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