He pitched the idea to a game developer friend who hated it. “I thought, well, a musical is sort of the most obvious example of that,” he says, “and no one's ever really done a video game musical the way I was picturing it.” Wintory has won accolades in the game industry for his soundtracks to indies like “Journey” and blockbusters like “Assassin’s Creed.” But he always wanted to work on something that put the music front and center. (Courtesy of Humble Bundle Games/Summerfall Studios) Grace, the protagonist of "Stray Gods," mid-song at a song branch point. “I would say it's hundreds or maybe thousands of really noticeably discrete versions, and then it gets into the millions once you start getting into the more subtle variations of this instrument versus that instrument,” says “Stray Gods” composer Austin Wintory. Each choice will solicit divergent reactions and progress the story differently. You can sing compassionately in one verse then get angrier in the next. Forced to clear her name after being accused of murder, protagonist Grace has to use her newfound powers as a muse to investigate the game’s modern-day Greek gods, swapping styles depending on the player’s approach. Unlike other games that focus on shooting, spells or swordplay, “Stray Gods” is all about singing. Video games stories often shift and splinter based on a player’s unique actions.īut “Stray Gods: The Roleplaying Musical” goes a step further: Not only does it present branching paths through an urban fantasy, but it’s also bursting with interactive music. Facebook Email A scene from "Stray Gods: The Roleplaying Musical" (Courtesy: Humble Bundle Games/Summerfall Studios)
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