If you examine the projects video game composer Wilbert Roget worked on in 2024, the range and complexity of his compositions is truly remarkable. From the exhilarating and dramatic tracks in Helldivers 2 to the eerie soundtrack for the indie survival game Pacific Drive, Roget’s talent shines through. And fans can anticipate hearing more of his work in Star Wars Outlaws later this month.
Polygon recently sat down with Roget to delve into his creative process as part of Polygon FM’s theme week celebrating the fusion of music and games.
Pursuing a Passion for Game Music
Polygon: Was there a game soundtrack or song that inspired you to pursue creating game music? Can you set the scene of what that felt like for you, and why the music was so effective?
William Roget: I had been playing classical piano since a young age, and while I enjoyed arcades, I didn’t have video games at home until I got a PlayStation 1 in high school. I always thought I would have a career in music, but it was when I experienced Final Fantasy 7 that I knew I wanted to specifically become a video game composer. Uematsu’s soundtrack was not only brilliant on its own, but it felt more inviting than any other music I had ever heard. The clear composition and melodic writing seemed to convey a message of “Listen to this score – you can create something like this too!”
That pivotal moment led me to start composing my own RPG-inspired music throughout high school, taking on indie projects, and the rest is history.
Unpacking the Influences Behind the Music
Polygon: Can you break down one of your own songs and its influences? Was it inspired by game soundtracks, other music, or something else?
Roget: I’d be happy to discuss the main theme of Helldivers 2, “A Cup of Liber-Tea”!
The piece was crafted to embody the essence of the Helldiver soldiers, aiming to create an anthemic tune that would inspire players to partake in an epic, heroic battle. While Basil Poledouris’ iconic score for Starship Troopers was an evident inspiration, I drew orchestration influences from Michael Giacchino’s military video game scores like Medal of Honor and Secret Weapons Over Normandy. The melody itself pays homage to Johan Lindgren’s memorable theme from the original Helldivers, particularly evident in the climactic ending.
Additionally, I incorporated elements from classical music in the composition. For instance, the choice to write the piece in a 5/4 time signature was a nod to Gustav Holst’s “Mars, the Bringer of War”. The latter part of the piece drew inspiration from Paul Hindemith’s “Mathis Der Maler” symphony in its use of dramatic counterpoint. By layering various motifs together, I aimed to create a powerful climax and show appreciation to players of the original Helldivers.
Designing Sounds for Pacific Drive
Polygon: What are the main instruments used to record the soundtrack for Pacific Drive? How did you choose those instruments?
Roget: Crafting the score for Pacific Drive presented a unique challenge as it was the first time I designed and invented instruments before composing any music. My approach was centered around enhancing raw or unsettling sounds and capturing a sense of isolation. I experimented with recording construction drills, rusty doors, and even playing unconventional instruments like a metal colander with a double bass bow. These recorded sounds were processed into synthesized pads and leads.
On the traditional instrumentation side, I incorporated guitar with an ebow and brass slide, along with performances by vocalist D’Anthoni Wooten and double bass virtuoso Sam Suggs. Their haunting and emotive performances perfectly conveyed the theme of isolation in the game.
Insights into Composing Video Game Music
Polygon: Is there anything else we should know about your approach to composing video game music?
Roget: When conceptualizing each piece, I like to think of game music in terms of “first-person” and “third-person” scoring. Most compositions fall into the third-person category, acting as a distant commentary on the scene and focusing on broader narrative themes. However, there are instances where I draw inspiration by imagining myself standing alongside the player character, observing the environment and situation from their perspective. This approach, which I call “scoring in the first-person”, allows the music to reflect the character’s emotional state directly.