This atmospheric cue from “Wizard Ops Tactics” evokes the game’s swamp level, a dark and ominous place. The central musical idea is an ostinato (fancy term for a recurring and typically rhythmic musical pattern) which is just the game’s main theme sort of flattened out. It’s also in 7/8 time, giving it an uneven, lurching feel… perhaps like trudging through a swamp!

Yes I agree, that was a little on the nose. Anyway, enjoy the sonic swampiness.

Following the fine “sturm und drang” orchestral tradition, this week’s piece evokes the moody premonitions and dark energy of an approaching storm. The strings do most of the heavy lifting, delivering the main theme at the music’s climax after earlier statements by the winds. (No pun intended.)

Neil Biondich’s film Valkyrie is about a teen girl haunted by precognition. This week’s music accompanies a moment of quiet but intense disclosure about the protagonist’s past. To capture the mix of reflection and tension, I combined a warm, up-close piano with ambient synths and processed cello harmonics. A little echo effect on the piano provides a smidge of supernaturalism.

This week’s cue accompanies one of the bad guys in the game Wizard Ops: a hulking, missile-spewing worm. (I hate when I find one of those in my lawn.)

For this belligerent invertebrate I wrote an apocalyptic piece for chorus, orchestra, and pulsing drums. The choir chants the words “chaos” and “maker”, the latter being part of the final boss’ name.

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This excerpt from the score for Tales of the Dread-Naught Kid features solo bassoon playing a quirky jig. Just the right kind of music for maritime puzzle-solving.

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