Tags: first day, high school story, laura shigihara, pixelberry studios, video game music, youtube
I was really surprised that a number of folks had recognized my voice in a song I wrote for an iPhone game called High School Story. Since then a bunch of folks asked if I’d put up a video for it, so I tried my best to get that finished up today^^ This song is called, “First Day”… And I created it for my friends at Pixelberry Studios. There are some really talented writers there, and I really like some of the things they’re doing to help with education and anti-bullying (they recently partnered with cybersmile.org). They’re also fun to play board games and drink tea with.
Anyways… I hope you enjoy ^_^/
Oh, one more thing: So the reason I’m dressed up like that (yes that’s a blue wig) is because a while back the Pixelberry folks and I entered a Halloween contest all dressed as high school stereotypes (jocks, nerds, cheerleaders, goths, punks, etc.). We ended up losing to a group of people who went as Adventure Time characters, the ringleader being my artist for Rakuen, Emmy ^_^ Small world!
Tags: gbritaney, kaze no toori michi, laura shigihara, miyazaki, supershigi, totoro, youtube video
I’m so happy that after about 2 months of hiding under a rock working on Rakuen, I was finally able to post a new youtube video today! For our 2nd collaboration, Britaney and I decided to do a violin-piano-vocal cover of “Kaze no Toori Michi” from Miyazaki’s Tonari no Totoro. Hope you guys enjoy ^_^/
Tags: Austin Wintory, bandcamp, Jimmy Hinson, podcast, video game composers, video game music
Bandcamp (the incredibly artist-friendly digital music store) just posted their weekly show, and this episode happens to be all about video game music! They interviewed a bunch of video game composers (Danny Baronowsky, Austin Wintory, Jimmy Hinson, me, etc.) while playing select tracks in the background. It’s a fun show, I’d suggest checking it out if you enjoy game music and the composers behind it ^_^/
Much thanks to Andrew Jervis for organizing it, it was a pleasure participating in this.
I’m a little bit saddened by some of the negative comments I’ve read on Twitter about the Indie Custom Cube. I think the most disappointing and disturbing part is how easily things were taken grossly out of context, thus leading to weighted terms like “racism” and “sexism” being so wrongly applied to the set’s design. I’m even more disturbed by how certain people saw said words, and without doing any research about the context, designers, or how MTG even works, immediately attacked the developers (including myself).
I would like to address a few of the more illogical and unwarranted comments specifically, but I will start by saying this: It disappoints me greatly that anyone would blindly group me into such categories without doing their research first, given how much I’ve done to take a stance against such things, and how much racism and sexism I’ve experienced in my lifetime being both Asian and female. To assume that I would participate in something with such labels deeply saddens me. I will go through and debunk each one, and hopefully it will become quickly apparent how nonsensical and taken out of context these arguments are. I think the fact that I was involved with this should clue you into the fact that the Indie Cube was not some sort of “elite boys club meant to degrade women.” >_<
Women in the ICC deck are given an extra qualifier: they are “female” developers, “female” artists, and “female companions” (in the case of the “Supportive Spouse”). The same cannot be said of men, who are identified by nationality or personality.
This is taken completely out of context. Using the term “female” had ZERO sexist connotations. Mechanically speaking, if you are familiar with Magic the Gathering, then you know there are “creature types” that get referenced for the purpose of gameplay (for example, other cards will boost the power and toughness of a particular creature type when they come into play). Since it is a reality that there are very few female game developers, we made it a “creature type” so that cards could better interact with it. Speaking in terms of flavor, we also did this to give a nod to accomplished female developers.
