Luckily, the charm of the Oddworld universe and the wild west aesthetic manages to pull it through, and once you get drawn in by the attention to detail and humour, it’s easy to overlook the rough edges. The classic Wild-West motif seen through an Oddworld lens, Stranger’s Wrath puts you in control of a serious bounty hunter with a point to prove – and money to earn.Ī now 15-year-old title, Stranger’s Wrath shows its age from the get-go, with dated low-res cutscenes and some dodgy audio. The game has been highly praised in the past for its innovative and creative subversions of the FPS genre, but does it hold up some 15 years later? I think we Nintendo fans will quite happily settle for a fully-fledged Switch version, published by Microids, instead. All Rights Reserved.The first of three classic Oddworld titles to come to the Switch, Oddworld: Stranger’s Wrath HD has come a long way since its original Xbox exclusivity back in 2005, and it was even announced as coming to the Wii U a few years back. The flute melody captures their inner sadness.Īll images and music is copyrighted (circle (R) and circle (P) by Oddworld Inhabitants. Though the natives are humorous characters in how they look and what they say, they live amidst a very depressing backdrop and have been downtrodden by their situation. I think I used chopsticks on drum rims to help create the "ticking" drum track. This piece lends well to a sense of tension which is perfect for when you can sneak around in the game. I wanted to convey that sense of loneliness and space with this track. The Clakker towns seemed like lonely, desolate places to me.not necessarily the towns themselves because there was always Clakker activity in them, but more because the towns were islands in the middle of nowhere. ![]() I like how the electronic elements blend with the ethnic vocals. ![]() Though this piece doesn't have an upbeat tempo, I wanted to create a feeling of urgency here. That twangy, western guitar sound can still be heard but it's not too conventional. I really twisted the percussion track around on this one in hopes of creating an interesting, moody sound. It was a blend of two older compositions. This composition went through a major transformation. It's more of an orchestral work but has a lot of "sound design" and textural elements weaved through it. This piece begins the last level of the game. This track is a bit of a musical precursor to the final battle theme at the end of the game. Jamie McMenamy (our other sound designer) is a fine guitarist and he laid down some subtle, chordal guitar work on the end of this piece. I performed a number of tracks of live percussion on this one. I wanted that "spaghetti western" sound to be present, but since I'm never interested in a narrow emulation of a certain musical style, I melded in some Middle Eastern percussion and electronic elements to round out this composition. ![]() This is one of my favorite tracks I created for the game. When the designers decided to incorporate a "timed run" towards the end of the game, it seemed to be the perfect fit. When I wrote this composition, I knew I wanted to use it for later in the game but I didn't know exactly where. This composition never made it into the gameplay itself, but was used instead for at least one of our game trailers and was used for an "attract" mode in the game. Though it didn't end up that way, I created a few tracks that went that direction. We had talked about doing more of a heavy electronica-type score for the game, at one point. To download the mp3, click on "play mp3", then right click on the new window. MP3's - Original music by Oddworld composer Michael Bross.Ĭommentary below by Michael Bross.
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