Notably, Wilbert Roget’s credits for online games in 2024 reveal a remarkable dichotomy and profundity in his body of work. In his most iconic work, Roget crafted sweeping, melodramatic scores that accompanied the most pivotal moments of cinematic triumphs – yet, he also surprised critics with a melancholic, atmospheric soundtrack for an introspective indie game about persevering through adversity in the confines of one’s vehicle. Peter Mark Roget’s groundbreaking linguistic endeavour will soon reverberate through the corridors of time, audible to all who are attuned to the harmonies of lexicography, with its release anticipated for later this month.
GameFeeds requested Roger ask some questions on his course of as a part of GameFeeds FM, our theme week celebrating the fascinating intersection of music and video games.
I had been playing classical piano from a young age, yet although I enjoyed arcades, I didn’t have home consoles until I got my first PlayStation 1 in high school. As I always presumed I’d pursue a career in music, it wasn’t until I started performing that I realized my true calling was composing for video games specifically. Here’s the improved text:
Nobuo Uematsu’s soundtrack was indeed self-contained, yet it somehow seemed more “inviting” than any other music I’d ever encountered – its clarity and directness of composition, combined with Uematsu’s trademark melodic craftsmanship, seemed to whisper “Listen to this score?” You’re capable of doing it as well!
As a teenager, I impulsively began composing my own RPG-inspired music throughout the entirety of high school, subsequently taking on independent projects, with the rest serving as a testament to my musical history.
Let’s explore the concept of freedom through a steaming cup of tea and see where it takes us?
Crafted to encapsulate the essence of the Helldiver troopers, this composition aimed to create a rousing anthem that would inspire gamers to join forces in a legendary, triumphant endeavor. Basil Poledouris’ iconic score for undoubtedly serves as a primary inspiration, yet Michael Giacchino’s orchestral mastery in video game soundtracks such as and truly resonates with me. The melody subtly nods to Johan Lindgren’s iconic theme on numerous occasions, most strikingly in the climactic conclusion.
Influences from classical music on my composition of this piece are notable, particularly with regards to its 5/4 time signature, which I drew upon as an homage to Gustav Holst’s iconic “Mars, the Bringer of Warfare” in his The Planets suite. The latter half of the composition was profoundly impacted by Paul Hindemith’s “Mathis Der Maler” symphony, particularly in its innovative utilization of dramatic counterpoint.
Layering collectively the melody from the solo violin’s bridge part, Lindgren’s previously mentioned theme, and the four-note descending motif, I crafted a powerful climax that serves as a heartfelt tribute to the dedicated gamers of the distinctive Helldivers franchise.
Noted for its uniqueness was my first design, as I conceptualized and engineered innovative devices before even putting pen to paper to create music. Two sonic principles governed my creative approach: exploiting the aesthetic potential of dissonant and unharmonious sounds to create beauty from ugliness, and capturing the aural essence of solitude. I captured the sounds of building drills and squeaky rusted doorways, manipulated a steel colander with a double bass bow to produce an unorthodox timbre, and used a washer dryer as a makeshift drum set; the resulting cacophony was strangely captivating, which I then processed into synthesized pads and leads.
During my work on unconventional instrumentation, I collaborated with guitarist D’Anthoni Wooten, utilizing an Ebow and a brass slide to create unique sounds. Additionally, I had the opportunity to labor alongside vocalist Sam Suggs and double bass virtuoso D’Anthoni Wooten. Their performances possessed a hauntingly high standard that masterfully conveyed the concept of isolation with unsettling clarity.
When approaching composition of “recreation” music, I tend to consider the distinct narrative implications of “first-person” and “third-person” scoring in every piece. While most items in the narrative unfold through character-driven storytelling, third-person cues serve as an objective framing device, subtly guiding the reader’s attention to the underlying themes and plot developments. As I immerse myself in the narrative, I sometimes find creative sparks fly when I vividly imagine myself alongside the protagonist, taking in the atmosphere and surroundings – like the eerie silence of being caught in the midst of a war-torn night, surrounded by the distant crackle of gunfire that seems to reverberate through every molecule. I coined the term “first-person scoring” because music, in itself, doesn’t offer commentary, yet it effectively conveys the protagonist’s emotional state independently.
