I am Baiyon, director of the dreams of another and multimedia artist. The release date of the game, October 10, is approaching quickly.
In this post I would like to share the inspiration related to the topics of the game, ideas for object -oriented dialogues, which are one of the aspects that makes the game unique, and my personal dedication to the soundtrack I created.
How was the topic “No Creation without destruction”?
Dreams of others are built around the philosophical topic “without creation without destruction”. Instead of destroying objects by shooting, as in classic shooting games, here your shots materialize and create the world around you.
I have a memory of “destruction and creation” that remained with me. It happened during my junior high school culture festival. According to school rules, everyone had to prepare an exhibition, and I and my friend collected cardboard to do and display a cardboard sculpture.
When the mushrooms signaling the end of the one -day festival, I began to hit slightly and break the sculpture. Because it was supposed to be thrown away, maybe it was a carefree thought born of teenage people: “If it is cleaned anyway, let’s have fun.”
At the beginning my friend laughed when he looked, but after a while I felt pain in my back. When I turned around, I saw my friend with an furious face, kicking my back. From there he interrupted into a full fight, and the teacher, noticing, entered the class and shouted at me: “Do you do something to destroy?!”
These words remained with me in a different way from the teacher’s original intention. I think I realized that the teacher meant that I should do what I create, but I still thought: “And it would be thrown away anyway …”, but I think this human contradiction is somehow intriguing.
This feeling has always worked deeply in my approach to creating things, and this game allowed the shape.
A unique dialogue with objects such as trees and doors
In this game you can not only interact with people in the world of dreams, but also talk to objects such as trees and doors. One of the main charms of the game is to hear their sentiments and experience their emotions.
For example, when I think about ideas for the dialogue of this door, I realized for the first time that even when we say “doors”, there are many types and positions. Doors in public places, such as buildings, schools or shopping centers, doors at home, living room door or bedrooms for children and teenagers, the door of the family home lived for decades, or grandmother’s house door after losing my husband … Each door is connected to human life, and I imagined how we could feel proud and even jealous.
If I were a door, I would like to be a door that is there for the personal space of the individual, and not just a being that separates spaces. At the same time, some doors may feel comfortable because a immense family in the living room, while others may feel suitable for strangers in a public facility.
Imagine that the door has different preferences and ways of thinking. In dialogues, nothing is imposed as “appropriate” or conclusions. I wanted players to think about their own environment, gain access to previous memories and have a moment of reflection.
In this way, dialogues are not only flat and one-dimensional-they can experience them in a multi-layered way, from various perspectives and combined with their own memories.
Of course, it’s okay to enjoy it simply as a door that says something strange. This fun and unexpected in dialogues are part of the unique charm of this world of dreams.
A unique approach to composing a soundtrack
For years I worked on various soundtracks of games with my own projects, but this time I felt that “I created music for the game.”
I wanted to create music that resonated with the scripts and dialogues I wrote, as well as the situation and atmosphere of each stage, which made me approach music in a different way than before. For each scene, I composed music with the intention of recalling certain feelings in the player and expressing specific emotions independently.
In addition, the key topic was to convey the instability and ambiguity of the world of dreams with music. One thing that I consciously tried to avoid was “too refined”. As a musician, this approach is a bit challenging, but instead of creating compositions that are too tight or densely structured, I sought sleek music.
For example, for example, for a specific river scene inspired by my own memories and experiences, I spent a lot of time traveling to the location of field recording to compose the music of the stage, capturing sounds such as rubbing water and stones – which I then turned on as rhythmic elements. These special accents may be unnoticed by everyone, but for me I focused on maintaining real things. Considering that as much as possible, taking into account the elements drawn from the source of inspiration, it can enrich it.
I think there are many sounds that were often not heard during the game. During the game, I hope you take a moment to listen to these subtle details carefully – they can lead to miniature discoveries or intriguing experiences.
Dreams of Other will appear on October 10 for PS5 and PS VR2. A special package is also available for order to pre -sale, which includes the previous game, which I directed, Pixeljunk Eden 2.
If you are interested, Check the store’s website. I really can’t wait for you to enjoy this special experience.
