But, like the game itself, these influences are a jumping-off point rather than a slavish imitation, and there’s much to enjoy about Wasilewski’s work on Violett that inhabits a similar sonic universe as Elfman and Coulais but manages to sound completely unlike either man.
Helping that interpretation along is the absolutely fantastic musical score. The music changes from room to room, helping to contextualize each major location in the game. Some rooms rely on pizzicato strings to imply that Violett is in danger; others shift into G minor chords to imply sadness and loneliness.
Magia historii Violett jest potęgowana przez jeszcze bardziej magiczną muzykę. Utwory od razu wpadają w ucho i świetnie budują klimat gry.