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A member registered Jul 26, 2015 · View creator page →

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Words fail me: it seems that my comment was never sent / validated. I perfectly remember having listened to your OST in its entirety, and I never validated a rate without having written a comment: therefore, I had to leave the page following the validation of the vote, without having saved the comment. Since I wrote one to everyone involved, I am as surprised as I am sorry that mine is missing, and I will write you one immediately to make up for my mistake.

Extremely soft and dreamlike, the first music announces a very arerial theme whose orchestration intensifies the depth and impact. The changes of tonal planes are also very interesting in their enriching effect, making the return of the theme very appreciable. What is astonishing with this OST in general is the variety of instrumentation chosen, depending on the pieces and what they represent in the game. The dynamics of the second piece breaks the poetry of the first with formidable efficiency, and its 8-bit sounds used accentuate the happy-side while providing a fun Arcade aspect. While the third takes up again with the sweetness and poetry of the first, but with the use of soaring synthesizers from which emerges a melody with Japanese sounds. Alternating styles, the fourth track echoes the second, without a more groovy style that is extremely pleasant to listen to. Difficult to prevent oneself from waddling on it, so lively the rhythm is! Which is linked to a new sweet track, but this time with a touching expressiveness of nostalgia. Each melody of this OST is heady, and benefits from a perfect harmonization. We feel that the composer knows both musical creation and the field of video games (an excellent culture due to the subtle but present references to many classics of the genre).

I'm sorry, jams, that you didn't understand my approach which you summarize as a kind of trap, as if my initial desire was basically to criticize the positive reactions to this "background sound". The reactions, positive or negative, allow me to see how many can appreciate such a rendering to the detriment of an artistic singularity. I do not in any way seek to obtain positive reviews with this music, and have never sought to criticize them (I did not respond to any, good or bad, both for Dyzantheria and for Mushroomland, except yours to explain myself). I respect each individual, both for their art and their tastes, and as I said previously, I understand that one can be amazed by such a musical result, because it is precisely to bluff that such tools have been created.

So, to summarize my approach, here are the reasons, in order, for the upload of Dyzantheria for this jam:

- not being sure I had time to create something, I quickly did Dyzantheria to at least make sure I participated

- Dyzantheria allowed me to finally test these "facilitating" tools myself, since I have always criticized them without ever having tried them.

- After creating Mushroomland, I had the possibility to remove Dyzantheria from the Jam, but I wondered which of the two music would please the most: I had the possibility here to follow a kind of duel between the loops / samples and personal creation

- I was contacted by the author of the Jam who let me have these two entries, knowing that I specified the evil that I thought of Dyzantheria

- I decided that Dyzantheria could be a way, after the Jam, to share this experience, showing the ease but intense standardizing poverty of these tools, while giving my support to the real artists who themselves create their own melodies and harmonies .

Under no circumstances will my goal have been to criticize a human being or making a trap to catch positive comments, but to criticize a technology that can be dangerous for Creativity and Artistic Diversity. And I greatly thank Aibon for having understood perfectly, especially with its parallel with UE, which can lead to the video game clones without flavor or originality, like those which for example massively invade Steam for more than 5 years.

Here is where I've found the loops/samples used. As you can see, they use the two different words for the same product. And at the contrary, I don't know a better place to experiment this. But no problem : I have made a mistake in my participation. Not about the samples/loops used, but about 2 different participations (as I don't consider Dyzantheria deserving to being a part of my ImaginaryOST). Thing that is clearely forbidden ... Oupsy ! For this reason, I can, if the jam owner asks me to, delete my Dyzantheria submission. But I've talked to him at the beginning, and when I explained why I had 2 submissions, he didn't tell anything special (he just choosed the ImaginaryOST as the music referent for my jam profile). So ... We are not in a big contest with prices and tv promotion here : I've played with the rules, but nothing terrible. We're between musical friends here, and if Dyzantheria is a problem, I can fix it easily ^^

