We sat down with DisneyDLV's Jorge Peirano and Claire Llewellyn to discuss the inner workings of the wonderful sounds of Disney Dreamlight Valley, as well as some quick hits on TikTok, licensing, and the game's future.
Disney Dreamlight Valley released in early access last month and has captivated hundreds of thousands of Disney and simulation fans since. The premise revolves around many of the common elements of the genre like farming, crafting, and decoration, with the special twist that players can also live alongside and befriend beloved Disney characters.
To answer your question about how we create the music for this specific game, I would say that the process is quite similar to many other games we do. But one important exception here is that we work with Disney, who are a great partner. They give us a lot of ideas and a lot of very interesting feedback and ideas about their movies and music in their movies. I would say that's the main difference between this game and franchises' games.
Were there any particularly difficult parts of the game's sound when you were overseeing the project? Were there any specific moods or tones that were hard to get right? Jorge Peirano: Oh, yes. From the very first discussions we had with the creative teams, we knew that we wanted the game to be very calm and to be zen, so that the players could have long playing sessions. They could play for two hours in a very relaxed way without being annoyed by too many sounds or too much music.
Jorge Peirano: Of course, we have to remain true to the different characters and different movies, and what we call IPs or intellectual properties. You cannot have the same music for Frozen than you have more Mickey; it's not the same thing. We have to stay true to the other IPs, like Frozen or Toy Story.
Jorge Peirano: We also have different music for different weather conditions. For instance, when it's raining, there's different music, different ambiance, and different sound effects also. We wanted the player to experience the same thing that you can feel when you leave your house and it's raining. The sound of the city or the village changes completely; there is something that changes in the soundscape and makes it more intimate.
When we start working on the sound, we do a first pass of reviews. That's where I step in, because I check everything with the music composer and sound designers and so on. If we think there is something coherent there that works well, then we have a second phase of approvals with Disney. We send them the video captures of what we did, so it's the visuals of the game with the music and the sound and so on, and we asked for their input on that.
One interesting option was something that Animal Crossing did, which was very clever of them. They recorded individual phonemes, vowels and consonants, and they modified them. When they are read on screen, it's sped up and sounds very cute. But that's something we couldn't do. First, that's something that Animal Crossing created, so we didn't want to go the same way.
We are the ones who come up with the ideas and the scripts and so on, and they are the ones who check and approve them. They give us advice on that, but we still are the creative part of this partnership. Jorge Peirano: As you can guess, these projects involve many people and cost a lot of money, as you just mentioned. You cannot plan that in a couple of weeks, so all the game content was planned a long time ago. Everything needed for updates is already planned at least one year in advance.
Jorge Peirano: It's a bit more complicated than that. Of course, Disney owns many things, but there are many entities within Disney. And sometimes there are many owners for one musical piece or track. I won't talk much about that, because it's more the business side of things. But that's what I meant when I said it takes longer than we can anticipate. Claire Llewellyn: Yeah, I'm the Senior Product Marketing Manager.
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