shift in perspective about doing scores

[kensuguro]

I recently had an epiphany about writing scores (in this case, a game) that I thought could be generalized. I can't go into what title I did work for, but anyway, I wanted the score to be serious, heavy, and paint a picture of a fairly huge world full of wars and battles. It wasn't to be a cliched "movie-like" soundtrack, or a fantastic, cartoon fictional game world.

The conceptual wall that kept bothering me was that the world (of the game) was indeed cartoony and light hearted characters, and it didn't have much weight or gravitas. Mainly to offset the fact that it was a world of war and violence, so of course the choice was to "lighten it up" to not get into the darker realities that such a world would bring about. I wanted the music to be the counterpoint to the "lightening" of things.. a darker, heavier weight that would anchor the world view down to something more real and believable.

Initial attempts were made writing about the world. Taking in environmental elements, matching sounds / fx to in game events, etc. But I still thought that was too "fake". Like the score was almost telling you just how fictional the world was. It was too aware of the world because I'd spent too much effort trying to portray it, most times through a literal sense. (it's windy, how do I represent wind? that sort of shit)

Then it occurred to me that I should write from within the world, so that the score was not even aware of the fiction. That from the perspective of the score, the world was as real as could be. The score would be a "real" citizen of the world. So I did away with the score explaining elements of the world. Instead I focused on what I would feel of the events in the world. How would I feel about tomorrow? What's going to happen 2 hours from now? What is happening right before my eyes? And decided to transfer those feelings directly into the score. It's so much easier to write this than to actually do it. I mean, how can you be sure you really "believe" in the world, to the point of it becoming reality. It's like acting, but at a more core level. It's more like self hypnosis.

And it worked pretty well. The amount of belief the score has in the world makes a huge difference. I don't think that can be generated through a check list or any sort of preset procedure. It's literally, sitting there, concentrating, imagining being in the world, and getting into the mindset. It took me about 2 days of trying to feel it. And once I was able to organize my feelings according to the world, then I could write from within. It's not an easy process.. it was quite taxing, but I think I've found a new "trick".

Well, so in all reality, I'm not sure if the product will ship in its current state (the music, at least) so I'm not certain it's made the cut, but at least I think I've made a breakthrough in terms of approaching scores. Especially for very whimsical fictional worlds. Now if I have to go back and change stuff I'll have to go back to that mental space.. and man, it's not a fun place to be. (world of just war, death, big machines, fire... ugh)

[ronnie]

Ken, you have precisely described the professional actor's dilemma and challenge. Brilliant; as you have related it to composing and may I add, improvisation. What an insight and inspiration! Journeys to inner and other worlds with the concomitant pre-flight walk around and the re-entry jet-lag, methinks.

[Nestor]

Very cool and interesting approach, now, what I would like to be aware of, is the difference that there exists between the first pieces of music you have created with the “general” view versus the others pieces through the new approach.

[kensuguro]

I think honesty is the biggest difference. The initial approach was much more marketing orientated. The music was to have some 80's nostalgia via synth pop-ish sounds, and an up beat feel that would come across as somewhere between lively and comedic. And I went in creating music that checked off those items. (knowing my repertoire, you'd know that was easy) Of course, fully understanding that it had little or nothing to do with war, heavy machines, explosions, and death.

And with the new approach, of course along with an overall change in sound palette, was much less aware of our world. No more 80's nostalgia or other more blatant references to what we care about. If your job was to fight in battles every day, like a 9-5 job, I don't think you'd be concerned with 80's synth pop. Instead, it grew into a much more symphonic arrangement with large drums, military drum corps, and a much, much more aggressive attitude. The topics I think is what changed the most. It went from comedic pop references to aggression, weight, metal pieces, and death. I stopped referencing 80's action movies, and instead looked to actual historical warfare, like Vietnam all the way back to the Roman wars.

Not that the music turned sad. I don't think there was time for sadness. All that had to be later. If you stop, you'd die. You keep going, and going, because they keep going and going. That combination of fear and will for survival I think generates a good forward driving force, that I could interpret musically. Particularly, I wanted to capture the feeling of finality of everything. Every moment could be your last, so the next 5 minutes could be your final moment. The next decision could be your final decision. Everything is terminal, and yet time passes, and there is more of it tomorrow.

By the time I started thinking like that, the comedic, "fun" world was gone. I was standing in the battle field, trying to find things to hide behind for cover. Smoke from the explosions just moments ago filling the air, and rubble of metal fragments from yesterday's battles beneath my feet. If I stood there, I would perish. I had to move, do something. And that urge, I took straight to the score.

I actually thought so much about war and fighting that I have a renewed respect for soldiers, and a renewed hatred for senseless suffering of innocent people. I am grateful I don't live in that kind of world, but sad that such a world does exist in parts of our reality. I distinctly remember on my way home from work, walking past all the commuters, being whole heartedly happy that all these people did not have to worry about being shot at, or being blown up. I was truly happy for their well being. The honesty in approaching the subject is painful, but a great learning experience.

It all started as a mental tool for writing better music, but I think due to the intensity of the "self hypnosis", I was able to take home much more. It was a true mental endeavor. But I think all artistic projects should have some element of a "consciousness" endeavor that widens your understanding of the world or yourself. I guess it boils down to having to grow as a person to make great things. I know that's a lot for just trying to write better scores.. but nothing says it has to stop there right. hehe.

[Nestor]

This is very interesting indeed, not only musically but as a human experience and as an opening way to the realities of the world and people, an inspiring approach to learn from Ken, thank you