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Soundtrack: Kine — engineering a jazz you cannot play wrong
For Kine, where three instrument-robots roll through a theatrical city dreaming of making it as a band, Chel Wong wrote show-tune-flavored jazz. But it is not music that follows a score. Every roll the player makes on the board sounds a note, and so that this improvisation can never go wrong, a safety net is stretched underneath - a key, a constant bassline, banks of recorded sound. Verifying the design of this 'jazz you cannot play wrong' against the composer's own Q&A and developer interviews, black coffee in hand, I, Doremi, take it apart.
Soundtrack: Grim Fandango Remastered — the first big-band beat in the land of the dead
Peter McConnell's score paints the dead's four-year journey in film-noir big-band jazz, Mexican folk music, and orchestra. How does iMUSE, its dynamic music system, mesh with the time of an adventure where you get stuck and return to the same room? I write it in my own words, as a piece about design you can carry home.
Soundtrack: Ghost Trick — the swing of possession, rewinding the four minutes before death
A gunshot, and the hero is already dead. As a ghost he possesses objects, chains the single action each one can perform, and re-edits the four minutes before someone's death — and the music for Shu Takumi's Ghost Trick was written by Masakazu Sugimori, composer of the very first Phoenix Wright: Ace Attorney. A swing a touch faster than a walk, and short loops that never grate no matter how many times you rewind. The 2023 HD remaster re-recorded them under Takumi's supervision. Black coffee in hand, I, Doremi, take it apart through a lens a composer can carry home.
Soundtrack: Genesis Noir — a universe built from improvisation, sounding when you touch it
In the black-and-white adventure Genesis Noir, a watch salesman named No Man tries to save his lover from the Big Bang — a gunshot fired by a jealous god. There is no dialogue; the story runs almost entirely on sound. Skillbard's Tom Carrell and Vincent Oliver spent four years scoring the cosmos by 'bolting live jazz improvisations together like puzzle pieces.' Black coffee in hand, I, Doremi, take apart why a touch-and-try puzzle and an improvised score fit each other so well.
Soundtrack: Murder by Numbers — the sound of filling one cell at a time in a neon-lit L.A. detective show
Los Angeles, 1996: fired TV actress Honor and a robot named SCOUT she fished out of a trash heap chase murderers while solving nonogram (Picross) puzzles — and the music for Mediatonic's Murder by Numbers was written by Masakazu Sugimori, composer of the very first Phoenix Wright: Ace Attorney. Jazzy lounge cues, plus five loops written specifically for puzzle-solving. Including the Honor's Theme that disguises itself as a TV show's theme song, I, Doremi, take it apart, black coffee in hand, through a lens a composer can carry home.
Soundtrack: Gunpoint — silence by default, and the circuitry sings only while you plan
The three composers Tom Francis picked through an open call — Ryan Ike, John Robert Matz, and Francisco Cerda — gave Gunpoint a sound drifting between jazz noir and electronics. Like the stealth puzzle it scores, it stays silent most of the time. But the instant you enter Crosslink mode to rewire the circuitry, the same cue slides into an electronic variation. Black coffee in hand, I, Doremi, take apart this design that switches thought and action through sound, in a form you can carry back to your own writing.
Soundtrack: The Sexy Brutale — a masquerade that tells time by ear
The music Matt Bonham and Tim Cotterell wrote for The Sexy Brutale is electro-swing that conjures a 1920s masquerade — but underneath, it is the most precise clock in the mansion. It differs from wing to wing, tightens toward each scheduled murder, and resets with the loop at midnight. How a time-loop mystery and its music mesh, and how to steal the 'let the sound measure the hour' idea for your own writing. Black coffee in hand, I, Doremi, take it apart.
Soundtrack: Contrast — live jazz lit inside a city solved by shadows
Move a light, reshape the shadow on the wall, and slip into it as a 2D silhouette — Contrast's puzzles are quiet and ask you to observe. Yet this 1920s-styled city glows with live jazz: songs the cabaret singer Kat actually performs inside the story. Smoky ballads written by Nicolas Marquis and sung by Laura Ellis. Black coffee in hand, I, Doremi, take apart a design where the music becomes a character.
Human Resource Machine 原声带——用一台合成器搭建出的、安静上班族之声
Kyle Gabler为《Human Resource Machine》创作的音乐，几乎全部由一款免费软件合成器Synth1完成。办公室里飘着的慵懒爵士、游戏内十几秒就循环一次的小小回路、专辑里被拉长的同一主题——我Doremi端着一杯黑咖啡，从可以带回自己创作中的视角，拆解这套由制约催生的设计。
The Pedestrian的原声带 —— 行走于标识街道，爵士乐的步伐
Logan Hayes为The Pedestrian谱写的音乐，以钢琴和管弦乐为骨架，融合了爵士、环境音乐与东欧旋律。在玩家重新排列标识面板、连接扇门与梯子的谜题背后，音乐借由FMOD持续变换形态，不曾中断。我Doremi，手握一杯黑咖啡，以「永不停歇的伴奏者」视角，从自身创作的角度剖析这部音乐。
Superliminal原声带——让人安心的声音最可疑
醒来发现自己在梦境疗愈项目的候诊室里。Matt Christensen为Superliminal创作的是钢琴家John Reeves演奏的休息区爵士乐，宛如酒店大厅里飘荡的旋律。舒适感既是武器，也是最大的misdirection——就像这款视角改变物体大小的第一人称解谜游戏本身一样。手握黑咖啡，我Doremi从作曲可以借鉴的角度，将这张专辑拆解分析。