Why do I not think this is sexist? For starters, when news sites like Gamasutra write articles about the “Top 20 Women in Games” but don’t write corresponding articles about the “Top 20 Men in Games”… or when Anna Anthropy gives a talk at GDC complaining about how we need more “female” or “transgender” game developers (thus grouping them separately from the “white male norm”), are these people coming from a place of sexism? Are they coming from a place of hatred and discrimination against women? Absolutely not. They are making a distinction in order to raise awareness. Sometimes highlighting successful females is inspiring to other females who hope to work in traditionally gender imbalanced fields. When I see people like Melissa DeTora hitting Top 8 in the MTG Pro-Tour, I feel inspired. When I was one of maybe two females in my computer sciences courses in college, I was inspired whenever I met or read about accomplished female programmers.
So when the Indie cube features cards like Erin Robinson (a “female developer” who gives +1/+1 and “Inspired” to other female developers), not only is this interesting from a design standpoint because you can attempt to build a deck around cards like this… But it’s also (in my opinion) anything BUT sexist from a flavor perspective. Just as when Gamasutra writes an article specifically commending successful women (and not men) in the game industry, and when Anna Anthropy groups “female” and “transgender” developers as separate from the norm… cards like Erin’s are there to highlight and empower females, not the other way around.
And as a side note: “Supportive Spouse” is only female because this card was Danielle McMillen’s cameo (Ed McMillen’s wife). The card features her photograph, and the card’s mechanics were all built around her. Nothing about what we did in any way implies that a supportive spouse can’t be male.
Soulja Boy is included as an “unstable” black card.
Wow, I’m especially disappointed by how grossly taken out of context this is. A lot of very bizarre assumptions are being made here, that in my opinion are quite racist in their own right.
I’ll start by explaining colors in Magic. There are 5 colors: white, blue, black, red, and green. Each color is associated with particular things. They all have positive and negative attributes, and none of them have anything to do with race. For example, green creatures are traditionally large and powerful, black spells can outright kill creatures, blue spells get to draw cards, white is given the ability to destroy enchantments, etc. So, if a card has the very powerful ability to outright kill a creature, it usually falls into the black spell category.
The Soulja Boy card is a reference to a scene in Indie Game the Movie. Soulja Boy uploaded a video of himself and some friends playing Braid; they enjoyed the game, but commented on how there wasn’t any underlying meaning. The movie focused on how Jonathan Blow was very bothered by the fact that many people did not understand the “deeper meaning” behind Braid. The movie was edited so that after Johnathan talked about being disappointed, it cut to another scene of Soulja Boy playing the game and saying, “no point to the game, you just run around jumpin’ on s—.” So basically, the Soulja Boy card was designed to kill the Planeswalker Jonathan Blow. In order to make the card playable (since having a card that kills just a single other card in the set isn’t very good), we added the ability to kill a creature when it came into play. Thus, since it killed a creature, it needed to be a black spell (see above explanation about Magic colors).
This has NOTHING TO DO WITH SOULJA BOY’S RACE.
The “Unstable” mechanic was created with PROGRAMMING in mind. It was commentary about an old game making program called “Klik ‘n’ Play” which was very unstable. While we were playing the set and balancing the cards, we realized there weren’t enough “unstable” cards, so went through and added the mechnanic to cards that didn’t already have a mechanic. The fact that Soulja Boy’s card gained this mechanic had nothing to do with his real life personality or his race, and drawing such a connection is beyond ludicrous.
In fact, the idea that you’re making some sort of weird assumption that just because the card has the word “unstable” on it, that it’s because the character in the art is black… That seems INCREDIBLY RACIST when you take into account the fact the “unstable” mechanic was featured more frequently on cards featuring white males and programming-related topics (and this was not the only black character in the set; all other characters were on non-black cards). Selectively choosing this card only shows how hollow the entire argument is.
While certain figures are praised as heroic figures (including ICC’s creative team, Gabe Newell, Cactus, Notch, and Jonathan Blow), many others are represented with open scorn. General archetypes include the “Flakey Artist”, the “Oversensitive Indie ‘Musician’”, and the “Butthurt Indie Developer”, while specific jabs are taken at real people like Kellee Santiago (“Female Developer?”) and Anna Anthropy (“Put a guilt counter on target non-black non-Female creature. Creatures with guilty counters on them can’t attack.”)
