Teamfight Tactics (TFT), where the music shifts dynamically with board compositions, returns in Set 19: Prismatic Tour. With trait-specific soundtracks and a dedicated mixer introduced, the dev team answered questions about building the audio system, resolving engine migration issues from the previous set, and addressing player feedback on the unlock mechanics.
Riot Games held an online media briefing on the 11th to introduce Prismatic Tour. The following joint Q&A session featured Alex Cole, Gameplay Executive; Julien Camaraza, Set Design Lead; and Jin Chin, Music Designer. The developers explained their rationale for migrating to Unreal Engine, the process of refining the dynamic audio system, and their intent behind rewarding high-difficulty unlock conditions with immense power. Below is a transcript of the Q&A.
While Set 18 received praise for its fun and balance, players experienced difficulties due to several technical issues following the transition to Unreal Engine. How do you respond to criticism that the switch was premature, and what have you prepared to ensure stability for Set 19?
" Alex Cole, Gameplay Executive: Issues arose because we were building foundational core systems while simultaneously developing the set. It wasn't easy to track even basic telemetry regarding memory usage, resource limits, and overall performance.
While preparing Set 19, we significantly reinforced these underlying systems, and we feel confident in our plans moving forward. A large team is dedicated to this effort.
What is the ultimate goal you aim to achieve through the Unreal Engine transition and a standalone client?
" Alex Cole: Our main goal is to establish TFT as a game that lasts for a very long time. We believe Unreal Engine gives us the best opportunity to reach that goal.
The original Hextech engine was great, but it was ultimately built for a PC MOBA. To unlock TFT's full potential, we need the development freedom that Unreal provides. In particular, we want more freedom in developing for mobile, future game modes, esports, and core gameplay features. We decided it is the engine that better fits our long-term needs.
New features like soundtrack layering based on traits and dedicated sliders for Illbeats stand out. Were these difficult to implement in the original engine?
" Julien Camaraza, Set Design Lead: I'm glad to hear you enjoy the music. I love the soundtrack this set as well, and thank you for playing TFT.
Experiments like Illbeats wouldn't have been impossible in the old Hextech engine, but they would have taken significantly longer. In Unreal, it took about two weeks to build an early version of Illbeats, whereas in Hextech, it likely would have taken around eight months.
Because we could implement and iterate quickly, we were able to polish Illbeats into something much better. If we had spent that much time in development and were pressed by tight schedules, it would have been difficult to make it as fun a trait as it is now.
The unlock system in Set 16: Lore & Legends drew mixed reactions. How did you incorporate that feedback into Prismatic Tour?
" Julien Camaraza: We also recognized that player feedback was quite mixed. Many unlocks didn't feel appealing to certain segments of players.
This time, we clearly defined the roles of unlocks. Flex unlocks provide versatile choices that diversify late-game compositions, which competitive players appreciate. On the other hand, Chase unlocks challenge players with difficult conditions and are well-suited for creating exciting highlights in broadcasts or video content. Defining the direction of each category more clearly allows us to deliver unlocks tailored to their specific purpose.
You expanded music layering and mixing methods beyond Set 10: Remix Rumble. Do you plan to utilize this audio system or design approach in future sets with different themes?
" Jin Chin, Music Designer: The audio system in Set 19 was built specifically around its musical theme. Because music is central to the set, the soundtrack itself becomes part of the gameplay. Not every theme requires dynamic, self-remixing music, so it's hard to promise we'll reintroduce this exact system.
However, the lessons we learned will stay with us—elements like the clear contrast between the planning phase and combat phase, shared musical frameworks, and music that responds to board compositions. While I can't reveal anything about future sets right now, we are always looking for better ways to deliver music.
Sona, who is unlocked by playing a collab trait and reaching player level 10, was introduced as a 7-cost unit. Are these units intended as fun options to try out unique champions, or are they top-tier power spikes meant to directly win games?
" Julien Camaraza: The main goal of 7-costs, setting them apart from 5-costs, is to provide a fitting reward for extremely difficult unlock conditions. 7-cost units are not in the standard unit pool; they can only be acquired by meeting demanding requirements.
Smeech requires playing eight traits, Sona requires reaching player level 10, and Baron Nashor requires collecting instruments. Because of this, we can grant 7-costs exceptionally high power, ensuring players receive a reward proportional to their effort.
What was the most important factor when designing the flashy skill visuals for 5-cost and 7-cost units?
" Julien Camaraza: I'll pass your kind words on to the art team. I'm sure they'll be thrilled.
The primary focus is creating an instant 'wow' factor. It needs to make players think, 'I have to play TFT just to use that unit.' There also needs to be that flex factor—stepping onto an opponent's arena and showing off a bigger, flashier champion.
