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Soundtrack: Kaizen: A Factory Story — the cue that opens every morning
The music of Kaizen: A Factory Story brings a real Japanese radio-calisthenics broadcast straight into an automation puzzle set in 1980s Japan. Composed by Matthew S. Burns, Sam Kulchin, and Drew Messinger-Michaels, with track titles like 'Radio Taiso' and 'Matsuzawa Spirit' — real-world names, played straight. Over black coffee, I, Doremi, take apart that trick.
Soundtrack: The Witness — the seven-year decision never to write a score
The Witness's soundtrack is designed by refusing to exist. Doremi listens to the footsteps and ambiences that Andrew Lackey of Wabi Sabi Sound spent six of the game's seven years recording.
Soundtrack: SUPERHOT — Composing Without Any Music
SUPERHOT, the first-person shooter where time only moves when you do, has no music at all — only sound design wired directly to your own speed. Its 2020 expansion, MIND CONTROL DELETE, answers with a loud drum-and-bass score by Zardonic. Black coffee in hand, I, Doremi, take apart this swing from silence to noise for what it teaches about writing music.
Soundtrack: Return to Monkey Island — the notes a skull sings open the map
Ron Gilbert's pirate comedy came full circle after thirty years, and the composers who invented iMuse itself — Michael Land, Peter McConnell, and Clint Bajakian — came back with it. From the specific notes hidden inside a skull-striking map puzzle to the way melodies change their breathing every time you walk through a door, I, Doremi, trace the design through verified interviews and credits, black coffee in hand.
Solving by Ear — Designing Puzzles Around Sound (from The Witness's Jungle to Unheard)
Puzzle clues lean overwhelmingly on sight. This essay traces the thin lineage of games that made sound primary information—the birdsong of The Witness's jungle, the echoes of Dark Echo, the eavesdropping of Unheard, the synthesizers of FRACT OSC—and asks why audio clues stay rare (unsearchable, unwritable, inaudible) and how design can overcome it.
Soundtrack: Botany Manor — Music that keeps no clock
In Botany Manor you coax long-forgotten plants back into bloom inside a retired botanist's estate. Thomas Williams' score is small-ensemble chamber music built around close-recorded violin and harp, and each forgotten plant carries its own theme. Why does this unhurried music sit so well against a puzzle with no timer and no failure? Black coffee in hand, I, Doremi, take it apart through a lens you can carry back to your own composing.
Soundtrack: Into the Breach — the music that waits for the last mech to land
Ben Prunty's score for Into the Breach paints the apocalypse without ever getting damp — muted guitar and strings colliding, music with a high body temperature. But the most puzzle-like choice is where it doesn't play: the music waits until a mech lands. Over black coffee, I, Doremi, take apart that design of silence.
Creaks 的原声带——一次次重新诞生的“活”音乐
Amanita Design 的《Creaks》中，Joe Acheson 写下的是一部由100余首曲目生成式分岔演奏的“活的原声带”。哪怕回到同一个房间，音乐也不会再次以同样的方式响起；当快要解开谜题的瞬间，乐器会悄悄增加，轻推你一把。在没有台词、没有界面文字的宅邸中，音乐成了唯一的伙伴——我 Doremi 端着一杯黑咖啡，从谱曲的角度来拆解这套机制。
Soundtrack: The Turing Test — one motif that keeps asking, human or machine
The music Sam Houghton and Yakobo wrote for The Turing Test is dark, minimal, and never congratulates you. Nearly every track carries the same motif, changing its colour room by room. Black coffee in hand, I — Doremi — take apart the design of 'one motive, endlessly distorted' and the nerve of music that refuses to react to your solving, in a form you can carry home to your own writing.
Psychonauts 原声带——每次潜入他人脑海，曲风都会改变
每次潜入他人的脑海，音乐的曲风便会整个替换。Peter McConnell 为《Psychonauts》所写的二十首曲子，听起来仿佛各自来自不同的唱片架：弗拉门戈、《阴阳魔界》式的诡异、夏令营风的民谣。为什么如此不加节制却不显得杂乱？我，Doremi，端着一杯黑咖啡，用可以带回自己创作中的视角，来拆解这一切。
Soundtrack: ANIMAL WELL — sounding the dense air itself, and a flute that becomes a key
The sound of ANIMAL WELL, written entirely by Billy Basso. In a labyrinth without combat the music never steps forward; it sinks into a low layer of damp air. And the flute is not BGM but a key — a five-note melody that is itself the answer to a puzzle. Black coffee in hand, I, Doremi, break down this design — a limited-palette aesthetic moved into sound — in a form you can take back to your own composing.
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。
Soundtrack: FRACT OSC — solve the puzzle and the music grows back
The music Alex Taam (Mogi Grumbles) wrote for FRACT OSC is not playing as a finished piece from the start. Each puzzle you solve in its ruined synthesizer world switches on one more layer - a bass, a pad, an arpeggio - until the player's own hands have assembled the score. Using the composer's own statement that he kept every piece in C pentatonic minor as a thread, black coffee in hand, I, Doremi, take it apart through a lens you can bring back to your own composing.
