Good morning everyone! This month’s blog is a little sideways turn from our usual venture… written by Julian AKA ‘Zorsy’, one of the composers for Kana Quest. This is so Theo gets a good rest, and so he can tell us more exciting developments behind the scenes hehe. 

It’s been an amazing venture so far being contributing to some of the music for the game alongside the talented Leina https://twitter.com/rein_bel

One very fun challenge composing for the game has definitely been realising the worlds that Theo has created through various forms of traditional music. We’ve swayed through Enka, Ghibli, to more recent JPop. All of which have provided their own unique challenges in relation to soundscapes, samples and the cohesion between traditional Japanese genres, a chip-tune canvas and the individual flares of both myself and Leina! 

I think embarking on the project, neither of us were quite sure where we would end up, but with the majority of the music completed by the time of writing, i’m definitely quite happy with where we’ve ended up! I’ve written a list of some of the more fulfilling challenges to overcome.

 

Background Research

Coming in fairly recently to the project, It’s been awesome to be part of Theo’s vision, as the idea of utilising the tutelage of hiragana/katakana within a Bejewelled Puzzler type of game really appealed to me as i loved problem solving games and am currently studying Japanese myself (Which reminds me after this blog…). However that did involve a lot of research into the game and world that was to be created, and I often found myself delving into some older Japanese styles that I hadn’t been quite familiar with: 

https://www.youtube.com/watch?v=nvvXOfLs-ng

Here was one of the examples of styles Theo was looking at. Whilst the musical brain within me was quite familiar with harmonies and melodies and the ability to recreate them on the piano, I was not initially familiar with traditional Japanese instruments such as the Shamisen/Koto/Shakuhachi at least from the angle of a composer to utilise them! Early on me and Leina had decided that more of these traditional sounds might best be best approached by her, especially for intricate articulations. Here’s an example of some of Leina’s beautiful music: 

Within this challenge, I think there have been many instances where I’ve been faced with a problem such as “this chip-tune element sounds too out of place amongst the traditional instruments” or “how do i make that percussion sound not too aggressive?” as well as “how do I make that percussion sound more aggressive” and the next thing you know, some of the most simple of tasks takes a very long time or the complete opposite! 

Some of my favourite contributions to the soundtrack so far have definitely involved a very large track listing, so one of the best skills I’ve picked up so far has been efficiency in how you layout your workflow!

https://www.instagram.com/p/Bz_vC9JBiM0/?utm_source=ig_web_copy_link

 

Cohesion

We’ve taken a progressive approach to the soundtrack in which the worlds take a (for the most part) chronological approach to it’s production. So we start from Traditional and Enka music, to eventual heavier more AMV OP Japanese Pop music. Whilst throughout every piece will always feature touches from both composers, you can see the early part of the soundtrack composed by Leina, which morphs into a more modern production style composed by me! It’s been really great to see how our styles have all matched with future stages adopting little callbacks to traditional Japanese instrumentation but retaining it’s energy receptive to the world it accompanies. 

WORLD 9 Music

https://www.instagram.com/p/B0SEOodgPqg/

I think where we are now, one of the amazing parts of how it’s been composed is that you can hear both of our styles fusing together, and in fact I’ve definitely learnt a lot from having Leina next to me composing on the game! 

Mobile Composing

This applies to all of us to some degree, but I know one of the biggest challenges especially on my behalf has been composing whilst travelling! Upon starting this soundtrack, I was in Japan myself, but travelling for the majority of May – July definitely was a challenge! As a methodology, most of the time I compose with a piano, and write on the piano, but there were many instances where I’ve written by singing/by hand/by computer or if luggage permits me, travelling with this miniature buddy of mine:

https://www.instagram.com/p/Bz9cCk_ABsh/?utm_source=ig_web_copy_link

Based on methodologies prior to taking on the project, this has been a very enlightening endeavour limiting myself to barely working from my nicer studio back home! Whilst majority of the mixing is still done on my speakers back home, it’s been really inspiring writing whilst i’m on the go, and I do believe some of what I’ve been able to conjure wasn’t possible whilst being in Australia. Creating limitations has always allowed me to grow in another area, and so far I’ve composed from the comfort (or discomfort) of:

  • A couple of friends houses
  • On the plane
  • On the train
  • In my hostel
  • In my bed
  • In my Capsule hotel even. (yes don’t tell Theo) 

*Theo here, Julian. You know I read this right :P* 

There’s still some music left to go, and whilst on my end the composing side of the music making is very close to done, it’s awesome hearing the whole soundtrack come together as well as hearing it get pieced together is a really satisfying experience! 

Time to study Japanese… with Kana Quest… 

 

*Theo here again, please give a warm thanks to Julian for this month’s Kana Quest devblog, by following him on twitter – https://twitter.com/ZorsySan and instagram – https://www.instagram.com/zorsysan/ .

Next month we are going to have Leina in and talk us through some of the finer points of working with traditional Japanese elements.

If you are interested in following Kana Quest feel free to sign up to the mailing list at kanaquestgame.com 

Until next time, take care and have a wonderful month*

Advertisements