Takahashi Aimed For Unity In Disparity In The Music Of Xenoblade

By Laura . June 6, 2010 . 3:32pm

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90 tracks.

 

That’s an enormous number for a game, even with 6 composers on the team — Yasunori Mitsuda, Yoko Shimomura, Manami Kiyota, and the three-person team ACE+, which consisted of Chico, Tomori, and Kenji Hiramatsu. Tetsuya Takahashi, director of Xenoblade, was well aware of the scale his game would reach, and he tried to reflect sheer size of the world not only through visuals, but also through music. One of his tactics was to use instruments in ways they ordinarily wouldn’t be used. For example, sticking an electric instrument in amidst strings flowing in the background.

 

Takahashi also aimed to purposely run counter to certain traditional elements of RPGs, though. Battle scenes distinct from the rest of the game are practically inevitable in all RPGs; however, Takahashi requested for a piece that players wouldn’t usually attribute to battle music — one that would “destroy the atmosphere of the battle a bit.”

 

Variety was inevitable with the sheer number of composers on the team, and this was another way he tried to exemplify the scale of the world. Each person had his or her own style, and Takahashi was determined to make everyone’s shine through. In the beginning, he would often request songs by playing sample songs that he felt were similar in mood to what he imagined for a certain scene; after all, no matter how much he described the atmosphere of the piece he wanted in words, every person’s interpretation of it would be different. The easiest way would be to show them using existing songs.

 

This seemed like a good idea at first, but before long, he found that the composers were too caught up on his samples. The songs didn’t have that “spark” that defined an individual composer. And so, he would say, “This isn’t quite it,” and send the song back along with an email telling the person responsible to redo it.

 

It was revealed during the Iwata Asks interview that the email actually had to go through a third party to “soften it down.” This was a case of tough love, at its purest. He knew that he needed to be severe so that he would end up with the best of the best, but he was also afraid that his words would be too harsh and discourage the composers at this early stage. (Although, a request from the composers to see the original mail was eventually met with embarrassment by Takahashi)

 

Xenoblade Special Soundtrack CD Still, he got the message across. Kiyota started to liken the emails to those dreaded mails you would get that told whether you had passed an exam or not. She said that when she was complimented, she felt like she was on the top of the world … although criticisms were far more common. The emails were sent as many times as necessary until Takahashi felt that he had received the perfect piece.

 

This system of back-and-forth emails also had the effect of allowing the composers to discover abilities they never knew they had. As Kiyota said, “Wow, I didn’t know I could compose like this before.” She had composed “Anxiety” tracks for the first time at Takahashi’s behest, and by the end, she had several pieces – “Anxiety 1,” “Anxiety 2,” and so on. As Takahashi put it, there were situations with lots of anxiety, situations with only a little, situations where a guy was anxious (as opposed to a girl) etc., and as he ordered more and more, they just kept rolling in.

 

This doesn’t mean that the tracks of Xenoblade’s soundtrack are all disparate. In fact, one of the composers, Chico of ACE+, said that one of Takahashi’s warnings were, “We can’t have the world in pieces. A feeling of unity is important!” It took approximately half the production time before the number of “redo” emails started dwindling as the team got used to each other’s style.

 

In another attempt to unify the songs, Kiyota and Chico each invited the other to her house. There, they saw each other’s workspaces, even taking in such details such as whether or not the sound that came out of their speakers was the same. Kiyota even changed the computer program she used to match Chico’s in order to try and take care of all possible control variables.

 

Meanwhile, out of all of this, Mitsuda, a 15-year-long acquaintance and colleague of Takahashi’s, was admired as the one who understood Takahashi best. He would usually understand the instructions he was given and be able to compose what Takahashi wanted simply through experience, so he earned himself the position of an idol among the composers who’d never worked with the director before. Mitsuda himself, however, was unaware of this development.

 

Mitsuda was in charge of the epilogue’s music, and he put all his effort into composing something that could provide a fitting conclusion that would match up of everyone’s hard work through the whole game.

 

The goal for Xenoblade was to create a world that was enormous, yet felt seamless. We can safely assume Takahashi eventually achieved his goal of creating this image through music or he’d still be sending emails right now.

