Prince of Persia: The Lost Crown
Summary
The Prince of Persia : The lose Crownis the first mainline entranceway the franchise has see in over a decade , and it aims to combine the series ' darling centre facets with a fresh take on gameplay . Both developed and issue by Ubisoft , the liberation was first officially announced during last year ’s Summer Game Fest . The deed draws influence from sidescrollers and Metroidvanias , follow warrior protagonist Sargon and his clan , known as The Immortals .
The forthcoming game will shake off thing up not just in terms of gameplay , but in its soundtrack as well , derive influence from a across-the-board array of melodious source . One of the title ’s principal composer is Gareth Coker , known for his piece of work on plot likeOri and the Will of the WispsandMario + Rabbids Sparks of Hope . Screen Rantcan exclusively present a new melodic track from the game , as well as a recent electronic mail consultation with Coker that discusses the soundtrack ’s influence , the recording process , and putting a fresh spin on an old classic .
Gareth Coker On Prince Of Persia: The Lost Crown
I have it off you largely shape on the more narrative musical elements in this biz , like political boss fight and character themes . What ’s the process like behind constructing theme to represent fictional character in that way ?
Gareth Coker : It all start out with theme and melody , something recognisable to intend our fibre . This is especially important in the cases of our protagonist and resister , we need to give the player something to latch on to when they are on screen . Of naturally , the most fun is had on a compositional level when you get to play different the separate protagonist / antagonist themes against each other . I ’ve done this successfully before in other plot I ’ve lick on , and have applied a similar concept here . When you are able to use motif / themes and deviate them throughout a soundtrack , they are audio ' cry cards ' to the role player and can bring a much slap-up sense of connectivity between the instrumentalist and the game .
The hope is that between the environment music and the narration music is that we are able to send players to this fat and fascinating setting while providing them with melodious hook and data track to create moments that will bide with them long after the biz is eat up .
A lot of the medicine you ’re well known for is much softer than the medicine ofPrince of Persia , like your work on theOriseries . What was it like come into this project and creating this more intense trend of music ?
Gareth Coker : I ’d in reality be fain to disagree with this statement . While it ’s true that I ’m most known for my piece of work on the Ori serial publication - particularly as the music is heavily featured and ' up front ' in that game , a quick listen through my discography will show that I am definitely not afraid of large melodic forces ! to boot , several of the most popular tracks are from following sequences and boss fights which are the more intense ones in Ori . This is to say that I am not unfamiliar with this panache of piece of writing , and in fact , it was because of my honcho fight music on Mario Rabbids - specifically the track ' Daphne ’s Trap ' - that catch the tending of Ubisoft Montpellier for this biz .
In many ways , The Lost Crownis exact the already - established earth ofPrince of Persiaand putting a novel spin on it while keeping its root intact , include with its soundtrack . What was it like trying to happen upon that musical balance between something fresh and something familiar ?
Gareth Coker : I believe we were aided by the secret plan ’s unique aesthetic and invigoration style . This combined with the ' back - to - roots ' gameplay and the 2D setting means we were already set up musically and just had to react to what we were seeing . When visuals and animation are exaggerated as they are in this game , it give you a justified ground to go over the top with the euphony and stress things that you might not normally try . Indeed the story goes to such a place that I never thought in a million geezerhood for a Prince of Persia game that I ’d be immix synths , guitars , Persian official document , and a 70 piece orchestra , occasionally with a rock drum kit ( and sometimes combine with an electronic / hybrid drum outfit too ! ) . Every clock time I sample something new and sent it off to the team , they ’d total back and tell me to go harder or push more . It was quite liberating . There are obviously some common themes throughout the history of Prince of Persia soundtracks , peculiarly with the rock elements and of course the Iranian elements , however , we were able to ' genre - bend / mash ' and get set of different influences there to create something quite unequaled . This is exaggerated even more when you have two dissimilar composers with exceedingly different styles and voice . Between Mentrix and myself , we shroud a destiny of ground both aesthetically and emotionally , and that is definitely reflected in the game ’s mark .
I always say that a soundtrack is at it ’s best when you ca n’t imagine it anywhere else , and is not standardised . I do n’t guess you could put this soundtrack in any other game in a similar setting - or any other Prince of Persia game - it feel like it ’s own thing and due to the tale , setting , and visuals , it can not be separated from this game .
Screen Rant went hands - on with Ubisoft ’s Prince of Persia : The Lost Crown at Brazil Game Show 2023 . Here are our first impression of the plot .
I know you ’re a long - time devotee of thePrince of Persiaseries - do you feel like that influence your composing process in any agency ?
Gareth Coker : Yes , I fondly remember playing the original ( and realize I ’m flex 40 this twelvemonth … ) I would n’t say it influenced me so much because we were so intemperately encouraged to render something young , as mentioned above . However , I can emphatically say that it added a little extra motivation to rescue something that good tally the game , make out full well the chronicle of the series , and how well its music has been received over the years . It was definitely nice to not just copy the past but or else make it feel ' new but familiar ' . I reckon fans of the game will notice that when they play the biz .
Is there a part of music in the game that ’s your darling , or that you ’re the most proud of ?
Gareth Coker : It will seem obvious but I have to go with the plot ’s Main Theme , simply because of the work it took to get that rail nail down . It was something that got shaped and acquire throughout output . I ’d often dispatch a disjoined chief cue , or a cinematic , and we ’d then retrieve : " How can we get a representation of that sound / idea into the master Theme as well ? " and so it got sculpted over a period of several months . The Main topic represents Sargon ’s journey through all its highs and lows , and you hear so many of the musical influence that accompany him during the plot . The end was to make a roller - coaster of a part and also build his musical internal representation . Much of what ’s in the Main Theme is imbibe upon by the score in the rest of the plot so you may sort of experience the genesis of what we were going for in the music all within this spell . It ’s a pretty epic track that showcases the full mountain range of our scotch . But aboveboard , I hope what players will remember from this game ’s medicine is that it fit the game like a glove and that it enhanced their experience and helped contribute to make it memorable .
The Prince of Persia : The Lost Crownwill release January 18 for PlayStation consoles , Xbox cabinet , Nintendo Switch , and PC .
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Source : Ubisoft Music / YouTube
