Writing a song in a made-up language was an interesting challenge. I was figuring everything out as I went along, and I wrote lots and lots of different songs, versions and variations until things were finally in place. Looking back, the first track that I composed really captured the atmosphere of the game, however it didn’t have enough of a celebratory feel for having just cleared the level, so I had to redo it. The dances were then choreographed based on the rhythm, structure, and length of the song.
These tracks had to be composed first, due to the motion capture for the dances.
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I think the tracks that were more heavily influenced by musical theatre were the ones that required the most trial and error.
Personally, it was my first time working on musical theatre as a genre. To do so, I incorporated musical elements from lots of different cultures as well as reinforcing this mysterious setting by using the game’s made-up language throughout our vocal tracks. I wanted to help shape this on the soundtrack, by creating a borderless sound design where the music sounds international, without being easily identifiable as coming from one particular country. Within Balan Wonderworld, there’s also a strong element of “mystery” that runs as a core theme throughout the game.
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The studio was full of laughter, it was a very relaxed and enjoyable atmosphere. We tried out a lot of different ideas then and there. She brought along the accompanying West End cast that she frequently performs with, who lent their voices as our ensemble.
Stone,” and she seemed like the perfect match for Balan Wonderworld. As well as performing on London’s West End, Laura also had experience working with Japanese anime, having performed “One Small Step” for the anime “Dr. He introduced me to Laura Pitt-Pulford, who graciously accepted our offer. I asked London based film composer Youki Yamamoto for his advice. When considering the lead vocalist of Balan Wonderworld, it was important that we found a singer who could perform a wide range of styles without being restricted by genre. Stories like the “Brothers Grimm Fairy Tales,” that are both otherworldly and frightening (even for adults) gave me some good food for thought. I started to understand that the game could resonate with adults as well as children. However, as the overall concept art came together, I soon realised that a lot of the characters are struggling with deeper emotional complexes, worries, and burdens. These films were great inspiration for me!Īt first, the character art gave me the impression that Balan Wonderworld would appeal to young children, so I thought that cute and comical music would probably work best. For further inspiration, I also watched lots of films with catchy soundtracks that draw heavily from the musical theatre genre “The Greatest Showman,” “Charlie and the Chocolate Factory” – as many as I could get my hands on! I paid particularly close attention to the types of scenes where music featured and how the music related to the story.
I drew heavily from this idea, the first demo reel that I submitted was particularly strongly influenced by this Cirque du Soleil concept. When looking at other sources of inspiration, one of our aims centered around creating a similar feel and aesthetic to Cirque du Soleil. My intention was for the soundtrack to function not only as background music denoting the current situation on-screen, but to also make you feel as though it could accompany the action if it were being performed live on stage.
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