I’ll start with the “Flakey” cards. If you actually look at the set, you’ll see that there are a great variety of artists, musicians, programmers and designers (obviously). Only one of each has the “Flakey” label. I’m not exactly sure what is even bothering you about this… Are you saying that it’s bad to point out that there are flakey people in every industry? Because the Flakey cards span industry disciplines: musicians, programmers, artists, designers… there was no discrimination there (and nothing made it seem as though unreliable people don’t exist outside of the game industry, obviously unreliable people exist everywhere). Additionally, I see nothing wrong with pointing out that there are people who don’t meet deadlines. It’s a huge issue when working with contractors. Other than that, I fail to see anything to be offended by. Nothing implied that any one group was more flakey than any other; and nothing implied that the aforementioned groups were overwhelmingly flakey (again: one card per discipline). In fact, nothing implied anything except that the word “flakey” is used to describe people (in any discipline) who don’t meet deadlines. Where were you even going with this?
As for things like Anna Anthropy’s card: I did not create this card, however I understand that Ed and Anna were friends, and Ed had reason to believe she would not have been offended by the wording. She’s made jokes to Ed at other peoples’ expense that were far worse and more blatant than anything that was written on this card, so rather than attacking everyone involved with the cube, perhaps you should take into consideration why Ed felt comfortable enough to joke around with Anna given their relationship. I know Ed and his wife personally, and they are both very nice and caring people. I don’t doubt for a second that he meant no harm, and that there was probably a reason he felt she would have reacted differently due to their past.
There are several dismissive jokes about mental illness, including cards for “Depression” and “Nervous Breakdown”.
Why do you assume that using these things as gameplay mechanics somehow makes them dismissive jokes? To a game developer or programmer, game mechanics are often the best tool for representing complex emotional concepts. Depression is very common for people who isolate themselves for years at a time in order to push out a game; it’s often lonely and isolated (I know that I have personally have experienced this). While creating the cube, many of us spoke about this topic while working on these cards. It was a great way to encourge discourse after the drafts were finished.
Don’t assume that just because the word “depression” is referenced in a game that it’s for the purpose of dismissing something as a joke. You don’t know what the developers were thinking when the cards were created, and it’s not like the art was a picture of someone laughing at another person’s suffering. Additionally, the term “nervous breakdown” is not always used in reference to a mental disorder; sometimes it’s just used as a blanket statement to describe someone caving under pressure (the scene from the television show “The Office” where the character Andy punches a hole in the wall is not a dismissive joke about people with mental disorders; nor is the Adventure Time episode about the comically rigid character Lemongrab).
Please think before you make inflammatory comments and throw words like “racism” and “sexism” at people. Do your research first, open up a discussion, there are more mature ways to handle things than to create even MORE miscommunication by blindly throwing rocks.
Tags: indie cube, indie custom cube, indie game dev, indie games, Magic the Gathering, MTG
Hi everyone! This post is for the Magic the Gathering players out there… and the indie game developers… and ESPECIALLY for the indie game developers who PLAY Magic the Gathering.
So earlier this year, my friend Andy Hull decided to spearhead an initiative to create an entire indie game dev themed Magic the Gathering cube set. We spent many many hours on this (coming up with the cards, talking over Skype, printing out and sleeving up test copies, etc.) and it ended up being really fun to play. The set came together around GDC, so all 7 of us (Andy Hull, George Fan, Ed McMillen, Kyle Pulver, Tommy Refenes, Derek Yu and I) got to hang out and draft during the conference.
If you’re interested in checking it out, the official site with a full visual spoiler (and some goofy pictures of the creators) is live and can be found here.
Derek can be pretty messed up if you don’t have removal!!
