Rich Vreeland, more commonly known as Disasterpeace, has always had a passion for music. After playing the guitar throughout childhood and his teenage years, Vreeland pursued his interest in music by going to Berklee College of Music. After college, Vreeland interned at the Singapore-MIT Game Lab where he worked on the puzzle games Waker and Woosh. This experience would not only further solidify his love for music and gaming, he would use this experience to build a career designing sound and music for videogames.
GameSauce was recently able to interview Disasterpeace about his background, his experience at MIT Game Lab, working on Bomberman, developing January, crafting the soundtrack for Fez, and his general thoughts on music in gaming.
Beginning of Disasterpeace
Rich Vreeland always had a love for music. As a teenager, he was into “Nu Metal and pretty much anything that was guitar heavy and riff oriented,” with two of his favorite bands at the time being Tool and Rage Against the Machine. It was around this time that Vreeland became interested in videogame music. One of the first projects to truly get Vreeland’s attention was Metroid Metal – a website dedicated to the soundtrack of the Metroid videogame franchise.
It was also during his teenage years that Vreeland created the name that many know him by: Disasterpeace. Coined in 2004, Vreeland says, “Disasterpeace came out of ‘masterpiece’, and I changed piece to peace to give it an additional meaning, in the sense that disaster and peace are sort of diametrically opposed to one another.” It is a name that Vreeland not only feels accurately represents his approach to music and sound, it is the name that Vreeland would take with him through college and into his professional career.
Vreeland began his college career in 2006 at Berklee College of Music and graduated in 2009 with a Bachelor’s of Music in Music Synthesis. Due to Berklee being located in Boston, Massachusetts, and his interest in videogame music, Vreeland eventually learned of the Massachusetts Institute of Technology’s Game Lab and its internship opportunities. Vreeland was able to earn an audio intern at the Singapore-MIT GAMBIT Game Lab.
Getting into Gaming – MIT’s Game Lab
Taking place from June 2009 to August 2009, Vreeland’s internship at the Singapore-MIT GAMBIT Game Lab involved him being placed into a team that, as he told GameSauce, “worked together to create games that solved specific educational problems.” One game that his team created “attempted to help teach math concepts like acceleration and velocity.” Moreover, he continued, they “created two versions as a side effort to determine if narrative had any impact on the success of such an experience.”
Vreeland’s experience at MIT’s Game Lab also made it clear to him that music is his skill. “Music is what I do best…, so it’s been a relatively easy choice for me to keep music as my primary focus.” It was a realization that confirmed his passion and cemented his desire to pursue a career in game music and sound design. His experience also taught him the importance of exploring areas outside of his comfort zone while keeping in mind his strengths. “I don’t have any qualms exploring areas that I’m not comfortable or the best in,” says Vreeland, “But I think it’s important to recognize your strengths and to interface with the world around you and react to what they seem to want/need from you.”
This internship proved to be more than just a line on his resume, but rather an experience that would help him throughout his career. “Above and beyond anything else, I think I learned a lot about working with others in a creative environment,” he says.
Approach to Sounds, Music, and Franchise Games
After his internship, Vreeland went on to write music for games such as Bomberman Live: Battlefest and Drawn to Life: The Next Chapter. During this time, he learned how a work environment could affect his creativity. “As a general rule of thumb, I’ve found that smaller teams tend to allow you more creative freedom to do the kind of work you want to do, and to do it in the way that you want,” says Vreeland. “Large teams tend to have layers of abstraction which make it difficult to communicate with others at times, and to get the right piece of information from the right person.”
In regards to his work on Bomberman Live, a franchise that has been around since the 1980s, Vreeland remembers how he and his colleague aimed to honor “the aesthetic style of the more recent games by creating music that was high fidelity but had lots of ‘gamey’ charm and energy.” He does admit, however, that he “would have liked to have paid more tribute to the older games,” but was more focused on meeting the required standards.
