We speak to MythicQuest composer Takeshi Furukawa (tfurukawamusic) about working with Rob McElhenney and doing a lot with a little, as well as his music for PlanetOfLana, for which he even premieres a brand new track:
Three seasons in, Mythic Quest is still one of the best Apple TV+ comedies, and its world is soon set to expand with the spinoff series Mere Mortals. Created by the minds behind the long-running FX series It’s Always Sunny in Philadelphia, Mythic Quest brings the signature humor of Rob McElhenney and company to the unique workplace of a video game developer.
When I was working with Kevin he was very kind, but I think I also was able to show him very early on that I had something he could entrust me with. He would let me project manage some of his shows, like Clone Wars. He probably showed up to the sessions on season one, but [for] season two, he's like, "TK's doing it. I'm not going to even bother going to the sessions.
So, as you pointed out, that's absolutely correct. Those interstitials are supposed to be in-game moments. Because of that, when they first were searching for a composer, I think they were searching for a game composer. At the time, I had not really traversed into TV land; I was still on the game side. They had put out a call for game composers to submit reels, my agent put me up for it, and I got the gig.
So I try not to listen to other refs if at all possible. Because of the genre of Mythic Quest the fictional game I know what it is. It's supposed to be this vast MMORPG that takes place in an open world, [with] swords, magic, sorcery, knights, dragons, et cetera. That already kind of has an inherent musical language that's associated with it, and Rob was just saying, like, "Go big. Go to 11. Make it like an epic orchestra." I was like, "Okay, yeah. That's cool.
There's like this anecdote about the human ear only being able to process three simultaneous [pieces of] information at the same time, which normally is melody, harmony, and then one other thing, whether it be rhythm, or a counter line, or something like that. If you have anything other than that, it becomes this wall of sound where you're not able to process it in real time; you might have to re-listen to it. Obviously, that's not going to happen in TV, because it just goes by.
Takeshi Furukawa: I try to do as much possible myself, from writing to orchestration to [being] at the recordings and stuff like that, mainly because I think every step of the way is a chance for a composer to put his fingerprint on it. Even in performing the piano, if there's like a piano recording involved, I like to play it myself. I tend to believe I know my music the best out of anyone in the world, so I know what the nuances are and whatnot.
With video games, do you just write what you want to write and give it to them, and they do what they want with it?
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