As I delve into this captivating interview with the esteemed music composer, it’s impossible not to be moved by his long and illustrious career spanning decades. His reminiscence of OC Remix, where his work was recreated and remixed by enthusiastic fans, is truly humbling. It’s remarkable how his music has touched people so deeply that they felt compelled to create their own versions of it.
Nikoderiko: The Enchanted Isle
Recently, Game Rant was privileged to converse with the talented musician, Wise, about the process of creating the music for the enchanting game, Nikoderiko: The Magical World. In this conversation, Wise shared his motivations behind the diverse tunes and delved into details about his methods, including employing contemporary technology like virtual sounds. Additionally, he contemplated his musical and compositional legacy, revealed upcoming projects, and more. (For the sake of clarity and conciseness, this transcript has been revised.)
David Wise’s Legacy As A Video Game Musician And Composer
Reflecting on the past, what’s your current sentiment about having spent approximately 37 years in the game industry and composing some of the most memorable tunes for ’90s platformer games?
A: Oh no, stop [laughs].
Surprisingly satisfying, isn’t it? Indeed, having a legacy is preferable to not having one, right? Honestly, I feel deeply honored and extremely content to have lent my musical talent to video games for over three decades. Thinking about 37 years makes it all seem real, doesn’t it? I consider myself incredibly lucky to have had such an unconventional and enduring career that spans more than three decades so far. It’s quite a remarkable legacy.
A: Indeed, isn’t it correct that you had earlier shared your preferred tune from the Donkey Kong series you collaborated on, which is ‘Aquatic Ambience’?
“My favorite track is the one that marked a significant turning point in my career. Before, it was just background music from video games to me, but this particular track transformed my perception of it. It signaled a shift in what I was doing before and set the stage for what followed. The combination of its technical and musical elements made a lasting impression on me because it altered the course of my career.
Question: What initially drew you towards the Nikoderiko project when you began working on it, and could you describe your experience collaborating with the team at VEA Games?
Most of my work is confined within the realm of Nintendo. It was an appealing prospect for me to create something that hinted at, but didn’t replicate, games I had worked on from other systems like Sony or various other projects. The allure was the multi-format nature of it.
In essence, the majority of my work has primarily taken place online or virtually, but the feedback from a colleague I collaborated with was remarkably positive. Often, when one receives feedback, it can be difficult to discern its meaning. However, the input from the team was exceptional and significantly streamlined the whole cycle of improvements: “Basically, I’m working on more revisions, I’m updating the current version.” It simply sped things up noticeably.
A: You can see that all the game’s music is organized by you. When it comes to composing music for an entire game, what’s your usual starting point, and how did you initiate the process for Nikoderiko?
Initially, I believe I embarked on this project around 2019. Since then, it has had periods of activity sporadically in the background, making precise recall a bit challenging. At first encounter, it was quite some time ago, but the key aspect is to establish a theme since it deviates from other projects I’ve tackled. It carries elements of my past works: a touch of 2D and 3D aesthetics. It resembles previous titles I’ve worked on, yet it also shares similarities with familiar titles, so the focus is to emphasize fun because humor runs throughout The Magical World. The serious aspects and comedic elements didn’t truly emerge until the last couple of years.
David Wise’s Inspirations For Nikoderiko: The Magical World’s Music
Q: You mentioned the theme. Where do you get your inspiration from?
In my opinion, the subject matter seems undeniably related to superheroes. We were searching for a superhero-themed concept, and there have been numerous instances of this theme across history, from characters like Robin Hood to movies such as Indiana Jones, not forgetting John Williams’ games. There are plenty of hints out there. What we aimed to find was something that had a touch of superheroes yet remained light-hearted and enjoyable, avoiding any overly serious tone – in other words, something that wouldn’t take itself too seriously. The challenge was to strike a balance between these two aspects. I believe we were successful, but only time will tell based on people’s reactions.
Q: To what extent are you inspired by previous projects that you’ve worked on?
In my opinion, you can clearly see traces of past works in the mix, but everything I create carries my own distinctive touch since that’s how I operate. For example, if John Williams were composing, his work would be recognizably his. Similarly, other video game or classical composers stick to their familiar territories. However, as Nikoderiko has a unique setting, I aimed to discover a fresh and original voice for it.
Q: How important were the characters, Luna and Niko?
