FOUR NEW PIECES OF MUSIC FROM THE HYTALE SOUNDTRACK

Over the last year, Hytale composer Oscar Garvin has produced dozens of new tracks for the game. In Hytale, each zone has a distinct set of music that helps establish its atmosphere and sense of place. Many biomes and points of interest have their own unique soundtracks, too, and we’re currently looking into ways to incorporate music into other aspects of adventure mode in an equally dynamic way.

Below, you’ll find four new tracks from the Hytale soundtrack, covering areas from zones 1, 2, and 3. We’ve also produced some short video clips to give you a sense of the areas where you might hear this music in the game. These tracks are available as part of the Hytale OST playlist on our YouTube Channel, along with the five pieces we’ve already released.

HERBALIST’S REFUGE:

This track is intended to evoke a sense of peaceful exploration in the deep forests and green riverlands of zone 1. While this region certainly has its dangers, it’s also a place that offers sanctuary and that has, in the past, enjoyed the protection of Gaia herself. “Music has the power to make you feel the lore, even if it’s not immediately apparent” Oscar says.

CANYON OF THE MANY SUNS:

“I was imagining a lost temple hidden deep within a canyon” Oscar says about this piece of music, which comes from zone 2. Traversing treacherous terrain takes effort, and this track attempts to reflect both the mystery of the unknown and the sense of accomplishment that accompanies the end of a long journey.

ANCIENT TOMBS:

Venture deep into one of those lost temple entrances and you may hear this track. “I was imagining a dark desert tomb, where you might happen upon an occult ritual” Oscar says. “Evil magic runs through the veins of this hidden ruin.”

SNOWFALL:

This track from zone 3 is very different, reflecting the wintry climes of this beautiful but frequently dangerous part of Orbis. “I was imagining a vast snowy landscape with snow on the pine trees, with some hints of my home country, Norway” Oscar says. “I evoke the feeling of these images in my mind and choose instruments and harmonies accordingly. I write in this ‘roleplaying’ kind of way to try and give a level of cinematic immersion to the player.”

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