Phill Boucher is a talented composer of soundtracks for video games, films and television shows. His impressive resume employs the soundtracks for games like heroic, Civilization VI, and Fortniteas well as soundtracks for movies like pirates of the caribbean and rango, among many other classic titles.
It was a privilege to hear such an accomplished artist’s insights into a craft he is passionate about.
When we spoke to Phill about what it’s like to compose a soundtrack for a mobile game, it was immediately clear that he loved it! He revealed some of the unexpected and unique creative freedoms that the format of a mobile game like HEROish can offer in composing.
The production methods that Phill uses when creating a mobile soundtrack and how to design a mobile soundtrack to enhance the mobile experience were exciting to learn about.
Let’s see what Phil has to say about composing a soundtrack for a popular mobile game!
Musically it is not necessarily different. However, there are some additional considerations. For example, I make sure the score mix is translated to small phone speakers and headphones, which is less important in a movie.
Sometimes there are limits to how much music the game can support in total to handle a given app size, or how complex the interactive systems can be. However, with modern tools that becomes less of a problem.
In the case of HEROish, at least the levels are relatively short, so it was important to write music that gets to the point with memorable themes. No elaborate, drawn-out, slow builds here.
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What’s the hardest thing about writing for mobile games compared to your other work?
Every project, whether it’s a major AAA game, a movie, TV or a mobile game, has its unique challenges. The composition process for a mobile game is not inherently different from anything else. I’m not interested in writing the same score twice, so I dive into each project as a blank slate.
Not to mention that a lot of games these days that start out as mobile will eventually find life on other consoles and PCs, so that’s always something I keep in mind. Since many mobile games are designed around fast-paced play sessions, I think there’s an extra emphasis on trying to grab the player right away, no matter where they are in the game’s progression.
However, that’s not something I consciously think about.
What do you enjoy most about composing music for a mobile game?
In the case of HEROish, one great thing was the ability to pick up my phone anywhere and play the latest build.
This meant I could always watch my music work or test the latest features and levels while on the go. I was always aware of the development of the game. The game is so colorful and bursting with personality that it was easy to find things to cling to musically. I didn’t have to be subtle.
Using the full range of instrumentation from a traditional orchestra, Celtic and medieval instruments and modern metal guitars is undoubtedly a rarity, and it was a blast to write!
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How do you go about writing music for a mobile game?
Everything I work on starts with a conversation. I want to hear what the director or designer has in mind for their project. What is the tone, plot and what do they want the player or audience to feel? You can learn a lot from hearing someone describe their project to you.
If I can review the project before that conversation, I can show up with my first impressions of where I think it could go musically. But ultimately it’s their vision, and I want to help them bring it to life, which often means bringing ideas outside of their comfort zone.
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One of the nice things about having a game like HEROish on my phone is that I can repeat the music on my computer as I play along.
Then I could see if it felt right – was the pace too slow? Did the music distract from or support the action?
I spent a lot of time playing the game while writing, constantly tweaking it to make the experience feel better. With many game projects I work on videos of captured gameplay. It feels different when you can play along and experience it first hand. It’s more visceral and direct, and it’s much easier to put yourself in the player’s mindset.
Are there any themes or style choices you followed when designing the soundtrack for a mobile game?
I’ve only worked on a few mobile games, so maybe it’s too early for me to figure it all out. One thing that seems to hold true, however, is that the music often has less reverberation and is more prominent than it would be in say, a movie shown in IMAX, where things can be bigger and more spacious.
The music, sound design and dialogue compete to get out of those tiny speakers, so clarity in the score is crucial. Simplicity helps, so I do my best to trim out all the unnecessary bits and write a bit slimmer than in other formats.
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Would you make the music for another mobile game if you had the chance?
Secure!
I don’t care about the medium. I’m interested in working with creative, inspiring people who have great stories to tell and want to do something unique. Whether that’s a mobile game like HEROish or a studio movie, it doesn’t matter.
I feel very fortunate that it felt like Sunblink treated the game in the same way as an AAA title – they believed in creating a score full of live instruments, personality and strong themes. I felt we were like-minded in that regard. I don’t think the medium should dictate a score in which it is presented, technical limitations aside.
What are some sources of inspiration you’ve used for the themes in the HEROish soundtrack?
The design of the characters themselves was the starting point for the themes. I scoured back stories and character art for all the heroes to find the best tools and themes for each character.
Lavinia’s dark and spinning fiddle plays like the Pied Piper who summons armies of the undead to her side. Contrabassoon, the lowest instrument in the orchestra, was perfect for Bulvi’s colossal yet noble presence.
Light-footed Celtic woodwinds for Spiderbait, boisterous orchestral brass for Flynn and an unlikely pair of tenor recorder and viola for Ajax and Vega. Likewise, the Imperial, Feral, and Cursed all have different instrumentation and melodic solid themes.
My goal was that the music alone would make it easy to recognize where you are or which heroes are around.
We had a great time picking Phill’s brains for some of the ins and outs of composing a soundtrack for mobile games; there is so much exciting work behind the scenes. If you want to learn more about Phill and what he does, check out his website here!
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