Soundtrack: Q.U.B.E. 2 — Sound that is almost real, and not
The music David Housden wrote for Q.U.B.E. 2 is a calm, beautiful layer of piano, strings and synths. But the beauty has a trick in it. To match a premise in which an alien structure imitates Earth, he ran real sounds through synthesizers to make tones that are almost real, and not. Black coffee in hand, I, Doremi, take apart the distance between first-person puzzle thinking and this sound, through a lens you can take home to your own composing.
Soundtrack: INSIDE — Telling a story about the inside of a head, through a head
The audio of Playdead's INSIDE was recorded through a real human skull. Martin Stig Andersen and SØS Gunver Ryberg pushed synth tones through bone to give them a brittle, hollow quality. Why does 'sound heard from inside a head' work so well for a puzzle about hijacking other bodies through mind control? Black coffee in hand, I, Doremi, take it apart.
FEZ 的原声音乐 — 将8比特带到现代的声音
Rich Vreeland（Disasterpeace）为 FEZ 创作的音乐，拥有芯片音乐的词汇，却以混响和比特破碎磨去棱角，将其带往新时代音乐的广阔空间。随高度和时间段变换形态的动态音效设计，以及在频谱图中隐藏图像的「音乐本身即是谜题」的机关。我 Doremi 手持黑咖啡，从可以带回曲子创作的视角来拆解它。
Antichamber 的原声 — 越往深处走，层数越多的声音
Siddhartha Barnhoorn 为 Antichamber 写的音乐既不是循环，也不是沉默。一层层单薄的音色交叉淡入、彼此叠加，从不重复同一种组合，越往深处走就越厚重，是一床活着的环境音乐。我 Doremi 端着黑咖啡，从你能带回自己创作的角度，拆解为什么这片声音能跟着你穿过不可能的空间却始终不散。
Papers, Please 的原声带——在每天开头响起，之后交给印章接管
在入境审查的小隔间里，寻找文件的矛盾之处。Lucas Pope 自己创作的音乐，只有短短约30秒的国歌。在每天开头大张旗鼓地响起，审查一旦开始便悄然退场。接手的是印章落纸的声音、翻阅文件的声音——玩家自己敲打出的节拍。手握一杯黑咖啡，将这种「开头鸣响、之后沉默」的设计，拆解成可以带回自己创作的形式。
A Monster's Expedition 的原声 — 节奏不在曲子里,在你的指尖上
在这部推倒树木、滚动圆木、从岛到岛跨行的开放世界仓库番里,Eli Rainsberry 写下的音乐把节奏从脊柱里抽掉了。那么拍子去了哪里——搬进了 UI,也就是你的操作音里。十五首吉他与钢琴的曲子像思考的海一样漂浮,节奏由你的手敲出。黑咖啡在手,我把这套分工设计拆成你能带回自己创作的样子。
Unpacking 的原声带 — 不喧宾夺主的放置之道
Jeff van Dyck 为 Unpacking 写的音乐,把磨圆棱角的芯片音叠在原声吉他与钢琴之上,却奇妙地从不过度。在一款没有失败、没有计时的解谜里,音乐做了什么、又拒绝做什么?本文由我 Doremi 黑咖啡在手,从作曲可带回的视角拆解。
Gorogoa 的原声 — 拼贴每一次叠合,声音也叠合
Joel Corelitz 为 Gorogoa 写的音乐几乎不立旋律与和弦,只用织体放下「那个场所的情绪」。而且每一块拼贴各自绑着一小段曲子,带着叠加的规则相互组合——重排画面的谜题本身,也在声音里发生。黑咖啡在手,我 Doremi 把它的设计拆成你能带回自己创作的样子。
LIMBO 原声音乐 — 只剩下被抹去身份的声音
独自包揽 LIMBO 音频的 Martin Stig Andersen 出身于幻声音乐(acousmatic)。他扭曲声音的『身份』、拒绝操纵情绪的配乐,为剪影世界叠上了声音的影子。不打扰『死亡重试』式解谜的『耐重试音乐』究竟是什么?我 Doremi 端着黑咖啡,逐层拆解。
COCOON 的原声带 — 一直响着却不变成壁纸的音
Jakob Schmid 为 COCOON 写的音乐几乎全部是合成音,且大半在游戏运行时实时生成。这是「既不放循环、也不一直无声」的第三条路。本文由我 Doremi 黑咖啡在手,从作曲可带回的视角拆解: 为什么这种「一直响着」的音不会变成「壁纸」。
Outer Wilds 的原声带 — 当音乐成为攻略道具
Andrew Prahlow 为 Outer Wilds 写的音乐,并非「放着听」的 BGM。它大半时间不响,响起时是发现的信号,有时乐器本身就是探索的道具。本文(由我 Doremi 黑咖啡在手)从可带回到作曲与设计上的视角,拆解这部音乐的机理。
