The Mirror’s Edge OST rides the same edge Faith does, between the gloss and the reality, staying out of trouble and out of sight. None of these tracks are memorable in ways that you might expect from albums, or even film soundtracks, but then something would be wrong if they were. Or “Ropeburn”, which offers respite just by bringing some warmth to the table. Or “Heat”, which devolves into little gadgety glitches at its end. Take “Jacknife” for example, which shimmers along relentlessly, but offers the odd oriental twang to break the pace. Tracks are modern and pristine, with more organic elements sprinkled in. Solar Fields had a glassy, modern sound to start with, and he tempers it beautifully for Mirror’s Edge. For them the shimmering city is their playground, and the excitement for the player comes from navigating it. The lifeblood of the gameplay is the energy and drive of the runners, who, as Faith Connors puts it, see the world differently. Indeed, although there are guns in the game, you can complete it without firing a single shot. The story, which can be completed in around eight hours, mostly comprises of running around. The palette is largely white, with dashes of colour here and there. The result was icy, technical beats threaded with warmth and space. Gloss with an unconventional twist was what Birgersson brought to the table, and he regularly visited the DICE offices to see how the game was progressing, and how his music complimented the action. The flow is what keeps us running, keeps us alive.’
Rooftops become pathways and conduits, possibilities and routes of escape. We keep out of trouble, out of sight, and the cops don’t bother us. ‘We exist on the edge between the gloss and the reality: the mirror’s edge. The tone is distinct, and neatly outlined by protagonist Faith Connors in the opening scene: Anyone who has played it will remember its sleek design, splashed here and there with bright colours. Solar Fields’ blend of electronic and ambient lends itself to the game’s world. It was a stroke of genius for DICE to approach Birgersson about composing the Mirror’s Edge soundtrack. Elegant, adaptive, and constantly on the move, it is proper parkour music, shaping itself around the terrain, characters, and events that drove the story along. If I had to describe the appeal of Mirror’s Edge in one word, it would probably be ‘fluidity.’ The soundtrack, composed by Magnus Birgersson, aka Solar Fields, is tuned perfectly to the game’s tone.
A spirit of camaraderie underpins the entire mood. No aspect of the game is inflated or muscling in where it shouldn’t be. It is not a perfect game, but the creative vision behind is as clear and fresh as a spring day. To my mind, what’s so compelling about the game is the complete lack of ego or cynicism that went into its making. Released in 2008, the first-person parkour adventure served up a gorgeous blend of art style, story, gameplay, and music that led to millions of sales. The pieces examine the musical content of the score and analyse the effects it has on the game.Įvery so often a game comes along that really jibes with people’s imaginations.
Faith mirrors edge series#
Last modified 9 Keep Faith: the music of ‘Mirror’s Edge’ This is part of a series of articles in which we reflect on video game soundtracks.
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