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Video game music is the reason I became a professional musician.

· 3 min read
Ross Mitchell
Ross Mitchell
Sound and Music

No, that’s not an exaggeration, I genuinely mean it. It all started with the first game that truly gripped me, that pulled me into its surreal and twisted world and wouldn’t let me go - The Legend of Zelda: Majora’s Mask. I remember being 6 years old and sitting in front of my CRT TV, ridiculous 3-pronged N64 controller in hand, and watching in horrified amazement as the cheerful Clock Town theme gradually transformed into an oppressive nightmare during the final hours before Moonfall. I remember having the Termina Field theme (an expanded version of the Zelda series main theme) stuck in my head when walking everywhere. And of course, most of all, I remember using the Ocarina of Time to weave together music and magic to travel through the fourth dimension.

A few years later, when I had an option to join my elementary school’s band, I was somewhat miffed by the fact that they wouldn’t let me play ocarina in the band, so I settled for the flute. I mean, the ocarina is basically just a potato-shaped flute, right? So, I started doing my best impression of Link’s calm ocarina-playing-pose and dove headfirst into the wonderful world of woodwinds. I loved playing the flute, but what bothered me most about it was simple limitation - flutes can only play one note at a time (notwithstanding advanced multiphonics techniques), and it was impossible for me to create music that was as engaging as what I fell in love with in The Legend of Zelda. I needed something more.

From there, my musical journey turned towards the piano - ah ha, now there’s an instrument that can stand on its own! I was immediately enamored with my new instrument, and stopped playing the flute so I could devote more time to it. I fell in love with the works of the classical masters, especially Alexander Skryabin and Claude Debussy, but always felt an itch to make my own music.

While my early (embarrassing) attempts at composition are thankfully lost, I found joy in making arrangements of my favorite video game tunes. The one I was most proud of was - of course - a medley of Zelda music that started with the slow title theme to the NES Legend of Zelda, progressed to the adventurous “Great Sea” theme from The Windwaker, reached a crisis point in the “Palace Theme” from Zelda II: Adventure of Link (most will know this from Super Smash Bros. as the music that plays in the “Temple” stage), before concluding with a triumphant and rousing rendition of the series main theme. Looking back, I realize that what brought me the most joy in arrangements like this was the creation of a musical narrative, using naught but notes to take listeners on a journey filled with hope, struggle, and celebration.

Now, years later, after much study and practice, I am fortunate enough to be able to create entire soundworlds of my own. The Hundred is not just any old MMORPG - it is a learning platform designed to encourage wonder and curiosity, with lore crafted by the brilliant Madeleine Flamiano and the knowledge of centuries etched into its very fabric. A unique world like this deserves an equally unique soundworld - one that captures the imagination the same way that Link’s ocarina captured mine - and that is precisely what I intend to bring to life.

From RPGs to Authorship

· 6 min read
Madeleine Flamiano
Lore Designer

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A Lore Designer's Reflection on the Quiet Pipeline from RPGs to Authorship

I didn’t yet know what narrative design was when I first saw it staring back at me from a shelf.

An eye, rendered onto the cover of Neverwinter Nights, seemed to recognize me. Its gaze didn’t just land on me—it saw through me, pulling me closer with the promise of transformation.

I reached out instinctively, my fingers catching the exact texture of cardboard: slightly rough, with that faint coating that clings to your skin. In some now-forgotten store. Maybe Circuit City, with its too-bright fluorescents humming overhead. Maybe another of those vanished temples of the 90s, shrines to pixelated pilgrimages gone without warning.

What I remember is the feeling: that sharp spark of recognition. That this game, somehow, was mine.

That night, I slipped the disk into my PC, the mechanical whirr and click providing a comforting rhythm, and stepped into a world that wasn’t waiting to be watched.
It was waiting to be changed.


What RPGs Really Taught Us

That’s where the pipeline began.
Not with books or classrooms.
But with character sheets and story hooks. Patterns I could follow when real-world interactions had no discernible ruleset.

Truthfully, I didn’t start out wanting to be a writer. It was as simple as this: I started out wanting to know what happened next. Every quest drew me in, offering clear objectives that made the world feel more surmountable. Every dialogue tree taught me how language could shift meaning. Three response options, each with consequences—some subtle, some seismic—all shaped by how well you understood what was truly being asked. I learned to read by chasing motives. I learned to write by rewriting myself, one attribute point at a time.

Years later, I’m the Lore Designer for The Hundred, an MMORPG built to offer that same gift: the sense that your choices, and your stories, have weight. In the expanse of code and art, your mark is essential.


The Hidden Curriculum of Heroism

Ask anyone who grew up on RPGs what they remember, and it won’t be the loot tables. It’ll be the moments:

  • A single line of dialogue that changed everything.
  • A boss fight that required not just power, but harmony with your party.
  • A companion who felt real, even though they weren’t. One who didn’t mind if you needed to reload the conversation three times to get it right.

These moments taught us more than we realized.

They formed the cognitive scaffolding for empathy, cause-and-effect reasoning, perspective-taking, and identity formation.

Safe spaces to practice being human.

From a neuroscience lens, I’ve explored the research, traced connections, and reflected on what it means for storytelling. Narrative immersion activates the brain’s default mode network, which governs reflection, empathy, and future planning. When players imagine themselves as heroes, it can increase agency and even reshape how they cope with real-world challenges.

We see this echoed in the Proteus Effect: when people embody powerful avatars, they begin to internalize those traits. Confidence grows. Curiosity blooms. The fantasy starts to inform the self.

And at some pivotal point along that path, we begin to wonder—not just what would my character do, but what if I wrote the next story myself?