It is beautiful, poetic, soft, pleasant, full of a sweet nostalgia. The melodies are slow, wonderfully accompanied, the set of instruments being particularly well chosen. The third music possesses a deeply emotional mysterious force. Undoubtedly the plièce which has the widest sound spectrum of all the OST. And to end in style, a waltz that brings together all the strengths of the three previous pieces. Undoubtedly my favorite piece of the OST, as the energy and the atmosphere change while the time. Did I say it's beautiful? ^^

A music which conveys, by the choice of its melody, its instruments and its atmosphere, a communicative joy. It's rhythmic, fun, and despite the dissonance between the different instruments, the whole still sounds great. The 8-bit percussions bring a waddle walk which lends itself perfectly to a progressive stroll on trails in search of adventure. Very nice and pleasant to listen to.

An OST resolutely turned towards the brass, syncopations, and interesting jazz twist. The baroque side of the third piece further highlights its daring tonal plan, as well as the finale, which is as surprising as it is dynamic. An OST all in finesse, without big orchestral effect, and which lets imagine a game with good vibes, while reserving moments of intense mystery as the second track suggests. An interesting work that will perfectly illustrate a great video game adventure.

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Q: How about samples and sfx?
A: Yes, but please make sure you have the legal rights to use them."


From what I understand from the Jam rules, pre-made loops (not made by oneself) are allowed as long as we have officially acquired the rights to use them. Thus, the use of professional loops is not prohibited, while preparing ones own loops in advance was. To avoid the confusing term of loops, I can also speak of professional "samples" (it's sold with this term). In France, the words "Loop" and "Sample" are quite the same meaning, specially for the bought ones in specialized e-stores.

But most of the music in the world is created with loops (a repeated accompaniment, a chord grid, drum kits, a counterpoint melody, ...). These loops are the result of a personal creation, and have all my musical support. I only really criticize the use of loops without souls, sold in aim to bluff (we were all bluffed by the result obtained, even me, whereas on closer inspection it is a pure horror), whose aesthetic is so studied that it makes you forget the total absence of music, art and creativity.

As for the explanation of my motivation, it concerns the work itself: the jam must continue normally and does not need this lighting. On the contrary, I will therefore be able to see if the result I obtained here is still better appreciated than the richer and more personal music we can hear in this Jam. And when the Jam is over, no one will read the description and the opinions on this participation in a Jam: only the main music page will be looked at ...

... Which gives me hope that what I have done here will be useful sooner or later. Especially for those who suffer from a less professional rendering when their ideas are real jewels. Art cannot decently be reduced to an aesthetic-commercial quality. Many scribbles on a piece of paper by real artists are more talented than a building-sized print from a photo montage for a commercial film release with huge fanfare.

From the first piece, the tone is set: richly orchestrated melodies, and benefiting from a particular care given to the brass and percussions, giving an epic color announcing a journey strong in colors. The OST has beautiful major seventh chords, and a very pleasant rendering, especially for flutes and guitars. In addition, many tonal variations punctuate the speech, surprising the listener while imagining himself in conquered / understood ground. Knowing how to manage its effects is not an easy thing. Without forgetting a certain echo to RPGs such as FF7 and FF8 in the second part works, in particular for their orchestration, their atmosphere, or the use of a particularly successful choir, as well as the sudden switch to rock sounds. Great ideas that vary considerably the impacts on the listener.

What a strange result this OST with electro sounds, highlighted by this high-pitch trimbre of a digital bird. An original way to capture the attention from the start of an OST containing no less than 17 tracks for more than 11 minutes of functional music. A certain nostalgia emanates from these titles with hypnotic repetitions. Funny effects, crazy instruments, daring artistic ideas, for a very singular OST. The sound glitch effects only reinforce the WTF impression of this OST with particularly well studied original sounds. Here we have the fruit of the work of a real Sound Designer, bringing a great knowledge of sound creation to a creativity that we rarely encounter in the. As surprising as it is interesting. Probably the most conceptual work proposed for this Jam.

