![]() Ori, Lost In The Storm begins softly, with warm strings starting things off followed closely by wonder-filled vocals. Let’s start with those opening minutes then – the moments that proved to me once and for all that not only could videogame music stand together with film and television – it could surpass it, by quite some degree. ![]() To this day, Ori remains one of my favourite scores of all time. Right as the game began I was suddenly immersed in this warm, gentle, and breathtakingly wondrous orchestral world, and I knew within just a few minutes that I had not only been wrong about game music, but completely, utterly and catastrophically incorrect. This I believed however, until I began playing Ori And The Blind Forest. Back then I had listened to a wide variety of film and television score and had dabbled in only a select few game ones, and from them had come to the conclusion that game music was usually far inferior (compositionally-speaking), disorganised and overly lengthy album-wise and generally – not worth my time. Here’s another a long time ago, at a time before I had ever laid ears on Gareth Coker’s orchestral wonder that is Ori, I must admit that I held a bit of a…prejudice against videogame music. There you go, that’s a good introductory sentence. When I first heard it I was amazed – beyond that even, I was absolutely spellbound. ![]() How do I even begin to talk about this score. Gareth Coker’s astoundingly beautiful score for Ori And The Blind Forest is nothing short of a musical masterpiece. ![]()
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