Images sourced from the Nintendo website.


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  • holyPaladin

    Nice info.
    I always love Shimomura (KH and LoM) and Mitsuda music (CC).
    They are great composer!

  • Vanilla

    As an amateur composer and a fan of a lot of those composers and music in RPGs in general, just reading this puts a hopeful glimmer in my eye. I can’t even imagine how much that team is learning just from working together. These days, pretty much each new Xenoblade article bumps the game higher on my priority radar.

    • http://www.siliconera.com/ Ishaan

      Yea, I’m so very envious of them, getting to work with each other. Just from looking at that image up there, you can almost see the energy they all give off. It’s incredible to see them lined up like that. This game is really going to be something very special. :’)

  • Eddie

    Now thats good old hard work. I really hope it pays off.

  • EvilAkito

    Wow, Yasunori Mitsuda and Yoko Shimomura? Even if this game turns out to be utter garbage (which I doubt it will), I’d buy it just for the music.

  • Aoshi00

    Oh noes, I think Laura’s incessant plugging is working lol.. the talk session up there looks like everyone’s being grilled by Iwata (HOW did you get into the business, HOW do you like it working w/ the master). Takahashi sounds like one tough boss, guess all good directors are/need to be… Come to think of it, doesn’t “Mi-cchan” (sounds like Mitsui from Slam Dunk..) look a little like the actor Sakai Masato? Can’t believe such an experienced composer is so young.. I think a team of composers working together could work, like Nier or Anata wo Yurusanai (the whole soundtrack was so consistent one would think it’s entirely done by Uematsu)

    • http://terracannon876.livejournal.com Laura

      Yeees. Preorder. You know you want to =)Yeah, I was amazed at how young Mitsuda looked in the photos. And I really respect Takahashi (or as Mitsuda calls him, “Taka-san”) for being so hard on the people. It’s just as hard for him, I feel, because he doesn’t want to scare them, yet he wants the best. And he’s not settling for anything less.

      In this case, it wasn’t just there was a team working together so much as the fact that the team was very diverse. They came from different backgrounds (as you will see in the next article… *cough* what was that?) and styles. I mean, you have someone who worked on Chrono Trigger together with someone who worked on Minna de Tamagotchi. The diversity was what Takahashi was aiming for though.

      There are actually samples on the interview site, if you’re interested =P

      • Aoshi00

        I find the same to be true w/ the FFX soundtrack, Uematsu, Nakano, and Hamauzu have very different styles/background but collectively it works as a diverse but well rounded soundtrack, conveying the atmosphere of the same world. That’s why I kind of hoped Uematsu to have contributed something to FFXIII to spice things up.. I’ll give the music a listen to later, so far I like what I heard of the main themes. They should let Mitsuda do more here other than the ending theme.. wonder what he’s busy w/ now.

      • Aoshi00

        Took the plunge and bought it :).. it was the credit left over in my P-A acct when I canceled my Deathsmiles 2 pre-order… well, hope the game would be good, and I would get that pre-order OST..

        • http://www.siliconera.com/ Ishaan

          I knew you wouldn’t resist for long. :D

          • Aoshi00

            Resistance . is . futile.. darn you and Laura’s brainwashing lol.. hope the game would be epic and fun, I loved Xenosaga after all. I’m going to mess w/ the weather and make it rain all the time :)

  • http://www.siliconera.com/ Ishaan

    It just occurred to me that this theme from Xenoblade sounds a LOT like the music in some of Saber’s scenes from the Fate/Stay Night vnovel: http://bit.ly/aJ9gki

  • http://modorenai.livejournal.com/ modorenai

    Wow, this was a really fascinating look at the behind-the-scenes of Xenoblade’s music! I knew composing music for video games wasn’t easy, but it’s really interesting to see how unique the process for this was.

    I wasn’t too keen on the game at first (being a Xeno fan I was one of the many who were pretty annoyed at how they were just cashing in on the Xeno name) and so didn’t even bother watching any of the trailers, but after seeing how much love and care they’re putting into this game it’s piqued my interest. Shall definitely keep an eye out for this game!

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