Since 2019-2020, these characters have grown on me quite a bit. As their storyline unfolded, it became more humorous – something that definitely impacts my approach to composing music for them. Watching them evolve has been fascinating, and I believe the music should mirror this development. I must admit, I’ve developed quite an affection for the two main characters. They complement each other perfectly, adding a fun dynamic to the game. Now more than ever, their individual contributions to the overall gaming experience are evident.
Music Styles and Instruments in Nikoderiko: The Magical World
Could you provide a little insight into the various instruments or techniques employed in your work, as it appears quite diverse based on the previews?
The composition is quite diverse, likely due to the extended time I’ve had to work on it. Each piece reflects my mood on a specific writing day, influenced by various external factors such as situations, movies, music we listen to, or TV shows. If something resonated with me at a particular moment, if it fit the world of Nikoderiko I was creating, I might incorporate those ideas into my work. This is why you’ll find a wide variety of instruments and concepts in it.
Q: Could you give us some examples of some of the instruments you used for composing?
B: To be more specific, creating music this way can be challenging. For example, my setup consists mainly of virtual instruments, though I do use real ones too, like my saxophone, keyboards, and guitars that are displayed on the wall. I try to take them out whenever possible, but most of the time, I work within a digital environment. I’m always striving for something fresh and unique, as using familiar instruments might lead to similar outcomes. Additionally, developers constantly update these virtual instruments with new sounds, forcing me to approach composition differently each time. My goal is to bring a distinct flavor to every piece I create by having a variety of unique sounds and musical personalities at my disposal.
Q: Have you got a favorite track in Nikoderiko?
As for my favorite project track, I haven’t made up my mind yet, usually it takes several years. However, what I’ve truly relished developing are the cutscenes. It’s the humor in the character interactions that really appeals to me, and finding ways to incorporate that wit into the cutscenes has been a real delight. To be honest, I love every part of it, but the cutscenes have stood out the most for me.
How David Wise Used Music to Emphasize Humor and Fun in Nikoderiko: The Magical World
A: In what ways did you incorporate humor through the music between the two characters, and could you please elaborate further on this technique?
A: Emphasizing – it’s almost like clowning around. It’s like a circus act. While I don’t specifically do it, when you watch cartoons, there are all these kinds of traditional instruments like whistles and stuff that they might use, things falling over. I haven’t been that obvious, but I’ve used the same techniques of highlighting the humor, so people’s attention is drawn to the fact that they are clowning around or something’s gone wrong. Or they’ve got something right, the fact that you know when they’re doing it because it’s not quite obvious. It wasn’t obvious to me when I first saw the cutscenes what the humor was, but then the more you’re working on it, “Ah, that’s what it is.” Then I can then highlight what I’m trying to bring out, just to emphasize it so it makes it obvious to people who are watching the cut scene what we’re trying to do.
Q: How would you describe the humor, or how did you understand it?
The humor is reminiscent of classic cartoons like Tom and Jerry or Laurel and Hardy. The two primary characters exhibit similar antics, and the female character often seems frustrated by the main character’s foolish actions, yet she supports him because she recognizes his mistakes and is disappointed by them.
Virtual SoundsaAnd Modern Technology In Nikoderiko: The Magical World’s Music
A: How did you find the experience of composing music for Nikoderiko, a modern retro-platformer, compared to creating platformer music in the past, given the advancements in current technology?
In my younger years, during the ’90s, I was constantly stretching meager resources to their utmost potential. Fast forward to today, we’re blessed with a plethora of advanced tools at our disposal. It takes a great deal of self-control to judiciously use these resources for optimal sound quality. The task becomes even more intriguing because, despite the superior quality of modern instruments, achieving a good sound still demands an equal amount of effort. I view this as one of those delicate balancing acts – carefully selecting instruments that harmonize with each other to narrate the story we aim to tell through the video game. The different set of challenges it presents is always invigorating. After all, who doesn’t enjoy a good challenge?
And you mentioned virtual sounds as well.
Absolutely! I have an extensive collection, let’s say around 16 terabytes of digital instruments at my disposal. This means I can produce almost any sound you can imagine, and then some. What makes it even more exciting is that some of these instruments use virtual modeling, allowing me to take existing sounds and transform them into completely new creations. If I were given another lifetime, I could certainly explore the full potential of this technology. However, having this advanced technology available for experimentation is already a huge advantage when it comes to discovering fresh sounds to spark inspiration or incorporate into my music compositions.
A: Would you mind helping me simplify the concept of using virtual sounds for those less acquainted?