Vreeland learned during this time that his approach to sound design had to differ from job to job. “Developers want you to handle most of the conceptual legwork yourself, which is great fun, but other times, they want to work more closely with you,” he explains. Overall, he feels that a significant aspect of designing a game’s sound is letting the person with the “strongest vision for the work” lead you through the design. An example of this was his next project: designing sound for Fez.
Released in April 2012, Fez is a puzzle/platform game created by Phil Fish and developed by Fish and his company, Polytron. First announced in July 2007, the highly anticipated game took much longer than expected to be built. Upon the game’s release, Fez was not only met with critical and commercial success, its soundtrack was also well-received. It was so well-received that the soundtrack could be purchased, and an official remix version has been released.
Though Fez became known for its long development time, Vreeland only joined the project after the game’s visuals were established. “When I joined the project, the game’s visuals were largely set in place,” he says. “All that was left was figuring out how the levels worked together, some mechanical adjustments and lots of tweaking, as far as I can tell.” As such, Vreeland and Fish instead focused on how to develop a soundtrack that complimented the game’s unique mechanics.
Originally, he and Fish discussed using music that “tapped into the mechanics”. “It turned out to not really make much sense, so we ended up taking a more traditional approach,” Vreeland says. However, Vreeland pointed out that “one area in which the music takes advantage of the structure of the game is in the fact that the game is highly modular, and in some places, the music is as well.” Vreeland described this aspect as “layers com[ing] in and out and the music shifts as you move through various levels that are similar, but different.”
Snowflakes and Music – Developing January
Prior to working on Fez, Vreeland had been playing with ideas for games that would allow him to strengthen his programming skills. After finding a tutorial in Flixel on how to make Space Invaders in Actionscript 3, Vreeland felt that it would be the perfect opportunity to make a game about falling snow. This game concept eventually evolved into January.
Centering on a person outside while it’s snowing, the player moves the character in order to lick the falling snowflakes – with each snowflake touching the character’s tongue creating a musical note. “In the beginning, I didn’t even know it was going to be a strictly music-related experience, but that is sort of how it evolved as I got deeper and deeper into the code and trying to see what I could do with it.” As such, it is a game that uniquely displays how gameplay can be utilized to create original music.
The Shift to Mobile
Being involved in games, Vreeland noticed the significant change in consumer habits that is affecting all aspects of the gaming industry: the shift from consoles to mobile devices. Though this reallocation of consumers has impacted those that code and design games, Vreeland feels that “the difference between these two is still tantamount. In the beginning, I was writing music for cell phone games as MIDI files to be delivered, so in that regard, things have converged a bit.”
However, he doesn’t view mobile devices as having the hardware needed to a sound experience comparable to consoles.“Cell phones still have terrible speakers, and oftentimes, you have to adjust your sound and how it’s mixed accordingly so that it doesn’t get washed out by low frequency content that it simply cannot handle.”
Looking Back – Lessons Learned and Future Goals
During his time as a videogame music producer, Vreeland’s understanding of the industry grew just as much as his understanding and passion for music has. “I think seeing people experiment and create music that has so many nonlinear possibilities has given me a lot of perspective about music that I didn’t have before,” Vreeland reflected. “When paired with other media, it can really take you places you wouldn’t even think to go, and that’s one of the things that I think is so great about games and music in games.” Though he is amazed by the near limitless potential of games and music, Vreeland pointed out that “there are a lot of times at the end of the day that I still just want to listen to a good record. It’s funny that way.”
Vreeland is currently working on other several projects, with the next game to be released featuring his music being Cannon Brawl. In addition to making games, Vreeland wants to continue to develop his potential as a musician. “I really want to explore some different spaces, work my way into areas that are not all necessarily game related,” says Vreeland. “I really want to make some traditional albums, because it’s something I’ve been flirting with for years but have never done.” He has also become interested in scoring, an interest he describes as “refreshing and requires an entirely different set of parameters to accomplish.” Overall, though Vreeand doesn’t know exactly where his love of music will take him, he does know what he wants: “to be doing music-related things for a long, long time.”