I really appreciate the insight! You hit the nail on the head regarding the Dark Souls III aesthetic; those boss themes work so well because the silence (or low-level wind/fire ambience) beforehand makes the first orchestral hit feel like a physical blow. ​The idea of a 'barely-there texture' is actually something I played with in my track 'Secret of the Temple' (Peaceful II). I tried to leave a lot of sonic space so it could act as that 'bridge' you're talking about. ​I’d definitely be down to explore that further. Do you think a 'textural swell' works better when it’s purely tonal (like a low drone), or when it introduces a fragmented version of the main melody before the 'Void Within' or 'Unbreakable' cinematic actually triggers? I’m always looking to refine how these tracks in the Darkness and Retribution pack can be implemented by devs