00:00Peggy XII
00:31It has a very large range, so there are moments that seem very traditional and folksy, and then there's big
00:37epic moments that sound like, you know, a Hollywood film, and a lot of places in between that.
00:54It was very important to have a Celtic-inspired score, so that's what we were looking for, for sorcery.
00:59But we wanted to do something a little bit unusual with Celtic music, and to somehow kind of stretch the
01:06use of the instruments and maybe resample them at certain times in order to give the world of sorcery its
01:12own unique sound.
01:13So it was inspired by Celtic music, but it was a little bit twisted at the same time.
01:24We have drums, we have flutes, we have something that feels kind of medieval.
01:29But at the same time, we didn't want to be limited to that. We didn't want it to feel like
01:32we were at a Renfest.
01:33And so, when we spoke to the composer, we said, you have the license to bring in other sounds to
01:39create a wider sound palette.
01:42And this wound up being essential to creating this feeling of magical strangeness of the world.
01:48Mark is an absolutely brilliant composer.
01:51He just seemed to be the perfect fit for sorcery, because not only does he have just sort of a
01:56great command over melody and a great command over the orchestra,
01:59but he also has a very unique collection of exotic and unusual instruments.
02:04And these are sounds that Mark incorporated into the store in just a really, really brilliant way.
02:09Mark Mancina, he got it right basically right off the bat.
02:12It was a real joy to work on this game, because it all just came out naturally.
02:16He's an amazing composer.
02:18I think the biggest challenge with game audio is that everything needs a sound.
02:23But there's so much that's happening that eventually there's too many sounds for the brain to even process.
02:28So, you have to choose what you want the listener to hear at any given moment.
02:36And on sorcery, it was definitely spell casting.
02:40You had environment sounds, you had character sound effects, and then the music.
02:46With the end game sound, a lot of what we were looking for is to give the player clear cues
02:51as to what he should be experiencing in a given moment.
02:54And so, we made a big distinction between exploration music and between combat music.
03:00And it was designed so that even if you don't quite realize that you're in danger,
03:04all of a sudden you start to get the beginning sounds of combat music starting up, and you're like, oh
03:08no.
03:08You start looking around, and you get this feeling of, oh, the music is letting me know that I'm in
03:13danger.
03:13Even though I don't quite realize what the nature of the danger is.
03:19The whole spell casting system is based on natural elements, fire, wind, ice.
03:27We wanted to make sure that the sounds were natural, but also magical.
03:34We want to have the sound respond to the force that you're using.
03:39So, if you really fling it, it's going to be a lot more powerful sounding than if you're just kind
03:45of waving it around.
03:46You feel it. It's not just something that you hear, it's something you feel in your chest when you fire
03:52it off.
03:54It's about the loudest the game gets. When you have a fire tornado, you're shooting arcane bolts into it.
03:59There's a level of destruction that is unmatched throughout any other part of the game, and it's really fun.
04:09You get the feeling of hearing these great melodies and having some great music and great harmony.
04:15But at the same time, you're also hearing all of these magic sounds that are sort of woven into the
04:20game.
04:20It's a really good sounding game. The dialogue's fantastic.
04:23You are seriously suggesting I drink something I found lying around in a tomb?
04:28Come on! Where's your sense of adventure?
04:30The music is great. The spells sound great. The environments are great, and they all play well together.
04:39I'm really proud of how sorcery has come out.
04:50The music is great. The music is great. The executive teaching calidad engineer makes it serious, I think.