We will greatly appreciate the general softness of the first piece from which it emanates a very pleasant contemplative poetry. The piano sound may be a little muffled, but the melody is nicely harmonized, and its orchestrated return in Exploring the Fields is excellent. It is very well written, each instrument playing a role considerably enriching the general rendering. The third piece (my favorite), Town "benefits from a very successful harmonic treatment, with the choice of a particularly expressive chord emphasizing the melody. 3 very beautiful pieces which are listened to with pleasure and which have everything for considerably increase the fun of the game.

A melody based on the harmonic march of Pachelbel's canon? Fun and effective, because everyone from around the world will be able to anticipate these colors without really knowing why, naturally feeling very comfortable with this OST with the sympathetic and varied orchestration. The choice of instruments is very good and enriches the general result. An original, efficient and clever way to create an expressive background sound that the player can easily listen to and remember, even hum, during the adventure.

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The idea of presentation on Youtube is very pleasant. I can hardly understand how such software works, but there is no doubt that the result is proof of a great mastery of this compositional tool. The 16-bit style of the selected synths brings a particularly pleasant color. An OST made up of short trips to different places with very varied atmospheres. Beautiful modulating chords which accentuate the interest, and very well constructed dynamic melodies. A natural sense for orchestral effects (ruptures, syncopations, counterpoint melodies, ...), the whole remaining very united and remarkably rich. The musical elements respond to each other, overlap, all on typical bass riffs: it is particularly successful, teeming with details in all directions. 14 minutes went by without me seeing the time passing. Excellent.

The 8bit rendering job is really very good, and sounds incredibly rich, especially with its many different elements that play on many areas of the sound spectrum. Rhythmically, it's very successful. The pitch glissandi are particularly effective, and the musical timbres remarkably chosen so that, despite the great variety of instruments, everything always sounds very clear and dynamic. I particularly like the ruptures which bring a more considerable in the recovery of the melodies which, for their part, are particularly well written. Particularly for their syncopes which catalyzes energy. An OST which progresses without ever repeating itself, and which continues its coherent speech for more than 8 minutes (8 minutes! O_o) without ever bore. A lot of work for an irreproachable result, very pleasant to listen to, and which conveys a nostalgic impact because of these typical sounds of the past.

Hello. Thank you for your well-argued and very interesting comment on a particular aspect of my approach which had perhaps escaped me: that of the feelings of others on my own compositional rejection based on the arrangement of pre-made loops. Specially when positive reviews are kindly left, while I criticize my own result. You are undoubtedly right about that: I was probably not sufficiently clear on certain points.

Music is an Art. In itself, trying to create without expressing oneself seems like a total absurdity to me. It is as if an author were writing a book by juxtaposing paragraphs taken as it from pre-made books full of paragraphs specially witten to fit any situation ... Obviously this way of doing things exists, and indeed I protest against this practice so not very personal, so "facilitating" and so standardizing of the final result.

In my eyes (and my ears), no use of loops like the ones I used can reach the interest of a clumsy music of a beginner creating it by improvising on his keyboard and rendered with the most basic sounds. . I allowed myself, in my critical approach, to devalue a non-creative concept so harmful to artistic diversity. But in no case to devalue those and those who appreciate the result, even dull, because it has been studied to please, alas.

My wish is therefore to have tested this tool that I have been criticizing for a long time without having tried it myself. I have been told many times that it was not easier than a traditional composition, and that the artist always had an immense margin of maneuver allowing him to really create something personal, and therefore of artistic. With this realization, I can now confirm that it is not, and that my criticisms were justified.

Now, of course, I cannot forbid anyone from practicing such methods: I took the opportunity to just warn against such renderings which are quickly spottables, and which can demotivate real composers who would compare their own compositions to those renderings made to impress / bluff. As a composer and music (piano and composition) teacher, I am more than tired of hearing more and more often types of cold and tasteless tones in productions that deserve personalized creations by real artists.

