![]() ![]() This track easily could have gone overboard into ironically playing up the cuteness of the creatures you must process, and therefore in some way laughing at their plight, but that wasn’t the point of the level at all. The Harvest (77 BPM): The setting for these levels is a planet of great natural beauty that’s being systematically strip-mined for resources by you, the player, at the bidding of your overloads. It’s slightly mysterious without straying too far into mysticism – whatever structures these were, their meaning is long gone now. I interpreted these structures as temples, which led me to use a synthetic vocal as the main pad in this piece. I also use the military snare, which ended up being a recurring motif for the overlords after it became a large part of the overlord theme (see below).Īsteroids (84 BPM): The asteroids area contains floating islands fashioned out of asteroid rock, including what seem to be ancient alien structures. Industrial Zone (78 BPM): This area is set on one of the alien civilization’s inhabited planets, so its music is a little more built-up and rhythmic, reflecting the densely urban atmosphere outside. This is also one of the earliest pieces I prototyped for the whole soundtrack, and reflects my first attempts at ideas I continued to develop later on in the music – including the occasional piano phrases that break over the surface, then recede back into the mix. Hydrocarbon Pools (83 BPM): In contrast to the skydock, the hydrocarbon pools are a dark and lonely place, so its music is one of the more inward and meditative ones. Skydock 19 (74 BPM): After the unhappy circumstance of being kidnapped by aliens and forced to create factories for them, the skydock area music is a little more positive. You may be stranded who knows how far away from home, but at least you’re getting to see some wondrous things! This piece contains an element of hope and aspiration to it to go along with the dramatic skies of the area. ![]() To underscore this kind of semi-exploratory, semi-directed problem-solving, I tried to aim the soundtrack towards a balance between active and ambient approaches, writing looping music that would be interesting enough to speak to the world and the story of the game, while not growing into something that would become overbearing or distracting to players deep in thought.Īs you can see below, the tracks mostly fell somewhere between 70-90 BPM, which I felt was a nicely chill, but not sleep-inducing, range of tempos. Players are free to explore various approaches to solve each level, testing theories and revising iteratively. Most of what happens in Infinifactory is what I’d call “thoughtful activity.” There isn’t any imminent danger or a time limit in the game (with one notable exception). Infinifactory is more than just a series of puzzles to solve – it’s also an open-ended construction set, allowing people to create impressively complex and clever machines of their own design. Infinifactory is an open-ended puzzle game from Zachtronics Industries, the makers of SpaceChem and Infiniminer, where players design systems in a 3D space to create “factories” that assemble (and destroy) products. ![]()
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