LT: I knew pretty early the scope of the universe, the level, and the script, so I made my dream soundtrack. For example, I would take a level and would want to write three environment tracks, two battle themes, and one boss theme. I do that for the whole game and — one by one — I’d write the track for five years until the end.
This is what’s so nuts to me about this soundtrack. It’s not only quality; it’s quantity too. Those who have played the JRPGs that inspired this game know: for the entire game, you get a few regular battle themes, a few boss themes, and a final boss theme. Some of the consensus top soundtracks in the genre aren’t this big. Yet this single composer did multiples for each level. Only the biggest projects in the genre get this kind of treatment.
I’m glad Broche gave Testard so much run for this game, and gave him the tools to make it sound great, too.
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This is what’s so nuts to me about this soundtrack. It’s not only quality; it’s quantity too. Those who have played the JRPGs that inspired this game know: for the entire game, you get a few regular battle themes, a few boss themes, and a final boss theme. Some of the consensus top soundtracks in the genre aren’t this big. Yet this single composer did multiples for each level. Only the biggest projects in the genre get this kind of treatment.
I’m glad Broche gave Testard so much run for this game, and gave him the tools to make it sound great, too.