If my approach to achieve a result through this and to criticize it may shock at first glance, it is in no way a trap to insult the sympathetic support provided by people who have appreciated (or not) this piece, but well to warn against this standardization. Moreover, over the course of listening to the music offered in this Jam, I had the pleasure of discovering that everyone here will have created their own melodies, used their own style, their own harmonies, to offer a personal OST, without l use of these loops which one finds almost systematically in "semi-professional" productions.

My desire is therefore not to harm, but to support the artist, Art, creativity, and to remind people that the general aesthetic packaging can be bluffing, but only contain emptiness inside. This also explains each of my comments written for this Jam: they are not "nice", but real, each of my compliments being thought out, and not written down to please. Everyone is free, therefore, to vote for this music by granting incredible notes to the level of their own listening experience. By offering my two types of works created using diametrically opposed techniques, I am also curious to know which of these works will interest listeners the most (for my personal information, therefore).

I therefore fully understand your bitterness when you voted for this piece, and the rejection of my approach if it clashes with your personal human values. Know that for my part I have a lot of bitterness that gnaws at me to see the semi-professional and professional market invaded by this way of doing so little artistic for so many years. When an artist spends time creating his melody, choosing his instruments, sequencing his notes, ... and he becomes discouraged (as I have often seen) in front of people who wrongly consider themselves as composers then that they are only putting together "Lego bricks" to the rendering already made, I am not sure that it is not necessary, from time to time, to support the creativity and to criticize the principles without soul, as I have fact (and which is particularly rare to actually read).

Wishing you a great day. And thank you to you for responding with such humanity. Hoping that my explanation can lessen your bitterness towards my motivations. I am not criticizing people, but certain processes. I may have gone wrong in my explanatory text, but my main idea is not intended to harm, on the contrary.

What a change of scenery! Pure medieval, magnificently orchestrated in the first work: one would believe it. The melodies of this OST are a real happiness. The choice of instruments gives an atypical color to the whole, in particular that the styles and references change regularly, varying from time to time and country, while always being masterfully written. An astonishing general result full of creative energy. We find ourselves wanting more, via a fourth music which again will enchant as much as it will surprise the listener. Really very interesting work: well done.

Oh ! A Bandcamp link! Because indeed there is not only Soundcloud in the life! And this OST has its place perfectly on the professional platform: the sounds are very clean, the style mastered, the choice of instruments ideal, the colors obtained are remarkable. Very varied atmospheres throughout the reading of all these pieces, especially that each one remains particularly refined. 10 tracks of this quality in such a short time says a lot about the composer's abilities and efficiency. Beautiful melodies, dynamic riffs, stylish chords, electro effects, with a jazz/folk touch : the mix of genres offers an incredible spectacle in itself, full of ideas arranged with Art. Really a great discovery.

This music is essentially based on a duo of opposing instruments (piano and flute) which respond to each other through intricate uninterupted melodies. The writing of each melody prevents the listener from understanding its destination, but the magic of the union of these two musical timbres is enough to perceive the desired atmosphere, and which corresponds perfectly to a video game background music . The melodic destructuring also has the considerable advantage of allowing this music to loop without even being noticeable. Clever!

These sounds are truly an echo of all the games I have played for so many hours! I find with pleasure the musical timbres, the atmosphere, the rhythms, the melodies and the chords which accompanied these hours of entertainment in this original and singular work. This music is interesting, well written, and offers many variations that regularly rekindle interest. A successful job.

Extremely pleasant electronic sounds, with very interesting progressive instrumental effects. The chord loop is perfectly consistent, and works fine. The start of the theme is very much in keeping with the style of video game OST, but when the melody starts to pick up, I had to read the fictional game's sypnosis to understand why. After that, the final lyrical part is all the more sweet and poetic. A certain amount of strangeness therefore, which is justified by the original concept, for an OST which fulfills its functions perfectly.