Tags: bandcamp, emmy toyonaga, laura shigihara, leeble, leebles, melolune, rakuen, supershigi, video games
Hi everyone!! I thought it was about time I filled you guys in on what I’ve been doing lately. I think some of you know that while spent most of my career as an indie video game composer/sound engineer, I was actually at EA for about 2 years as an Audio Director. I met a lot of wonderful new folks there (like the Pixelberry team for example). But after most of the original Plants vs. Zombies team was laid off, I ended up leaving the company, too.
Now that I was indie again, my goal was to finally finish up Melolune. However, after 2 years of not working on a 20 hour rpg (yes, I actually had 20 hours of playable content at that point), it was quite overwhelming picking up where I left off! I had promised myself that I wasn’t going to start anything new until Melolune was finished, but I realized that working on a smaller scale project (that I was very inspired to do) would be a great way to get back into game development. So I’m really excited to announce that for the past year, I’ve been working on a new game called Rakuen. I’m doing the programming, design, audio, and in-game pixel character art. My friend Emmy Toyonaga (an incredibly talented artist, and also a former EA employee turned indie) is creating the concept art.
Rakuen is a story-based adventure game about a little Boy who becomes bored with living in a hospital, and eventually asks his mother if she’ll escort him to the fantasy world from his favorite storybook. Throughout the game, the Boy begins to learn more about the patients who live around him. They each have their own secrets and struggles that are mysteriously tied to the strange hospital. In helping those around him, the Boy deals with questions about empathy, hope, and what it means to leave behind a legacy by coming to terms with his own story.
In terms of gameplay, Rakuen functions like a mix between Maniac Mansion, To the Moon, and The Legend of Zelda: Link to the Past (though without battles or fighting). The story and character design is influenced by Japanese mythology and children’s culture, as well as films like Miyazaki’s Spirited Away.
We’re hoping to release the game early 2014 for PC initially (with possible ports afterwards). But for now, you can learn more about the game and follow its progress at the official website. The soundtrack is also available for Pre-Order at Bandcamp (you can also just listen to the tracks there for free if you’d like). I really hope you enjoy the music and art we have to share so far! And if you’d like to help us spread the news, please feel free to tell folks about Rakuen, we really appreciate your support ^_^/
p.s. There will be Leebles ^o^
Tags: Chrono Cross, Chrono Trigger, 盗めない宝石, laura shigihara, Meine Meinung, Radical Dreamers, supershigi, video game music, yasunori mitsuda
So earlier today I was trying to explain something really weird that has happened to me at least twice in my life. I’ll tell you about the one incident I remember most clearly. I was in Home Depot, walking with some friends, and I noticed a man standing in front and slightly to the right of me. I wasn’t making eye contact with him, but I was aware of his presence. And for some reason, my brain decided that he was a cardboard cutout.
At this point, we continue walking towards him, and I’m now looking directly at him trying to figure out what this cardboard cutout is advertising. “Is this a paint advertisement?” “Is this for garden supplies?” Then suddenly he moves, and I get so startled that I scream right at him! Of course, this startles him and he looks very confused. So after I catch myself, I start profusely apologizing, and awkwardly trying to explain to him that I thought he was a cardboard cutout. Then I thought, “wait, is that offensive?” So then I dive into all these weird disclaimers like, “n-not that you look like cardboard… I mean, I just, from far away you were standing so still… and I… I don’t know, I’m sorry!!” He was nice about it.
Time for a weird weird segue!! I had the pleasure of collaborating with Meine Meinung on one of my favorite video game songs (Radical Dreamers 盗めない宝石 from Chrono Cross, composed by Yasunori Mitsuda). This cover has 2 guitars, double bass, and vocals… and if you are familiar with Chrono Trigger, you should be able to pick up the nice throwback they put in the arrangement ^_^ Originally they asked if I wanted to come to their studio, but I’m not in Japan right now, so they edited me in. And I think it looks pretty cool… sort of like I’m there, and sort of like a cardboard cutout (get it? Because of my story earlier? Ah… ehhh… sorry)
For real though, these guys are awesome. If you haven’t checked them out yet, you will not be disappointed. They have some of the best video game music covers on youtube, they’re fantastic musicians, and they have a really good sense of humor ^__^ I hope you enjoy our new video!