Many sound packs offer multiple ways to use them, usually through two methods: Sample-based instruments, where sounds from an instrument like a piano are recorded at different volumes (loud, medium, soft) and with various effects (pedals on or off), aiming to capture every possible variation of the large instrument. This data, often several gigabytes in size, is then played back to create a very realistic sound.
On the other hand, creating this is similar to designing a video game where the sounds mimic authentic synthesizers. Just like developing a game, it requires the same level of complexity. By adjusting settings on the interface, you can achieve a synthetic sound, but it surpasses previous efforts. It needs to emulate the old sounds convincingly, yet offer more options for notes and effects to improve its quality. Essentially, you’re striving for realism in the core sound while also having the ability to enhance it with various effects that make it sound enchanting.
Have any methods you’ve acquired throughout your journey been regularly used when it comes to character development for Nikoderiko?
It’s truly gratifying when I learn something before or during the process of composing music, as it enriches my skills and knowledge. The world of music production is constantly evolving with new tools being introduced regularly. Learning these new tools adds to my musical arsenal, even though some may seem unnecessary at times. However, many of them prove to be quite beneficial. I find the continuous learning process an exciting aspect of composing music using a computer, and YouTube is particularly helpful because it offers tutorials on how to use various virtual instruments effectively. It’s much quicker and more efficient to watch someone demonstrate these tools than to figure it out on my own.
David Wise On Future and Legacy
Reflecting on my professional journey and the mark I’ve left behind, is there something specific I’d like to motivate others, be it aspiring musicians, composers, or individuals in any field? Absolutely!
A: Yeah, I think, fortunately, I’ve had a very long career [laughs].
Looking back a few years, right after the ’90s, there was this online community called OC Remix. It was a collective of musicians and remixers, some of whom have since thrived in the games industry, composing music on their own. That’s when I first discovered that people appreciate my music, as they were not only copying it but also creating replicas and remixed versions of it. It was quite humbling, yet thrilling at the same time.
People constantly share with me creations such as “Here’s my take on this piece” which is incredibly fulfilling. Sometimes it’s a piano rendition or an entire series of soundtracks based on what I’ve previously produced. Frankly, it’s astonishing how deeply they resonate, something difficult to put into words. The fact that people are so captivated by the music that they feel compelled to reinterpret it is truly remarkable. If my work encourages others to explore the methods or composition, and if I’ve inspired someone to create on their own, I consider that a significant achievement.
In essence, when someone feels motivated to the point of wanting to venture out and gain knowledge, that’s truly remarkable.
Q: What kinds of projects might you maybe hope to work on in the future?
Well, given the numerous tasks at hand, it goes without saying that we have a confidentiality agreement, an NDA. So, I can’t reveal details to you, or else… [laughs].
But there are some exciting projects I’m already working on. I think it’s been announced, but the next thing I’m going to be working on is a project called Lucid. That’s kind of interesting because it’s not a mainstream game. It’s an independent game, but some of the graphics in there and some of the ideas behind it are just wonderful. And it’s innovative as well.
As a gaming enthusiast, one issue that’s been bothering me lately is the overwhelming similarity in many games being released. It seems like everyone is trying to slightly outdo each other, but at some point, this trend had to change because pouring immense resources into minor improvements isn’t sustainable. The silver lining here is that as the industry splinters and innovates, we’re seeing a surge of creative ideas. I believe that in the coming years, across numerous projects and within the gaming community, we’ll witness some groundbreaking and entertaining creations. I can hardly wait to watch this evolution unfold and see how the industry grows and expands again.
Q: Is there anything else that you would like to add?
B: I’m eagerly anticipating the release of Nikoderiko, as it seems to have developed its own unique identity despite being influenced by past projects and successful games. I’m intrigued to see how it fares, and I believe it has great potential. The global excitement for it is palpable, so I’m hopeful for new chances that may arise from this innovative venture. There are many exciting developments on the horizon, making it an invigorating time to be a composer in the video games and media industry.
[END]
Read More
- SOL PREDICTION. SOL cryptocurrency
- USD ZAR PREDICTION
- BTC PREDICTION. BTC cryptocurrency
- USD COP PREDICTION
- LUNC PREDICTION. LUNC cryptocurrency
- EUR ILS PREDICTION
- CKB PREDICTION. CKB cryptocurrency
- LOVELY PREDICTION. LOVELY cryptocurrency
- ANKR PREDICTION. ANKR cryptocurrency
- OOKI PREDICTION. OOKI cryptocurrency
2024-10-23 15:55