There were, of course, a number of ideas and sketches that went into the virtual trash can. The description sounds disjointed, and that certainly was a risk of this approach, but so far the results have been gratifyingly cohesive, and it has given me the opportunity to explore a number of different musical styles that I enjoy but in which I have never chosen to write (pro tip: if you’re ever feeling down on life, write a rag).
The music for level two: if you’re ever feeling down on life, write a cakewalk. We exchanged contact info, looked at each other’s work, etc., and found that our artistic voices aligned well for this project. It was a bit of planned serendipity on my part, since as anyone in the game industry will tell you, most of your early career opportunities derive from networking at these sorts of events (if you are an introvert, remember: many of the rest of us are also introverts). Video games have been my main hobby since forever (and my first compositions were written with Mario Paint for the SNES), so I’m excited to get the chance to merge my two main interests into one career opportunity and close the loop, as it were.ĭave and I met at a game music conference in Saint Paul, MN, while stopping by the Minnesota Public Radio booth and chatting with Emily Reese, the host of the Top Score podcast (an excellent resource for anyone interested in listening to game music composers talk about their experiences writing for a wide variety of games). I’ve been writing music professionally for over ten years, but this is my first experience writing for a video game. I don’t blog for myself, but hopefully you’ll find a few interesting tidbits that will leave you salivating for more. Dave asked me to jot down some thoughts about how we arrived at a direction for Tombeaux’s music. I’m Joseph Fear, the composer working on Tombeaux.
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