RPGamers Network > Reviews > Game Music Reviews > Riven OST
Reviewed by: Zeugma 440
Since Myst turned out to be a real hit, the composer Robyn Miller had to be back on work for the soundtrack its sequel, Riven. By hearing the first minutes of the album, one can immediately feel that his music has greatly evolved since Myst: the general ambience is richer, much more fascinating than his early works. That's maybe why my virtual trip to the Riven islands had been so great, much greater than what it would have been without Robyn Miller's music.
The first track is a kind of veiled message to the listener: it is actually the very sound played in the game when entering a magical book (a way to travel in the universe of Myst and Riven). Hearing it made me think of something like "I know this sound: it means that I'm back on these islands. Well... let the journey begin one more time!" Then, on track 2, a kind of mystical atmosphere emerges step by step: warm pad, slow tribal drums... As I'm listening to it, I remember the introduction sequence, I remember the first island. Pictures of temples, red rock caves, bridges over the sea pass through my mind. Here on my chair, in front of my PC, I can almost feel the sun rays on my neck, the lukewarm wind coming from the sea. This music is obviously not for those who expect an RPG to be divided between dangerous trips through dungeons and boss battles. Riven's music is always very calm, almost anesthetic.
Some strange places have their own music, which you cannot forget once you've visited them. This is the case for the Survey Island and its theme (track 5): classic warm pad, then a few saxophone notes hanging in the air, fascinating like the green crystals and the giant bubbles that can be seen on the island.
Track 13 is also quite interesting for the same reason. It reminds me of what they call the "Wahrk Room”: a huge cave where the only light comes from the sea. It is a kind of observatory of the bottom of the ocean, a very impressive place. The music fits very well this room: the synthetic female choir and the sound effects provide an impression of space and mystery.
One should not listen to this soundtrack without listening to track 9: the Moeity Theme is the central theme of the game, the one which comes when you've done something important. Cyan chose this piece of music to illustrate the preview movie of the game. The rhythm is faster; tribal drums and modern FX pads contribute to render a unique "Something is happening" atmosphere.
The "fastest" and one of the most noteworthy tunes of the soundtrack is "Catherine's Freedom" (Track 16): pizzicatos play a dramatic tune to illustrate Catherine's escaping from the prison-tree and time playing against her.
The next track, named "Gehn Speaks", is a variation of the Wahrk Room Theme with some pizzicatos at the end to create an evil atmosphere and a six-notes theme played on very low steel drums to give the music a sinister tone never heard before in the game. This sinister side is developed in the next track, "Gehn's Theme". Is starts with a little saxophone introduction, then we hear again the six-notes theme, louder and accompanied with a warm pad and some strings. It is largely developed in the rest of the track, and the six-notes tune gives birth to a dramatic, sad and beautiful theme.
"The fissure" is the finale of the game. One may recognize some elements from Atrus' Theme orchestrated in a different way, in which all the main instruments heard in the soundtrack participate. It is a very cool piece of music, a track that I'm used to playing when I'm back from school and fed up for the day.
As I said before, Riven soundtrack is a very special music, corresponding to a very special game in which action in virtually nonexistent. The music is perfect for relaxing and for summoning spirits, but I must admit that it lacks the heterogeneousness of a classic RPG soundtrack. That's why I give it the note of 8.
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| Album Information | Reviewer Rank |
|---|---|
|
Riven OST Published by: Virgin Records America Release Date: January 01st 1998 Composed by: Robyn Miller Arranged by: Robyn Miller 1 Disc, 20 Tracks Catalog: CDVUS 142 |
80 |
Reviewed by: Zeugma 440
Since Myst turned out to be a real hit, the composer Robyn Miller had to be back on work for the soundtrack its sequel, Riven. By hearing the first minutes of the album, one can immediately feel that his music has greatly evolved since Myst: the general ambience is richer, much more fascinating than his early works. That's maybe why my virtual trip to the Riven islands had been so great, much greater than what it would have been without Robyn Miller's music.
The first track is a kind of veiled message to the listener: it is actually the very sound played in the game when entering a magical book (a way to travel in the universe of Myst and Riven). Hearing it made me think of something like "I know this sound: it means that I'm back on these islands. Well... let the journey begin one more time!" Then, on track 2, a kind of mystical atmosphere emerges step by step: warm pad, slow tribal drums... As I'm listening to it, I remember the introduction sequence, I remember the first island. Pictures of temples, red rock caves, bridges over the sea pass through my mind. Here on my chair, in front of my PC, I can almost feel the sun rays on my neck, the lukewarm wind coming from the sea. This music is obviously not for those who expect an RPG to be divided between dangerous trips through dungeons and boss battles. Riven's music is always very calm, almost anesthetic.
Some strange places have their own music, which you cannot forget once you've visited them. This is the case for the Survey Island and its theme (track 5): classic warm pad, then a few saxophone notes hanging in the air, fascinating like the green crystals and the giant bubbles that can be seen on the island.
Track 13 is also quite interesting for the same reason. It reminds me of what they call the "Wahrk Room”: a huge cave where the only light comes from the sea. It is a kind of observatory of the bottom of the ocean, a very impressive place. The music fits very well this room: the synthetic female choir and the sound effects provide an impression of space and mystery.
One should not listen to this soundtrack without listening to track 9: the Moeity Theme is the central theme of the game, the one which comes when you've done something important. Cyan chose this piece of music to illustrate the preview movie of the game. The rhythm is faster; tribal drums and modern FX pads contribute to render a unique "Something is happening" atmosphere.
The "fastest" and one of the most noteworthy tunes of the soundtrack is "Catherine's Freedom" (Track 16): pizzicatos play a dramatic tune to illustrate Catherine's escaping from the prison-tree and time playing against her.
The next track, named "Gehn Speaks", is a variation of the Wahrk Room Theme with some pizzicatos at the end to create an evil atmosphere and a six-notes theme played on very low steel drums to give the music a sinister tone never heard before in the game. This sinister side is developed in the next track, "Gehn's Theme". Is starts with a little saxophone introduction, then we hear again the six-notes theme, louder and accompanied with a warm pad and some strings. It is largely developed in the rest of the track, and the six-notes tune gives birth to a dramatic, sad and beautiful theme.
"The fissure" is the finale of the game. One may recognize some elements from Atrus' Theme orchestrated in a different way, in which all the main instruments heard in the soundtrack participate. It is a very cool piece of music, a track that I'm used to playing when I'm back from school and fed up for the day.
As I said before, Riven soundtrack is a very special music, corresponding to a very special game in which action in virtually nonexistent. The music is perfect for relaxing and for summoning spirits, but I must admit that it lacks the heterogeneousness of a classic RPG soundtrack. That's why I give it the note of 8.
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