Tags: bandcamp, indie games, producer, Steam, Super Meat Boy
Allow me to rant a little bit about bad producers.
“Producer” is kind of a weird term, because it seems to take on so many different meanings. There are good producers, and bad producers. And they can often fulfill vastly different roles on creative projects. I should also preface this by saying a lot of producer-related memories were dredged up after watching Tommy and Edmund troll an LA producer who wanted to make a Super Meat Boy movie.
The Recording Industry
During my involvement with the recording industry in Japan, I noticed that the producer was often the person who created the bulk of what made a song a song: composing all of the background music, arranging the different tracks, planning the vocal layers, etc. Often I met people who called themselves “singer-songwriters,” a term that makes it seem like they were the creative force behind their albums. In reality all they did was come up with a generic set of chords, and some passable lyrics. It was the producer who came in and turned that into a real song that people would actually want to listen to. They composed the entire arrangement, they came up with the hook, the bassline, the percussion, the vocal plans, etc. These “singer-songwriters” were not the kinds of performers who could draw crowds at a cafe with what they had created on their own; their songs were nothing special without the producers to help them.
On the flipside, I also met people who called themselves “producers” who didn’t seem to do anything at all. They had no skills, they couldn’t create anything, they were painfully ambiguous about their actual role in any project. In fact, it seemed like their entire platform rested upon their ability to convince you that they were absolutely critical to your success. Even though they wanted you to pay them, even though they had nothing to contribute to the project whatsoever, for whatever unfathomable reason they were somehow doing you a favor. These people prey upon a young artist’s desire to make a living off of their craft, by desperately trying to position themselves as being well-connected within the industry. Somehow, they were the key to your “big break.” You can also spot one of these types through the following:
*Using lots of “industry” lingo and catch phrases to compensate for their lack of an actual concrete explanation as to why you need them, and what they’re doing to help.
*Acting as though the industry has a special language that only they can translate for you.
*Upon noticing that you are losing interest, trying to somehow make you feel insecure about your abilities through subtle jabs in an attempt to get you to think you need them.
*Using terms like “win-win situations” and asking you if you are “really serious” about what you’re doing.
*Basically, a whole lot of this:
The Video Game Industry
When I started working in the video game industry, I noticed a huge variation in the “producer” role here as well. With small dev-team games (1-4 people for example), there are producers who actually play a major role in the development of the game. They are jack-of-all-trades types who in addition to coming up with the initial design for the game, also know how to program enough to create a prototype, understand art enough to be able to create placeholder art and effectively communicate with their artists, and maintain all of the schedules and deadlines without the need for a manager. Sometimes small teams will have a “producer” who handles a mix of legal work, schedules, and PR.
With games that have large development teams (50-100 people for example), I’ve seen producers who take on more of a managerial role. They are extremely organized, and excel at coordinating deadlines, bridging the gap between the various development departments, and handling a lot of the paperwork and red tape that often come along with large scale games. Just as with the earlier examples, they are essential to the completion of the game.
However, just as with the music industry, I’ve also seen several cases of producers who don’t really do anything. They can’t program, they don’t know how to create any sort of art, their “design sense” is more akin to throwing out random ideas at the expense of those who actually have to spend time and energy implementing those ideas… Sometimes they take on the superfluous role of managing an already self-sufficient and self-motivated team. At worst, I’ve seen some producers who actually inhibit productivity by forcing certain things on their development teams. Things like arbitrary paperwork, unnecessary meetings, and worst of all: having the team try out random ideas without any concept of how much time and resources are required to put those ideas into practice (and the subsequent effect of significantly derailing the team’s progress). The major problem with the “try my idea” producers, is the fact that they have no understanding of art or programming, so they’ll easily throw away weeks or months of time without even realizing it.