I admit being particularly sensitive to the melodic construction of Black Birbb's works, as well as to their orchestration and the judicious choice of dissonances with the chosen harmony. As for the creations of Santrupta Mishra, they are of an intense sweetness and incredible poetry : this association of composers offers an incredible diversity, while remaining nevertheless very coherent. I did not expect such a (pleasant) surprise considering the few OST that I have left to listen to and write down. So it's a pleasure for me to include your OST among my favorite achievements of the Jam (who would have thought that two different composers would give birth to an OST of such general unity). The melodic variety of each piece is constantly enriched with an expressive orchestral progression that highlights the whole title. An OST which also benefits from a splendid, clear and perfectly balanced rendering. Ideal for any video game offering a fabulous story, epic moments of combat, and bursting with moments of strong emotions. Bravo for these 4 titles that I listen to and listen to again with happiness. Thank you to you for all these magical moments spent in the company of your musical pages.

Sounds as if from the past, for music that increases in intensity with efficiency. A great sense of the sound spectrum which allows the work to always remain captivating, without ever being either too heavy or too empty. A balance as fragile as it is difficult to obtain, but which is perfectly achieved here. The presence of percussions also considerably enriches the melodic exposure. The addition of sound effects brings a "functional" side to this music, and the ultra-bass in long notes surprises as much as it marvels. The main melody is simple and easy to remember, and the back and forth movement of the musical scale in long values ends up bringing an interesting tonal / stylistic unity. The strange choice of starting with the use of the middle eastern scale at the beginning of the work plunges the listener into an exotic atmosphere, and serves as a tramplin for the body of the work more oriented 90s. An interesting work for a perfectly usable result in a game.

This OST is the proof that we can obtain something functional with however few means: the instruments are few, two main melodies go from one track to another, nothing is overloaded (I tend unfortunately to do the reverse ^^), so everything remains clear, limpid, identifiable and remains effective for being a game music. Simple, therefore, but which ultimately does the job as well as a big score. What is more, the choice of instruments is perfectly suited to the intended musical role.

I can upload them now, in a separated file, on my own cloud. But don't use them to make your opinion of the OST for this Jam. I forgot them, my fault, so they really don't have to be considered.
If you listen carrefully, you will can hear some same melodies use here differently, as most are leitmotiv/structural elements for characters and quests.
-> Missing Files <-

A very pleasant music to listen to, and carrying a strange atmosphere and a great nostalgia. The Western touch changes considerably from the style of the other works in the running for the Jam. Interesting and original result, which, despite the classical movies tones, respects the standard codes of video games, in particular via the easily identifiable superimposed layers, the melodic riffs of fast notes in solo bass, the more modern rhythm and the improvisation aspect of the theme in its final part. The heart-wrenching pitch-bend of the last held note is superb and particularly expressive. The whole is very well orchestrated and can be listened to in a loop without tiring because of the great variety of melody exposure, the many harmonic variations and the excellent musical development.

Sorry for the two other tracks missing. I've made a mistake while uploading on and Soundcloud : I've focused on the first file as if there was only one, forgetting there was three, doing like for Dyzantheria. And when I've gone back to Itch two day after, I realised the problem but it was too late to change my mistake. So, it's my fault, no problem I assume everything. I just have changed the text on Itch and Soundcloud about the three tracks, but I coul't change the description written for the Jam ... The two other files (Main Menu & Fight) are here, on my desktop ^^"

These three works are interesting and illustrate wonderfully what they were written for. The orchestration is clean, the melodies are well done. "Beginning Of A Journey" seems like a pretty sunrise where nature wakes up, the birds gradually start singing together, and where the adventure of the day promises to be thrilling. Night Theme is much more simplistic, but does the job perfectly. As for Desert Theme, it feels like you're lost in the sandy immensity. Being able to properly achieve three such different atmospheres with so little experience in composition says a lot about the extraordinary musical future that is emerging!

