Chicory composer Lena Raine always wanted to write an RPG theme song

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As a seasoned gamer with decades under my belt, I can confidently say that Lena Raine‘s compositions are nothing short of extraordinary. They have become an integral part of my gaming journey, with her work on Celeste and Chicory: A Colorful Tale resonating deeply within my memories of overcoming challenges and immersing myself in captivating narratives.

Lena Raine’s compositions seem inseparable from the games they are part of; for instance, the pulsating electronica of Celeste is deeply etched in my recollection of overcoming its tough platforming levels, and the soft piano tunes in Chicory: A Colorful Tale resonate intimately with the game’s narrative about artistic struggle. This suggests that Raine’s music is perfectly tailored to the environments it inhabits, showcasing her exceptional songwriting skills.

During TopMob FM’s special week focusing on the blend of music and games, they posed questions to her concerning her workflow.

Question rephrased: Could you share an influential game soundtrack or melody that sparked your interest in composing game music? Please describe the atmosphere it evoked for you, and explain what made this piece of music so impactful?

Lena Raine acknowledges that a significant portion of her music is heavily influenced by the compositions of Yasunori Mitsuda and Yoko Shimomura. She initially became familiar with their work through SNES games, specifically “Chrono Trigger” for Mitsuda and “Super Mario RPG” for Shimomura. However, she was also previously acquainted with Shimomura’s music from playing “Adventures in the Magic Kingdom”. What truly captivated her was not only their music but also how it contributed to the emotional narrative of a game as it progressed, particularly when it was further developed for PlayStation 1 RPGs.

For Mitsuda, it was the game Xenogears that captivated him, even though his music in Chrono Trigger was already remarkable. Xenogears exceeded expectations by seamlessly blending multiple genres, unique styles, and character-specific themes, drawing me into its world deeply, and I’ve remained a dedicated fan of the Xeno series ever since. In contrast, Shimomura found inspiration in the contrasting scores for Legend of Mana and Parasite Eve. Both games successfully immersed me within their respective worlds, with Parasite Eve demonstrating that even electronic music can play a significant role in narrative-driven games.

Could you analyze one of your own compositions and its sources of inspiration? Is it possible that the inspiration came from video game soundtracks, other music, or some other source?

Among the projects I’ve had the pleasure to be involved with, “The Mountain Top” from the vibrant narrative, Chicory: A Colorful Tale, has been one of my most cherished.

In one unique scenario, during the production of the game ‘Chicory’, I was given the chance to compose a song as a lyricist while teaming up with the exceptionally gifted vocalist, Emi Evans, best known for her work in NieR. As we neared the completion of ‘Chicory’, I expressed my desire to Greg Lobanov, the game’s lead creator, to pen a song for the vocal credits. This aspiration had been fostered since the late ’90s when I immersed myself in numerous RPGs featuring vocal themes that concluded the games. Given the narrative of ‘Chicory’, where the two main characters perform a song atop a mountain during the Wielder Trials, it was fitting to create a track that resonated with the artist’s inner turmoil and self-doubt, emotions I could relate to strongly. Greg penned the lyrics for the song, and together with Emi and an accomplished group of musicians, we transformed the idea into reality.

A source of inspiration outside games that I hold really close to my heart is the music of Yoko Kanno, and her frequent collaborations with singer and actor Maaya Sakamoto. She wrote a ton of songs for one of my earliest obsessions, The Vision of Escaflowne, an anime about a girl being magicked away to a hidden world. The details don’t really matter there, but it was that style of songwriting that I tried to channel for the piece, and I’m just really pleased with how it all turned out.

Inquiry: Which primary tools were employed to create the soundtrack for the game titled “Celeste”, and could you elaborate on the process of selecting those specific instruments?

In the creation of the game ‘Celeste’, two primary instruments stand out: the digital synthesizer Massive by Native Instruments and Felt Piano by Spitfire. I custom-designed every synth patch using the straightforward controls of Massive, even penning a comprehensive article about certain patches. Additionally, I incorporated various percussion samples and drum loops from Ableton Live and other loop packs, a topic I delved into further in another article. The fusion of synthesizers and piano was an intuitive choice, stemming from the first track I produced for the game, First Steps. Initially, the team didn’t have a specific sound they aimed for, but the falling snow-inspired descending piano arpeggio in Celeste mountain resonated well as a starting point. Subsequent sounds were developed to mimic the nostalgia of NES era platformers without strictly adhering to chiptune style. Instead, I opted for basic waveforms to create leads, pads, and basses that felt contemporary but retained similarities to classic console soundtracks.

Is there anything else we should know about your approach to composing video game music?

To continually push boundaries and explore fresh ideas is my primary goal whenever I compose new music. The world’s vastness discourages me from confining myself to a single style or approach. It can be challenging when a client expects repetition, but the pursuit of new projects, styles, collaborations… that’s what fuels my creativity. When I embarked on my musical journey more than two decades ago, I never anticipated composing a pirate-themed ska tune for a boss theme or an Nine Inch Nails-inspired character theme. As long as I can discover projects that challenge me and inspire new ways of thinking about music, I will keep composing for years to come.

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2024-08-07 20:19