The worst part of all of this, is that the game industry seems to be crawling with people like this. And I can understand why:
1.) They are excellent communicators, so they can easy impress people at an interview.
2.) Considering that a lot of companies see producing as being synonymous with design (when in reality, design is a skillset all on its own), producers are often hired based on their “design sense.” However, it is unfortunately very difficult to measure a person’s design sense, especially when the person’s only game industry experience was playing the role of a tiny cog in a giant project.
3.) Once they’re in, it’s very difficult to measure their competency. If the development team they’re overseeing would have created a good game regardless of a producer’s involvement, it still reflects well on the producer. But if the team’s game doesn’t turn out well, the verbally gifted producer can shift blame away from themselves and onto members of the development team.
This is why I’ve seen terrible producers that somehow manage to maintain incredible longevity in the industry. This is also why I love the indie game community. In this space, it’s much easier to have development teams that are streamlined, where everyone’s role is clearly defined and measurable. This is also why I love places like Steam and Bandcamp. They allow creative and motivated people the chance to make a living off of their craft, thus making it harder for bad producers to deceive people into allowing their parasitic kind to feed off of other’s hard work.
There are good producers, and bad producers.
But rest assured that everytime I get a message saying, “Hey, I saw your videos on youtube… I don’t know how serious you are about music, but I’m a producer and I can help you get to the next level,” that it’s going straight to the trash
Tags: lady sylvannas, lament of the highborne, laura shigihara, melolune, singing, supershigi, video game music, World of Warcraft, WoW
Hi everyone, long time no see ^_^/
I’ve been sitting on some big news for quite a while now… A friend and I have been working on a special little game-related side project (it’s not Melolune, however it is set in the same universe). I’m hoping to be able to talk about it soon, once all the major details are set in stone. Because I’ve been spending the majority of my free time devoted to this (in addition to tackling random things that have come up in life), I’ve been a bit less frequent with my youtube uploads (and by “a bit less” I mean I haven’t posted anything in 5 months ~_~)… So I must apologize for this and say thank-you for all of the kind messages you folks have sent me via youtube and twitter asking if I was okay ^__^
Happily, I was able to complete a new video this week! It is a vocal-only cover of “Lament of the Highborne,” a hauntingly beautiful song composed by Russell Brower for World of Warcraft. I was a bit hesitant to arrange this song because the original is already so perfect (and there are so many other lovely covers out there). I thought, “what could I possibly contribute to this?” But I had fun experimenting with harmonies, and revisiting a classical singing style that I haven’t done in years. I really hope you’ll enjoy^^
At some point last year, I realized that I had racked up a whole lot of new original songs that either got uploaded to my Bandcamp as singles (Cube Land, From the Ground Up, Blood Elf Druids, etc.), or never really left my computer! Coupled with music I’ve done for other projects, that body of music could easily fill out a full album… so I think I’m gonna do it! My plan is to release 2 albums this year: one featuring my original songs, and one video game music cover album. The former is almost ready (I just need to arrange “Rewind” and finish 1 more song that I think would fit nicely with the others)
Concerning the latter, here is my 2nd video of the year: “Meet me above the clouds” (I’m trying my hardest to keep up with this video-a-week thing!! Wish me luck!!) It’s a new vocal arrangement of “Ballad of the Goddess” from The Legend of Zelda: Skyward Sword. I really enjoyed the music from this game; some of the themes were so beautiful (Fi’s theme in particular is one that I could listen to for hours on end). I also love how the composers reversed Zelda’s Lullaby and constructed an entirely new piece of music… they are so creative and talented. Since there were only a few lyrics in Hylian, I wrote some additional lyrics and added a new vocal melody in order to extend the song. I hope you enjoy it as much as I enjoyed working on it ^__^