After an OST only on piano, here I am discovering a new solo instrument OST. And here, on the lute! Obviously, the medieval side is clear and assumed: the instrument shines its notes as in ancient times, and the magic operates. The instrument's lack of accuracy brings an interesting touch of realism. The melody would perhaps have deserved a little variation (or modulations on the tonal level, without allowing itself to go too far either, for the sake of historical credibility). But for the immersion, nothing to complain about: It is a guaranteed trip to the time of troubadours singing the glory of heroes who left to slay the dragon!

You cannot imagine how much it pleased me to hear voices entering contrapuntal writing for your Main Theme: it pleasantly tickled my ears which adore this kind of musical structure. The rest of the OST richly depicts different emotions, the melodies particularly harsh and expressive by the dissonance they create with the other instruments. It's daring, strange, and therefore creates a rather strong and disturbing general atmosphere. River of Memories is undoubtedly the most accomplished music from the point of view of the choice of instruments. Very beautiful atmospheres which can indeed perfectly illustrate the phases of the games musically, particularly focused on a complex and captivating story. Well done !

An OST entirely on the piano? Surprisingly, it works very well. The richness of this king instrument makes it possible to approach so many different styles and registers without ever causing weariness. And this is all the more true if the writing for the piano is well done, with a pleasant playing, the use of the sustain pedal and various nuances. Here, each melody is clear, and contributes to the listener's escape. The improvisational colors make the whole thing easy to listen to, pleasant, without ever being able to anticipate what will happen. The introductory theme being the only one to seem strange by its somewhat disjointed appearance, but which may very well be suitable for displaying a logo or other graphic syncho effect with these unstructured notes. The rest is pure meditative bliss. Well done !

A great force emanates from this music! The rendering is extraordinarily rich, due to this superimposed use of an orchestra and electronic sounds. The whole is beautiful, and impresses enormously by its emotional power. In three pieces, we discover many artistic facets that show the full technical mastery and musical sense of its author. It's superb, consistent, and extremely enjoyable to listen to. Perfect for a game with great narrative potential, or even for a film with a comparable force in the images like those made by Denis Villeneuve. Excellent work !

How charming this OST is! Full of good vibes with those high-pitched sounds, well-crafted melodies and the detailed and rich orchestration. In Forest Level and Battle, the high-pitched sound is sometimes a bit loud, but the whole is still adorable. In addition, no game music is really played at a listening volume: it is common for the melodies to get lost when playing the music file as the background sound. Here, with these instruments, you make sure that the player does not lose most of the melodies that you have created while playing the game. Some strange glitch effects and additions of real sounds sometimes come to add a touch of electro in this instrumental music. Original ideas, therefore, and the whole is particularly well done. We could have feared artistic exhaustion due to the large number of tracks offered, but it is not: the OST remains a very coherent, diverse and particularly pleasant sound adventure.

An OST based on the variation of presentation of the same theme. In all, 17 pieces on the same minimalist inspiration, with a particularly refined choice of instrumental timbres. Unfortunately, I have a little difficulty with the sound of the synthetic layer which, due to my musical training, which is probably too rigid, blocks me particularly in its low register, due to its micro-variation in pitch, giving me a feeling of unease where intellectually I perceive a desire for peace and gentleness. By reading the comments left by the other participants of the Jam, I can see that I am the only one to block on this strange sound (I am very easily subject to motion sickness, and the instrument chosen here makes me feel a rather similar effect). Luckily, there are several pieces which do not use this sound in the low register, and which therefore allowed me to appreciate your work, especially for the melody and the orchestration to enhance it. My favorite moment is the first part "Walk in the Mountains" which is enriched with a pleasant rhythm and the alternation between piano and harp, two instruments that work very well together. I would have liked not to be so sensitive to the microtonal variation of the chosen instrument (I have the feeling to be a monster to not be able to enjoy your work because of one instrument o_O), to make the most of this OST which conveys so much poetry and sweetness.