From Roleplay to Authorship

At The Hundred, we build with this trajectory in mind. Not just as a design team, but as people who grew up inside that same invisible pipeline.

It begins with reading. But not school reading: motivated reading. Reading driven by urgency, reward, character development, and lore. Reading that feels like discovery rather than assignment. From there, we scaffold toward authorship. Players start rewriting spells, the enchanted expressions glowing as they take shape. They restore forgotten texts, letter by careful letter. They shape their village’s fate through wordcraft, watching as digital inhabitants respond to their choices.

Eventually, it clicks.
They’re not just responding.
They’re creating.

Our game doesn’t give players a worksheet. It gives them a world.
A world where every texture has been considered. Where ambient sounds create emotional landscapes. Where color palettes shift with storylines.
And then it gives them a reason to shape that world with language.

Because literacy, when paired with agency, becomes more than skill.
It becomes authorship.


A World That Remembers You

We’re crafting The Hundred because we believe in the quiet power of narrative play. We’ve lived the shift ourselves: from reader, to roleplayer, to writer. We’ve felt what it means to make a choice and watch the world bend around it. We’ve seen how immersion becomes authorship.

In The Hundred, heroism takes on a deeper form. It’s not the roar of battle that defines you. It’s the quiet moments of connection. The bonds you forge with NPCs reveal layers of their culture, their struggles, their dreams. You step into ecosystems alive with interdependence, where one decision can ripple outward, reshaping lives and landscapes alike.

Through crises and dilemmas, players uncover opportunities for growth—not just for themselves, but for the communities they touch. These challenges are mirrors, reflecting the player’s ingenuity, empathy, and resilience back at them. To support that reflection, we give players the tools to externalize what they've learned.

That growth doesn’t stay abstract. It crystallizes in mind palaces: a mechanic that lets players “code” their surroundings with valuable stories. These digital locales foster a sense of wonder and personal ownership over key information. They encourage players to map knowledge onto their own worlds, developing rich storytelling traditions that hearken back to oral histories.

Ultimately, narrative-driven games invite us to listen and exchange information, expanding our understanding of the world and ourselves.

At their best, they awaken cultural sensitivity, openness, empathy, and curiosity—traits every hero needs, in any world.


The Map Only You Can Draw

Here, you trace constellations: mapping meaning across familiar skies made new and novel, drawing throughlines between memory, choice, and voice.

In The Hundred, every decision sends ripples outward: not because we script them, but because you give them weight. The crises, the bonds, the stories—they're yours to uncover, to shape, to leave behind as echoes for others to find.

If you’ve ever longed for a world that listens—where choices matter, where language holds power, where story and self begin to blur—this is your invitation.

Join us in the early build——be part of the moment before it becomes legend, before it reshapes what MMORPGs can mean.

Because in this mythic expanse, there's a light that flickers only for you.

And it’s been waiting.

The Hundred Newsletter - Issue 1

· 2 min read
Alan
Founder & Educational Adviser

Welcome to the First Issue of The Hundred Newsletter!

In this issue, we will cover:

  • Development Updates: What’s been happening with The Hundred?

    Okay everyone, the biggest news is the submission of our grant application to Unreal! We’re aiming to unlock funding and investment this year to build our team and take The Hundred to the next level. We’ll be sharing our bid video, along with any updates on our progress, via our socials over the next few weeks.

    Another big change has been the development of the The Hundred Wiki. This is a huge step forward in helping the team share our vision with the community. It gives everyone a chance to get an in-depth view of the many layers that make up The Hundred—from quest design to music composition.

  • Player Feedback: How is the community responding?

    We’re getting great feedback from our playtesters at the moment and expect to have a full game cycle up and running in the next few weeks. There’s been a slight delay in game cycle development because we’ve been focusing on aligning our core quest design with the overall game concept.

  • Upcoming Features: What can you expect next?

    Okay, exciting news! We’ve decided to add mini-games to the world of Wendmor. Each game will be connected to the story of one or more of our in-game characters and will be unlocked after a certain amount of gameplay. We’ve had loads of fun brainstorming mini-games that fit the world we’re creating and add to the fun and flavor of the experience.

    Our first two mini-games will be:

    • A fishing game where you catch fish for Nalani.
    • A dangerous mining game where you collect resources for Enzo’s forge.

    And for our dragon fans—don’t worry! The dragons are coming. They’ll play a central role in protecting players from random acts of Goblin nastiness and in powering up features within mini-games.

    You can read more about the dragons in the dragons section of the game wiki.


If you'd like to be notified of future updates, feel free to subscribe via our newsletter page.

The Hundred — A New Kind of Game

· 2 min read
Ernst Kretschmann
Founder & Developer

Welcome to The Hundred, a place where learning meets deep immersion and long-term discovery. At its heart, The Hundred is a memory-driven game — but not the kind you're used to. There's no pressure, no high-stakes leaderboard stress. Instead, we’ve built a safe, relaxing world where you can explore at your own pace, and where every answer you memorize strengthens your journey. It’s low stakes, but deeply engaging.

This isn’t just another trivia game. In The Hundred, the goal isn’t to guess the answer — it’s to remember it. Quiz questions don’t just come and go. They return, spaced perfectly over time, nudging your memory just when it needs it. Our memory AI adapts to how you learn, making sure you're always in the Goldilocks zone of difficulty — not too easy, not too hard. Every mechanic is designed to support long-term engagement, because the true magic of the AI only starts to reveal itself after weeks, months, even years of play.

We’re building something different here — something fun, but also quietly powerful. If you stick around, you’ll not only build a base, hatch a dragon, and explore a world — you’ll also build a mind that remembers more than you ever thought possible. Welcome to the journey.

... and why don't you try out our EAV on the100.vercel.app