![]() Depending on the particular environment or event, the somber music chimes in, and plays out to the extent of the event (or the length of the area). Yet, in some cases, the game needs some melody to cultivate a mood, and that’s where Primal and Primate’s compositions come in. For the most part, the game is littered with ambient sounds, such as the wind blowing, the rustling of slugcat and other critters, to drips of unknown fluids in the area. In a detailed video explanation, Primate explains the dynamics of the audio in Rain World. ![]() Yet, surprisingly, music in Rain World is not a constant. “So naturally the music has to be equally gigantic in scope to match.” Together with musician Lydia Primal, Primate has had 3.5 hours of music composed for the game. “At this point Rain World has around 1400 screens of playable terrain covering 12 huge regions,” writes Primate in the update. Well, you don’t need to, as a recent Kickstarter update (the game was successfully funded back in January 2014) sees creator James Primate detail the dynamic audio design for this grimy-aestheticized platformer. Imagine, then, trying to apply not words but audio to match everything found on this alien planet. Due to its unique ecosystem set on an industrial planet that’s ravaged by bone-crushing downpours for most of the year (the game takes place during the brief dry season), describing the things that flap, squirm, and leap around Rain World is a task. ![]() The goofy term “slugcat” has been tossed around to describe the creature you’ll control in Videocult’s upcoming game Rain World for a couple of years now.
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