These are all games that have my music or work involved!
Games are ordered chronologically.
Below are some games that I find note-worthy to write my experience about.
NEKOMATA is the first game I composed for that is fully-developed. Prior to this, many of the games I wrote music for made were either small game jams or only tracks a few tracks for someone.
NEKOMATA was made for the Bullet Hell Game Jam in 2023, and consists of 4 bosses and a rewind mechanic, allowing you to move back to a previous position. When initially deciding what to write for NEKOMATA, it was clear that I wanted it to be more on the electronic side given the theme. Inspirations that immediately come to mind is Radirgy and CAPSULE; I've always enjoyed this eccentric music, even if the music theory side of my brain is always critiquing the harmonic choices. The odd collection of sounds and instruments used make up a nice groove that I can listen to endlessly.
During the Game Jam, it was a quite tall order for me to make 7 songs in 7 days. I haven't ever really achieved this kind of output. However, with the tracks being in the style that they are, it was quite easy to extend them out for the time needed. It was pretty crucial for the tracks to keep interest for a long time, as you'll be fighting each boss for quite a while. The program was made in Unreal but did not use FMod, so support for any nuance in the music for this game is pretty limited. Even then, there was a lot of cool ideas that were able to be done that sadly didn't get to be a part of the final game.
Music Reversal
One of my favorite features that got left out was the music reversing alongside you using the rewind ability. This feature is actually still in the game in the main menu if you want to see how it works.
When using the rewind ability, the song takes in the amount of samples the song is at and switches to a seperate track that is the song in reverse. This track then starts at the max sample length minus the samples where we left off. When switching back the same process is used. I was really happy with how Sneo made it work.
[video here]
For the final release, attacks have been synced up to the music, so the tracks would get out of sync with the attacks, so it was scrapped.
After the game jam, the game would be polished a bit with some tweaks made for the final version. If I were to go through it again, I would love to make more dynamic music that went along with the enemy's attacks, as well as exploring more ways for the music to react to player input. Given the time restraint, I was only able to make so much, but looking back there's a lot of improvement that I made with my music even given the small amount of time. This was also the first game that I made sound effects for as well, I didn't go into as much as the music as I really don't have much to say. I was already pressed for time making the music, so a lot of them were one and done. I'm not unhappy with them at all, in fact, I think more should've been added. I'm happy wioth how they turned, they're mixed quite well with the music.
I've had a really great time making music for this game, so much so that I would end up releasing the album on my bandcamp. I'm happy to have worked with Snerino, Patch, and JackCrescent. We've decided to work on another Game Jam and make Tsukumo Tempo. We're planning on making a full release of that too, with even more content!
Moonday is the first ever game that I worked on, and fully completed the soundtrack alongside Voxelectrica. Even though it isn't complete, I still hold this game a special place in my mind.
I starting making music for this game during the 2021 Yume Nikki Game Jam and was tasked with remaking the music that Prifurin made the year prior. Prifurin