fame, the importance of broadening horizons while maintaining an open mind, and even the struggle of substance abuse. The writing conveys all these themes without being preachy or overly moralizing. The story benefits greatly from its brisk pacing, with the excellent musical numbers and their accompanying cutscenes not only helping to keep the plot moving but also giving players something to look forward to in every location. While there are a few predictable twists along the way and the game is wanting for a few more sidequests for its excellent cast, People of Note has plenty of surprises and outstanding moments that make for a great story. Where People of Note succeeds beyond measure is its fantastic turn-based combat, which offers some great, riveting challenge due to its firm and calculated design. In battles, players can either attack or use abilities, which cost Beat Points (BP). Both of these have real-time inputs that affect the attack or ability's power. Further, players can execute powerful genre-crossing Mash-Up skills or rest, which restores BP while assuming a defensive stance. Each overarching turn, known as a stanza, has several measures, or character turns, with player and enemy turns dictated by each battle’s time signature. For example, in a battle with four characters, two enemies, and a 4/4 time signature, each character gets one measure, whereas each enemy gets to move twice. During the player’s turn, characters can move in any order. If the time signature is in the player’s favor, say 6/3, then once all four party members act, any two characters can take the two remaining turns. [caption id="attachment_187466" align="aligncenter" width="640"] A "measure mod" gives a 1.25x damage multiplier on this turn to Cadence. If a character dies and reduces the time signature, the enemy can snag it![/caption] Abilities available to characters depend on their weapon and its equipped Songstones, which can be slotted into the weapon's distinct Songstone grid. These can be altered through connecting Remix Stones or leveled up in power through Ability Points (AP) earned in battle. For example, the D.D. Revelation Songstone gives Cadence a medium-power, four-step, single-target attack. The Amplify Remix Stone can increase its power by twenty-five percent, whereas the Omnidirectional Remix Stone can make it hit all enemies instead of one, with the downside of reducing the ability's power by twenty-five percent. Other abilities can even change the active time signature or alter turns in some way. Better weapons offer better Songstone grids, giving players a wide range of appreciable build options. Making smart use of grids and abilities in synergy with People of Note 's thought-provoking turn system always feels rewarding and fun. A large part of People of Note 's success comes from the importance it places on turns, the timely use of skills, and ability management. At several junctures, players will find themselves forced to alter their Songstone grids, adjust their Remix Stones, or change their equipment to eke out an edge. The game constantly encourages the optimal use of every turn, with plenty of interesting abilities to manipulate BP and alter the turn order. Additionally, the game throws plenty of curveballs along the way to keep combat consistently interesting. One of these curveballs is musical styles, in which each turn features an active genre that empowers the respective character’s abilities, always forcing players to think ahead. Where People of Note belts its sweetest symphonies are in the boss battles, which are full of surprises and tension, largely due to the Crescendo mechanic. Every boss has a Crescendo meter split into three sections, which gradually increases during battle, and as each section fills, they gain new abilities and grow increasingly powerful. This build-up creates a fever pitch of tension that culminates in brilliant climaxes for each of the game's memorable bosses. Outside of combat, People of Note ’s dungeons and cities feature a wide assortment of creative, well-designed puzzles, which aren’t too difficult, but require an adequate level of thought and, just as importantly, bestow great rewards that empower abilities. In fact, puzzles and combat often synergize, with a good number of “puzzle battles,” combat encounters that have preset conditions and setups, scattered across the world. Figuring out their solutions feels satisfying by itself, but they also serve as neat tutorials to either foreshadow soon-to-be-available abilities or test players’ mastery of existing ones. It's an immersive, practical way to teach players mechanical elements, and it offers excellent rewards to boot. While Note has plenty of interesting areas, some, like Pyre, with its grand and inspired architecture, are wanting for a few more side streets or side quests, though exploration remains a joy throughout People of Note 's wonderful world. [caption id="attachment_187464" align="aligncenter" width="640"] One of the many music-based puzzles featured in People of Note .[/caption] People of Note has a bright, popping visual style, with a neat paintbrush-like texture over its colorful, eye-catching zones, all of which are visually distinct and memorable. The character portraits are remarkably expressive, conveying the characters' interactions and emotions effectively. There is an unmistakable stylistic confidence in the art direction, and although NPCs and minor environmental elements, namely a texture here or there, could use a little more detail, the game does a superb job of presenting its visuals with conviction and style. The musical cutscenes are also choreographed extraordinarily well, with some outstanding camerawork and smooth, fluid animations. As a musical RPG,  People of Note naturally puts its soundtrack centerstage, making it its best element and defining the entire experience. There are a dizzying number of genres present, offering a smorgasbord spanning pop, rock, metal, EDM, rap, country, Celtic, and classical music. All of these genres are explored and played with clear love, reverence, and attention. This is most noticeable in the phenomenal musical numbers, featuring wonderfully scored instrumentals and a whole range of outstanding vocal performances. At every turn, People of Note keeps players excited, and the musical sections serve as a great prize for clearing a tough boss or puzzle. [caption id="attachment_187465" align="aligncenter" width="640"] Not hard rock. Not metal. We’re talking iridium density down in the Melting Point under Durandis.