“Limitations breed creativity.”
“I remember entering the forest in the first area of the game.
That’sSea of Starsdirector Thierry Boulanger describing his experience ofChrono Trigger.
He’s a big fan ofSquare Enix’s iconic 1995 RPG and its memorable score.
Sea of Stars is an impeccable example of how to capture nostalgia.
For me, though, it’s the music that truly captures that 90s feel.
The emphasis on melody.
The charming, apparent simplicity.
Memories of multiple classics came flooding back to me, warming my heart.
As Boulanger described above, the audio really does complete the experience.
In fact, Brown is busy on tour when we catch up to discuss Sea of Stars.
“It was just so catchy and funky”.
For Sea of Stars, though, both Brown and Boulanger wanted to capture the magic of Chrono Trigger.
What’s more, Chrono Trigger original composer Yasunori Mitsuda was brought on to provide contributions to the score.
“And then you shoot your shot.
And he just said yes.”
“It was more of an indirect collaboration in terms of me working with him,” says Brown.
We definitely needed a town theme, a boss theme.
He really connected with the story and characters in the game.
That’s certainly true playing through the game.
I mention how the score sounds consistent despite its multiple composers, which Brown is surprised to hear.
Boulanger chimes in: “I think that’s credit to you Eric.”
“Retro games, they would be so simple in their design.
And music was no exception,” says Brown.
Indeed, composers from the 90s had far more limitations to work within when composing game scores.
“Limitations breed creativity,” says Brown.
“I think that was a big part of playing those games growing up.
We didn’t know they were limitations back then, it was just how things were.
The most important element of the score, though, are those melodies.
It meant having a good tune was imperative.
That is the essence of creating video game music.
Brown tells me it’s actually taken from The Sunken Shrine theme from previous game The Messenger.
Wind instruments - pan flutes especially - were an obvious choice to provide character.
Wraith Island, meanwhile, has a more haunting and creepy atmosphere due to its chimes and sinuous melodies.
Replicating the music - plus visuals and gameplay - of retro games certainly links to the past.
“But rather, it has to feel like what we remember of those games.
What is it about music in particular that inspires such a strong sense of nostalgia?
Brown speaks of his work as a chiptune composer over the past 15 years.
“I’m big on nostalgia and retro this and that.
I think it reminds us of a simpler time.”
“Once you hear everything connecting as you do, the kinetics of the game really come together.
It really does ground the experience and makes it complete.
“Our thing is to modernise the presentation and the mechanics,” he says.
He speaks of giving modern players a “vacation within their gaming careers”.
