To read or download the first part of the interview with Peter and Ari, please click here.
Listen the second part in audio format directly from here:
Ari, you’re familiar with the soundtracks for other Housemaruqe games you’ve worked on in the past, and Furmins is a bit of a departure from what Housemarque has been proposing to hardcore gamers over the last few years. Do you think Housemarque has a specific vibe in the sound of their games, or was Furmins such a different project that it had to be approached as something separate?
Ari – “Coming on the heels of Super Stardust HD, Dead Nation and Outland, Furmins is a really great choice. I really like the way Housemarque approaches casual games, and Furmins is a great concept for mobile games. Sound-wise, it’s totally different – it’s very soft, and easy, and it’s not trying to be super hardcore. But it’s still a really nice experience.”
Neither of you has any formal training in musical composition, but clearly you’ve learned somewhere how to play music. Do think your talent has something to do with the demo scene and your passion for computers?
Peter –“Well, you learn by doing – and yes, the demo scene is a very important factor. Back then we had these creative hobbies of making demos, and they required music, and we made music for demos, and trackers were used quite extensively.”
Do you also play traditional instruments, like guitar or piano?
Ari – “I play piano, and I’ve made lots of music nowadays too, and I consider myself a full-time composer right now.”
Peter – “I only consider myself proficient in playing the jaw harp – I don’t play any other instruments.”
You’ve been working separately on Furmins – one on the music, one on the sound design. There came a point when you had to harmonize the two aspects of the game. How did that work?
Peter – “We used Harri Tikkanen, the “Lead/President/King of the Game”, as the central hub of communication. There was a lot of feedback coming from everywhere, and he was the central hub – he relayed all of the feedback to everyone. For example, there was a problem between the music and the sound effects – some of the sound effects were very tonal and had clear musical pitches in them, but they weren’t in the same key as the music and they felt a bit discordant when they were playing, so the tonality of the sound effects had to be adjusted accordingly.”
Ari – “It took me one day to correct all the sounds — luckily I had FMOD so I could make all the tones right. And it really sounded better after those little but important changes.”
Are you hoping to hear someone on the metro or on the train humming the Furmins tune?
Peter – “I’ll be happy to hear it if it happens — or hear the actual game on the Metro.”
Ari – “I’d like to hear some of the kiddies trying to imitate the Furmins’ sounds, like “Eeeeee!””
Any last words?
Peter – “There was a “Wilhelm Scream” in the game in an early version, but it was removed so you won’t be able to notice it.”
Ari – “I also have to thank Alexander Dmitriev, who was working on the sound design, but in the shadows – we’re a really good team.”