[/caption] What’s most impressive is the dynamic nature of the soundtrack, with each location’s battle music changing from turn to turn and the active musical style seamlessly blending with the area’s genre, brilliantly threading in the theme of musical harmony and Mash-Ups with the combat. The boss themes are also fantastic, whether it’s in-your-face, fierce K-Pop vocals featured in the Whirls Generation nightclub or energetic, high-stepping bagpipes and flutes in the Celtic-inspired Lilting Green zone. Aside from its thoroughly remarkable score, the voice acting is superb across the board, with the main cast’s performance, especially Fret and Cadence, creating a fun, natural dynamic in the band. Councilman Sharp, the four members of Smolder, and the leader of the Homestead, Lasso, also deliver standout performances, making their antagonistic moments against the band shine even brighter. People of Note excels in both of its main promises: it’s a highly entertaining musical and an incredibly tight turn-based RPG. With its solid gameplay structure, it's clearly tuned in to what makes for outstanding combat, doing quite a lot to distinguish itself and make it interesting. Meanwhile, its jamming musical style, strong cast, excellent puzzles, and musically colorful world layer on top of the turn-based structure to create something so refreshingly original, fun, and passionate. People of Note is overflowing with love for both RPGs and music, pulling out all the stops and blowing the roof off the venue in the process. Disclosure: This article is based on a free copy of the game provided by the publisher. The post People of Note Review appeared first on RPGamer .
RPGamerApr 7
Aether & Iron Interview with Christopher Tin and Alex Williamson
Aether & Iron Interview with Christopher Tin and Alex Williamson Released on Steam last week, Seismic Squirrel's Aether & Iron is decopunk narrative RPG. It puts players in the role of Gia, a smuggler in an alternate 1930s New York City, which has been transformed after the discovery of an anti-gravitational technology called aether. RPGamer was given the opportunity to put some questions to composers Christopher Tin and Alex Williamson about how they crafted the music for the game, with the soundtrack available now on various digital stores and streaming platforms. Alex Fuller (RPGamer): For anyone who may be unfamiliar, can you give a quick introduction to yourselves and tell us what you've worked on in the past? Christopher Tin: I'm primarily a classical concert music composer, working in orchestral and choral music, as well as opera. In the video game world, however, I'm probably best known for my ongoing work with the Civilization franchise, having written title theme songs for Civilization IV ("Baba Yetu"), Civilization VI ("Sogno di Volare") and Civilization VII ("Live Gloriously"). My theme for Civilization IV in particular was noteworthy in that it won a GRAMMY Award in 2011, which made it the first piece of video game music ever to win a GRAMMY. Alex Williamson: I'm a composer working in film, television, and now primarily games. I had been working mostly in commercials when Chris reached out, maybe 10 years ago, to start collaborating on games. Since then I've worked on a variety of game projects, from turn-based strategy titles such as Civilization VI and Old World to the PGA Tour 2K series and Splitgate . RPGamer: What are some of the main goals you look to achieve when building the soundscape to a game? AW: It can vary from project to project, but this time around it was important to establish a sound that blended authenticity (to a time period, or at least an alternative vision of one) with the expectations a modern player or listener might have. It needed to fit in with what we imagined people expected to hear based the game's setting, without leaning into pure imitation 100% of the time. What that ended up meaning in practice was mixing styles from slightly different ears with some more contemporary writing tropes, going with a modern production sound, and balancing out jazz instrumentation with the traditional orchestra so that it didn't end up boxed in as a 'jazz' score, or sounding so authentically "Old Hollywood" that action-packed moments fell flat to modern ears, or sounding too modern at the same time. RPGamer: How does composing for a narrative RPG differ from your previous projects? CT: Most of my work in games has been in the turn-based strategy genre, which meant that I was given a lot of freedom to create pieces of music that weren't attached to particular characters or situations, but were more to provide an overview of the world in which they were playing. Aether & Iron was a compelling world that offered a novel dimension for me to get creatively excited about, and it gave me a chance to work with Alex on a more collaborative level. Our overall approach was that I would churn out a wealth of thematic ideas -- sort of a library of moods, melodies, ideas, and sketches -- many more than would ultimately find their way into the game. Alex would take these ideas and arrange them into more fully developed pieces to match the narrative of the game. AW:  I can say that for this particular narrative RPG the main difference was the collective decision not to just compose discrete musical cues for individual places, characters, and situations that would loop, but to create a soundtrack that treated the game like playing through a novel (as Chris put it). That meant trying to support the gameplay as much as possible through