When I’m playing a video game, the music really helps me understand the emotions I should be feeling while playing. It can make me excited, afraid, or even peaceful.
But we often don’t talk about a great video game musical score. Composers are certainly the unsung heroes of the gaming world.
In a concerted effert to give these musically inclined artists their due, we chatted with one! Robert Arzola, the composer behind the new video game Tactical Breach Wizards, stopped by to talk to us about all these topics and more.
Check out our interview below.
– YouTube
www.youtube.com
Editor’s note: the following interview is edited for length and clarity.
No Film School: What motivated you to experiment with jazz, reggae, orchestral, and percussion sounds for Tactical Breach Wizards?
Robert Arzola: In regards to jazz and reggae, there were various ideas for how to approach Ma’s (Zan’s mom) house. I tried different approaches as I talked to Tom Francis about this part. This was totally different from the rest of the game’s sound, so I had to experiment with something that took us away from the militaristic feel.
In regards to the percussion sounds, I’ve always tried finding different ways to utilize percussion, whether it was more organic or processed. Percussion is probably one of the more versatile families in the orchestra, and with the use of processing and the fact that you can hit almost anything, and it counts as a percussive instrument, the possibilities are endless, even for a score that leans more militaristic like this one.
Robert ArzolaByron Arnold Photography
NFS: How did you balance the humorous aspects of the game with the dramatic flair the orchestral and percussion sounds added?
Arzola: Luckily for me, Tom Francis is a great writer and drops in the humor in ways that make it easy to write music around it. He also offered ideas that set me in the right direction for the humorous moments—lighter and more laid back while using some of the same elements you would hear in the heavier or more dramatic tracks.
It also let me lean more into the drama that the missions themselves asked for, making the balance really happen on its own.
NFS: Could you elaborate on how the reggae track revealed more about Zan’s grandmother and her plan to fight the bad guys?
Arzola: The reggae track is really more of a way to give the moment some levity while also making the map-marking segment more fun. I always liked fun or lighthearted music in moments like that in games. Ma doesn’t really go against the bad guys, really, but she’s a big supporter of Zan. Everyone needs a Ma in their life!
NFS: What was your favorite part of working on the game?
Arzola: I could make a long list of my favorite parts.
Working on Tactical Breach Wizards was an awesome experience in every facet. If I had to pick one thing, though, it would be the fact that it made me grow as a composer over the three and half years I was a part of it. You hear in the music as you go through the game the growth of a composer in that time. I gave my all in this score, so I tried to improve as much as possible through it. Because of all that growth, I achieved a lot during that time, including becoming a music supervisor for a trailer music library.
NFS: What challenges did you face when creating the musical identity of the game, and how did you overcome them?
Arzola: There weren’t many challenges in creating the musical identity of the game overall. I did enjoy how this project challenged me to try different approaches to all of my music, not just in the game but outside of it, too.
Trying jazz, reggae, and other approaches brought some challenges, as I had never really written in those genres. However, it seems that “The Necromedic,” which is Banks’ theme, may be a favorite amongst players, and that is the jazz-focused track. I overcame all of this by just giving things a try and seeing what worked.
I learned a lot just by doing that and acquired some new skill sets for the future.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
