Forsaken City area

There’s a whole lot of great music we could look at in this episode. For example, there is the wonderful “Forsaken City” chapter, which was the first thing Lena made for “Celeste”.

“First Steps” (playing at the Fosaken City) by Lena Raine

We’ll keep near the beginning of the game with an analysis of the second level “Old Site”. This chapter is a great example on how the game slowly builds tension and afterwards goes back to a more calming and meditative music once a specific sequence in the game is solved. You can find the music titled “Resurrections” on the “Celeste Original Soundtrack”.

“Resurrections” by Lena Rain

First, I will explain the basic structure of the level to better distinguish the individual parts. There are three main pieces of music in this level:

1. The opening sequence of this area, which itself is split into three so-called “layers”

2. A chase sequence where Madeline is haunted by her doppelgänger

3. A calm-down part at the end of the chapter

So let’s have a look at the first musical part in this chapter which itself can be divided into three subparts: The first musical variation begins while Madeline stands at a fire with greenish flames. The music here is very low-key and reflects the gameplay of this area with spikes and a lot of not passable obstacles in the form of black blocks. This part basically consists of an obscured synth loosely sounding like an organ and a minimalistic piano line.

When reaching a mirror as a key point in this chapter the non-passable obstacles turn into coloured space-like looking moving blocks Madeline now can get through with her dash mechanic. An additional trip-hop drum layer with a moving synth bass line is added in this variation to increase the intensity of the track.

When finally reaching the evil “Part of Her”, a chasing sequence begins. Have a listen what happens the moment you approach her. The music turns silent before the encounter to increase tension, then this eerie theme variation of the level’s music plays out under the dialogue of Madeline and her doppelgänger.

A very high intensity variation of the music with a faster bass line, acoustic drums and piano chords plays out now. This choice of music greatly increases the tension of this last part of the chapter with an escape sequence from the level’s boss.

But when you reach a specific point the chase stops and the doppelgänger disappears. The high energy music still keeps playing but it sounds more and more distant until finally disappearing once the player reaches a pay phone marking the end of chapter two.