near-constant underscore that was still versatile enough not to wear the listener down through repetition. Though there are cues composed for specific people and places, the music was composed more to fit into certain moods, and likewise to be able to transition smoothly in and out of cues as conditions change. But the pacing and dialogue really lent themselves well to letting the music breathe! Most other projects I've worked on have been more straightforward and itemized -- each civilization gets a five minute theme, we need a looping battle cue here, compose a battle victory cue, that kind of thing. RPGamer: How closely do you work with the development team on ensuring the music matches up with the rest of the game? AW: Very closely! We met frequently, particularly in the early stages, to make sure that ideas and sketches were lining up with expectations in terms of style and tone. And of course, we had to establish a main theme early on, as much of the rest of the score refers back to it. Early on, my contributions were definitely trending a little too contemporary with their sound compared to what the team was looking for -- too "modern cinematic" and not enough Golden Age of Hollywood. We got a collective sense of where should end up balancing things, between jazz and orchestra, vintage and modern. As we went along we would keep re-assessing if we had the right balance of different moods, based on gameplay testing. In parallel, we worked with the development team to make sure that the editing of the music was working well when implemented, specifically the way most cues can start and finish at various points, sometimes with their main melodies, sometimes without -- again, with the goal of creating as much variety as possible. RPGamer: Are there any particular inspirations you've been drawn upon for the game's score? AW: So many! The creative team pointed us to a few sources of inspiration, and for a while I really immersed myself in those scores. A mix of classic Hollywood scores from the '30s and '40s (composers such as Franz Waxman, Max Steiner, and Bernard Herrmann) and later period film scores that were more loosely inspired by those earlier eras, such as Chinatown and LA Confidential . I also discovered a bunch of composers who worked in the '30s and '40s who I'd never heard of before. They were doing some really interesting stuff, and it was definitely a source of inspiration, especially outside of our straightforward, thematic cues and the melodic jazz pieces. And I'd be lying if I said I didn't listen to LA Noire quite a bit! CT:  As Alex mentioned, "cinematic noir" was a sound world that we were both pretty heavily invested in. I may have also leaned a little more into a Romantic-era operatic sound in certain moments, too -- so a little bit of Giacomo Puccini and Richard Strauss. RPGamer: What are some of the main goals you look to achieve when building the soundscape to a game? AW: It can vary from project to project, but this time around it was important to establish a sound that blended authenticity (to a time period, or at least an alternative vision of one) with the expectations a modern player or listener might have. It needed to fit in with what we imagined people expected to hear based the game's setting, without leaning into pure imitation 100% of the time. What that ended up meaning in practice was mixing styles from slightly different ears with some more contemporary writing tropes, going with a modern production sound, and balancing out jazz instrumentation with the traditional orchestra so that it didn't end up boxed in as a 'jazz' score, or sounding so authentically "Old Hollywood" that action-packed moments fell flat to modern ears, or sounding too modern at the same time. RPGamer: Are there any unusual instruments or styles that you've looked to employ? AW: I guess you could say jazz in general is already pretty uncommon in game music. Incorporating jazz instrumentation with an orchestral foundation, like in Chinatown , isn't anything crazy, but you don't hear it every day, and it can lead to some nice results. I'd say what's most unusual is the harmonic language, which is really meant to evoke a completely different era. Conventions that you don't hear much in film scoring anymore, let alone games. Working with a very musical creative team that had a very particular style in mind, we definitely went further and further back in time until we got there, ending up with something really romantic in its sound, but still unusually dissonant at other points. RPGamer: Are there any particular challenges or opportunities for experimentation that you've found while creating the music? AW: The approach Chris came up with, where we create a varying, constant underscore by composing pieces that can transition into pieces with different moods smoothly depending on gameplay, created the main challenge. First there was the straightforward work of creating multiple (sometimes ten or more) intros and endings throughout each piece, which meant composing transitions that were custom written for wherever they occurred in the track. Then there was the more creative challenge of choosing those moments carefully, and trying to make it sound like those elements (the endings in particular) weren't just slapped on as an afterthought, but fully intentional and natural. A totally separate bit of experimentation was creating layers for the combat music, which increases or decreases in intensity based on how the encounter is going. That's a pretty common approach to combat music, but there was quite a lot of experimentation when it came to gauging intensity levels, and how changing instrumentation could affect things. RPGamer would like to thank Christopher Tin and Alex Williamson for taking the time to answer our questions, as well as to Vincent Abel and Plan of Attack for facilitating the interview. Aether & Iron is available now for PC and Mac via Steam . The post Aether & Iron Interview with Christopher Tin and Alex Williamson appeared first on RPGamer .
RPGamerApr 7