Scoring orchestral music for games, slamming some Taiko drums under a trailer video, picking up a banjo, writing music for slot machines: it’s all in a day’s work for composer Peter Inouye. We had an opportunity to talk to him about his love for composing, working in the videogames industry, and what slot machines have to do with any of all that.
Being a Part of it
When Peter first started studying composition, his original goal was to write for film. “My first love of music started with John Williams, and progressed through every soundtrack he has done. Eventually though, I started thinking about video games, and all of my favorite tunes from the games of my past. When I started seeing the caliber of the music start to step up from FM synth and general midi to full orchestral scores, I knew the industry was starting to focus more on audio.” As soon as the technology allowed for music to be an integral part of the player experience, evolving with the events happening on the screen, he hopped to it, knowing he “had to be a part of it.”
Getting into game audio proved difficult, but was made possible by attending networking events such as GDC (Game Developer Conference) and other meetup groups. “It really helped to find other fledgling game studios and developers that were willing to take chances on new composers.” Peter also found game jams and hack-a-thons to prove useful, since they “force you to be very team-oriented.” Plus, he made a lot of great connections that he still keeps in touch with to this day.
Like most people, Peter has his heroes, those people that help push you in the right direction simply by inspiring you. One of those heroes is Koji Kondo, a Japanese video game composer with an amazing track record. “His original Zelda theme still blows me away to this day. It’s so memorable, and he was so adept at getting as much sound out of the hardware, despite the limitations. Even his modern orchestral work for games like Super Mario Galaxy and The Legend of Zelda: Skyward Sword continues to inspire me.” Peter still looks to Ocarina of Time and Twilight Princess frequently as a reference whenever he needs to compose for what he considers the “light orchestral fantasy” genre.
Irish Pennywhistle, Banjo, and Taiko Drums
That doesn’t mean he limits himself to traditional orchestral music, no sir. His tastes range far and wide when it comes to musical styles. As he says himself, his influences are probably “too many to mention.” “I have always had a deep love for Irish and Scottish Celtic music. I started playing a little bit of renaissance recorder for a while, which paved the way to playing Irish pennywhistle in college. That led to a deep appreciation for early American ‘old-time’ music, and I still play clawhammer 5-string banjo whenever I can get time.” It should come as no surprise then that he very much would like to incorporate some banjo music into his soundtracks soon.
Playing in various groups, ranging from concert bands to orchestral ensembles, has contributed in defining his own music. ”Everything I’ve played or listened to influences my style in some way. Playing trumpet in concert bands all through grade school made me love brass in general, so I tend to overuse brass sometimes. Playing in an orchestra made me really see all of the different sounds a string instrument can make, and really examine what was written to get that exact sound.” If there’s one more experience he craves, it’s playing in a Taiko group, since he loves putting Taiko rhythms in his soundtracks. “Heck, I even did a flamenco-style trailer recently, and threw Taiko drums underneath. That’s just how I roll.”
Although a love for music and composing is key, there are particular things to consider when writing for games. “Your music is not the reason the player is there.” Much like writing for film, the music is there to “immerse the player, and possibly communicate some subtext that is not explained directly through the game.” While a memorable theme is very important, the music is still there to support the rest of the game. “Sometimes, I think I have this amazing piece written, with complex melodies, countermelodies, and rhythmic accompaniment, but it’s actually too distracting in-game until I remove everything but the accompaniment.”
As far as the development process itself, Peter wishes he would be brought on to big games in the beginning. “It would let you be more of a part of the design process.” Asking questions like “what if every time this thing happens, this audio plays?” can help the audio director integrate it into the whole “brand” of the game. “But it depends on your relationship to the director, too.” The possible downside of being involved that early, though, is that the game concept can “keep pivoting, and your lush orchestral music no longer fits the new steampunk visual theme.” Much like in film, there’s benefit to someone coming to you with an almost complete game, “with a list of assets they need, knowing exactly what they want.” As long as the producer isn’t overly attached to the temporary tracks they used, it can be very efficient. That kind of scenario can also put you in a tough spot, though, since you have to fully embody the essence of a game in a short amount of time. “After all, you’ve only been working on it for a few weeks, while everyone else has lived and breathed that game for the last year or two.”
Scratching the Surface
Whatever the situation, it doesn’t diminish Peter’s enthusiasm when working on game music. “I’m actually very excited and optimistic for the future of music in games. We’re just starting to scratch the surface with the new ways of creating interactive music scores.” File size limitations will slowly vanish, letting us have more tracks of music in games. “And processor power increases will allow us to have more tracks of audio playing simultaneously, letting us mix individual instruments on the fly.” This makes him think “this will let us have huge immersive music beds, with lots of variation, and without ever getting too repetitive.”
One of his more recent projects, Minion Master, taught him something outside of sound design. “I think the biggest lesson the devs [from Bitflip Games] and I learned is that no matter how good the game is, or how many people try the game and love it, there’s still no guarantee of success.” He points out that even with advertising budgets, releasing an indie game “into the wild” isn’t actually much different than app-store roulette: “you release a game and hope it takes off.” Peter’s biggest concern is for indie developers that spend years on a game, and never recoup their costs. “I’d hate to see the indie devs start to build games more like mobile companies–where you spend only two months on a game, kick it out, and move on to something else. It could cause us to lose the deep and complex games.”
Rewarding the Player
At last year’s Game Developer Conference in San Francisco, Peter talked about designing music and sounds for slot machines. This might sound a bit detached from videogames, but the philosophy is quite similar. “It’s really more just the idea of remembering that your music and sounds are part of the reward.” With every slot machine having a theme, it’s what makes players sit down and start dropping money in. “So your sounds should fit into that theme, and really mean something to the player when they hear them. You want the player to hear certain sounds and get excited that something big might hit.” When something big does hit, “something big should happen to confirm that for them.” He also notes that it seems to make players happy when that audio draws attention from other people too.
The reason he got into sound design for slot machines is simple: “just like the advances in audio for video games, slot machines are quickly evolving as well.” According to Peter, they’re becoming more like video games, “being able to have more and higher quality sounds, and matching them to the animations on the screen.” Whenever he tells people that he creates music and sounds for slots, they instantly think of the annoying standard sounds they used to make when the reels spin. “I’ll admit that I had the same thoughts when I got my first gig with Bally Technologies, but slots have evolved way beyond that.”
Other than writing for slot machines, Peter has also being doing something else entirely. He recently completed the game Change Happens for a proprietary Android tablet for kids called the VINCI Tab. “It’s a game for young children starring Jim Henson’s characters from Sid the Science Kid.” It’s been an interesting experience for him, challenging him to do more than he usually does. “I’m normally just the audio guy. On this game, I’ve done most of the concept, design, script, some artwork, and edited music from the show, all while managing contract programmers, artists, and animators.” Though seemingly happy about this experience, he seems more than happy to be “going back to just being the audio guy.” Check out his portfolio on his website: peterinouye.wordpress.com.
Vlad Micu is managing editor of Gamesauce.org. He previously has been a freelance game industry professional for over five years and traveled around the world while running his company VGVisionary. Starting VGVisionary during college, Vlad was able to work independently as a pr & marketing consultant, event manager, industry journalist, speaker and game developer. He just returned from Bangkok, Thailand, where he pursued his dream of making video games as the game producer at arkavis, an up and coming casual game studio.