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In case this image isn’t informative enough, dear reader, read on!

The answer to this question legitimately doesn’t matter. If you were to ask me “why do you use this”, the answers range between “I could afford it at the time”, “it worked”, and “I learned it first, so I stuck with it”. …

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Madeline goes to some unexpected places in Chapter 9: Farewell.

The Empty Space Above

I know what you’re thinking, “conclude” sounds like a weird way to describe writing the score to a free add-on chapter for a game. Celeste, as a narrative, is a self-contained thing. The score, too, is its own self-contained work that ends with the credits theme. But as an experience, Celeste became far more than I had anticipated and needed its own special mindset to write something new for.

(A note: this blog post that is ostensibly going to go into my thoughts on writing the score to Farewell is starting on a slightly more existential note, but I feel like context always helps explain my own process.)

A bit of initial philosophy

One of the quintessential aspects of most video games is the sense of conflict. There is, whether it’s violent or nonviolent, a conflict that needs to be resolved. Therefore, scoring that conflict is one of the most important aspects of writing music for games. And, as is the nature of games, it should (usually, with exceptions) be fun.

Conflict is one of my favorite things to score. I was once asked what I thought made good combat music in a game. My answer is that any music you can dance to is perfect for combat, and in turn so it is for conflicts of any nature. All forms of dance music, going back to the origins of dance, stem from their rhythms and percussion. …


Lena Raine

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