![]() ![]() My favorite cue of the score is an action cue, “Escaping the Sandworm”, which features a fantastic heroic statement of the descending Ori theme in the strings followed by accompanying counter themes in the horns. This type of orchestral action scoring was entirely absent from Ori and the Blind Forest, but appears multiple times for this game, showcasing a broad spectrum of musical styles in Coker’s scoring. The battle between Shriek and Ori (in “Shriek and Ori”) include both character’s themes each battle Ori faces includes heroic statements of his theme. The album is over 3 hours long, so there is plenty of material to listen to and appreciate the nuances of the thematic development. Coker has developed some incredible thematic material, first for Blind Forest, and then develops it well throughout the course of the score. A criticism I have had in the past of game scores is when a composer has a great main theme that is only heard in the main title. The tone of the score maintains some of the ethereal, hauntingly beautiful moments similar to those in the first game, but also introduces a variety of new soundscapes and melodies. The theme takes on more heroic statements at various parts of the game and is also intertwined in numerous ways with other new themes. However, Coker uses it much differently outside the introductory and finale cues. The main theme, centered around Ori, front and center in Blind Forest, returns in a big way here. In addition to a darker tone with bigger orchestra and choral pieces, Will of the Wisps introduced a number of new thematic elements to the world of Ori. ![]()
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