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The Witcher 3 composer Mikolai Stroinski explains his process

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The Witcher 3 composer Mikolai Stroinski explains his process

As a dedicated fan of Mikolai Stroinski‘s enchanting compositions, I can wholeheartedly attest to his extraordinary talent and versatility in the realm of game music. His journey through various genres, from “The Witcher 3” to “League of Legends,” is a testament to his unparalleled adaptability and creativity.

In 2015, the release of “The Witcher 3” significantly boosted CD Projekt Red’s reputation as a top-tier AAA game developer worldwide. Simultaneously, Mikolai Stroinski, one of the game’s composers, solidified his standing as an influential musical force in the gaming industry. With previous works such as “League of Legends“, “The Vanishing of Ethan Carter“, and more, he has built a versatile career spanning various genres.

In our ongoing exploration of the fusion between games and music, TopMob FM had an interesting discussion with composer Stroinski, where he shared his inspirations from classic games like ‘Manic Miner’ and ‘Medal of Honor’, delved into his work on the sci-fi noir detective game ‘Nobody Wants to Die’, and revealed his creative approach when it comes to composing music for a video game.

Did a specific game’s soundtrack or tune spark your interest in composing video game music? Could you describe the atmosphere it evoked for you, and explain why it had such an impact on you?

It turns out that two influences seeped into my subconscious, likely guiding me on my professional path. The first of these was the music from the game Manic Miner, which I played on the Spectrum ZX when I was around six years old. This game featured a version of “In the Hall of the Mountain King” by Edvard Grieg, a tune that struck me as both catchy and well-suited to the gameplay. Even though it was 1985, I remember being impressed by how much video game music could enhance a player’s experience.

A profound and deeply felt impression on me was made by Michael Giacchino’s soundtrack for Medal of Honor. What an incredible array of themes he crafted! The melodies, the orchestration, no excessive scoring or grandiose orchestra; instead, music that evoked powerful emotions. One track in particular that stands out is “Arnhem”. Though it was soft and emotional, it played over a fierce battle, creating a stark contrast that left one feeling deeply saddened and sorrowful about the lives lost during WW2. As I held my PS2 controller, tears streamed down my face.

Could you please analyze one of your own compositions and share its origins? Was it sparked by video game scores, other musical works, or perhaps some other source of inspiration?

In my latest game titled “Nobody Wants to Die“, I’ve decided to use “Neon Wants A Drink”. This track blends noir music, jazz, and Vangelis. While experimenting with one of my synths, I remember it was the OB6. One fascinating aspect of many poly synths is a feature called “key lock”, allowing you to play a chord with just a single key. This creates what’s known as “constant structure”; essentially, the melody you play is always underpinned by the same arrangement of notes. I locked in a minor 9th chord and played it in a manner that gives an impression of having no central key or tonal home. On top of this, I improvised a modern jazz melody, which surprisingly harmonized perfectly with the game. The use of major 9ths on each chord adds complexity and makes it harder to find a “home chord.” Interestingly, I employed this composition when the main character enters his apartment, enhancing the feeling of his disconnection from that place.

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What were the primary tools you employed while producing the soundtrack for The Witcher 3, and what factors influenced your selection of these specific tools?

A while back, I’d like to recall some unique instruments we worked with. One of them was the Baglama, hailing from Turkey and extensively used. Another was the Kemenche, originating in Greece and Turkey as well. Interestingly, Percival (the Polish folk band) crafted the one they used themselves, adding a special touch. We also had a custom-made Hurdy-Gurdy with seven strings instead of the usual three, along with a large cello’s body. A Renaissance fiddle was also custom-made based on original blueprints, featuring built-in pickups and additional bass strings to expand its range. There was also a Yaylı Tambur played by my friend Amir Yaghmai, which he recorded at my LA studio. His Ghaychak (a bowed lute) was another special piece, found in a desert by Amir’s grandfather over a century ago!

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

For me each game is the beginning of an intimate relationship. And as such, I refuse to have a recipe. I start by “going on a date,” listening and trying to understand what the game wants. This part is a more difficult because I need to let go of any preconceived notions or composition techniques that I would have liked to apply. Each fantasy RPG wants to be different, and each one holds something special for me and for a player.

In my years of composing music for video games, I’ve learned that one of the most thrilling moments for me is when I discover the boundaries within which I can let my creativity run wild. With a clear set of guidelines, I feel liberated to create and experiment without fear of straying too far from the game’s overall aesthetic. That moment marks the point where the musical color of the game takes shape, and the themes are put through their paces to ensure they stand up to the challenges that lie ahead. This process has not only shaped my approach to game music but also taught me valuable lessons about finding balance in creativity and adhering to limitations.

As a fan, I found “Nobody Wants to Die” a bit challenging at first to connect with. At the start, my intention was to keep the music’s instrumentation strictly orchestral. However, someone wisely advised me not to shy away from my collection of synthesizers. I am thankful for that advice because once those analog synths joined the symphony, everything started falling into place and moving in the right direction.

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2024-08-07 16:49

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