A very beautiful orchestration which does not suffer from the simplicity of the sounds, because of their great variety and very good use. A very pleasant atmosphere, with really effective titles, which convey exactly the emotions that one is entitled to expect from a game OST. Lyrical, dynamic, epic, ... very beautiful orchestral effects which show a very good mastery of the orchestra. The progress of certain tracks is particularly galvanizing. The ensemble musically narrates the story presented, with perfection. Very successful.

With such a bright start as rich as the beginning of the second music, it is hard to believe that the composer here is a pure autodidact. A great sense of orchestration which lets imagine real wonders, with the required technical knowledge. It often happens, alas, that those who access music writing lessons are not the most passionate ones, or have no artistic sensitivity. Here, we feel that even if there is still some way to go, the end will be magnificent! Having talent cannot be learned. The choice to mix instruments recorded live was also a formidable bet: the tempo is certainly not there on all the musics, but many tools can correct these small defects (probable that the software used to make this OST has it without you knowing). With a formation in harmony and musical writing, no doubt that you will know how to express wonders where so many others already formed have nothing to say. To be continued, therefore.

In all sincerity, we will appreciate the personal investment in taking charge of music software, and embarking on sound creation without being a composer. It's a bit like waging an unarmed war against a titan: the slightest blow is a victory in itself, even if the colossus is by no means weakened. Here, we can only underline the energy of such a battle, fought with courage and motivated by a touching story of two brothers. Everything in life needs a start, and many Great Artists started with a lot less than what you propose here. With perseverance, since this OST already proves us the abundance of courage, this charming bump of pathway will have everything to end up as a real mountain.

Against a stormy background, a piano (and guitar or harp?) Gradually emerges, tirelessly picking up its notes, like the call of a bell. The strings in long layers then appear in this mystical bouillard, then as soloists with sustained notes. The echo giving the whole a depth as if coming from a dream. A very soaring OST, in which we are surprised to hear voices fleetingly, as if emerging from a secret broth slowly turned in a cauldron by a celestial entity. Perfectly suitable for contemplation and meditation. The central break is only there to launch a new sequence that will quickly gain momentum. Strangely, I find the magic of the games of "thatgamecompany", in particular the intermediate levels of Flower where the poetry initially remains present while the universe already begins to darken. The choirs more present in the last part finish to confirm the mystical touch felt by the notes of the piano at the beginning. At the end, we can hardly believe that more than 12 minutes have passed. Magic !

The representation of a march is musically a pure success. From the first seconds, we immediately imagine the hero walking along the paths, with a sure step, in search of adventure. The orchestration turned towards the pizza strings considerably lightens the rendering which keeps an excellent freshness and dynamic throughout the work. The rhythmic ostinato, the superimpositions of layers clearly identifiable by ear, the general unity, the chiseled melodies that fit together perfectly, ... just a little lack of tonal variation (a quick little tour of a melodic exhibition lasting about eight bars, a tone below for example, in F Major therefore, would considerably revive the interest and would make the return to G particularly pleasant). Be that as it may, this music as it is, which is easy to listen to but rich in content, succeeds in looping perfectly this march which makes the 3 minutes of its duration pass at full speed. Nicely done ^^

Very well chosen 8-bit sounds, offering a very interesting timbral variation for an OST in homage to the music of past games. Lots of variations in the various parts of this music. The melodies which are linked naturally are nicely put forward by very characteristic high tones, an excellent music version of the pixelised picture of the Jam. Alaterning dynamic, contemplative, sad or happy, this OST depicts all the essential elements that a video game needs. Simple and effective to illustrate a marvelous trip to remember.

With a minimalist orchestration, this OST delivers many heady melodies. A great nostalgia arises from this music which is reminiscent of certain creations by Yann Tiersen. A complete OST that musically accompanies a mysterious adventure, with the dark but charming sides of a Tim Burton without ever falling into the real scary. Over the melodies, the listener meets various colorful characters in spooky but good-natured places. The set offers an adventure that the author has perfectly planned in detail in an immersive description. Very varied and pleasant to listen to.