Season 4 of DreamWorks' animated streaming seriesDragons: The Nine Realmsdebuted through Peacock andHuluon November 17. To celebrate, Outright Games released a behind-the-scenes video of composer Chris Whiter and the Fames Orchestra recording music from the series' tie-in gameDreamWorks Dragons: Legends of the Nine Realms.
Game Rant spoke to Whiter about his experiences onLegends of the Nine Realmsalongside other Outright Games-published ventures, and how his work on these licensed games benefit from a background in jazz and live orchestration. Interview has been edited for clarity and brevity.
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Q: How did you get into music?
A: It’s funny, those kinds of questions are always ones you think would be the easiest to answer because it’s quite a broad thing. For me, my background is I started as a performer on flutes, picked up sax. Mytraining started in classical, then I picked up jazz as well.
I always liked music as I was growing up and playing, but it wasn’t really until University that I started to see it as something I wanted to do, if that makes sense. I always had an interest in performing as well as writing, but it wasn’t until University that my composing side really started to take off. I was a member of the National Youth Jazz Orchestra (NYJO), and that was quite important in my development. It gave me an opportunity to compose for the band, and there are obviously some incredible musicians in it.
I learned a lot about writing, what to do, what not to do. Having that experience was huge for me, it was one thing that cemented what I wanted to do.
Q: Is there a particular reason you leaned toward jazz?
A: I don’t know that there was a reason. For me, compared to when I was doing classical, I very much liked to play it by ear. Obviously I could read music but I enjoyed having a bit more creative freedom. Thesense of creativity you get in jazz, and introducing more improvisational approaches sometimes, those elements… I know it’s an overarching word that covers so many subgenres and worlds within it, but jazz is such a creative space in terms of what you may do as a musician - both playing and writing. It’s hard to not be swept up in it, I think.
It’s a world I’ve always admired, so it has been lovely to write and perform in that world in various ways.
Q: So you started with live orchestras. When did you begin transitioning into entertainment?
A: That’s a good question, actually. I think I’ve always had that desire to, in some way, draw on more acoustic instruments based on my background. Going through my Master’s, I had the opportunity toexperiment with manipulating audio using techmore in the creative process. At that stage I found it interesting to take snippets of my recordings and play around in some way, through effects like reverbs or delays. Creating soundscapes out of the core audio I had recorded is probably the best way to summarize it.
I really found an interest in being able to expand the palette of what I was creating sound-wise beyond acoustic instruments. Combining electronic and acoustic sounds, there’s so much you can do, so much fun you can have.
That went on to give me more opportunities in production music or library music, whatever you want to call it, and other media. I did some orchestrating for Indian films especially, a lot of opportunity toutilize my orchestral background. All of those individual facets led to where I am now on the game audio side. I find that you can have a plan or idea of where you’re going to go, but things can also fall into place in a way you don’t necessarily anticipate or expect. Everything for me feels like it rolls on from my previous experiences, which has been nice I think.
Q: Your first game credit wasGet Packed, right?
A: Yeah, that would be the first major project I worked on. Is it a game you’re aware of?
Q: It is, I noticed it while looking at your website.
A: That was the first in the game world I can think of. I’ve done session work and recordings for other games, but in terms of being heavily involved in composing and arranging,Get Packedwas first.
I don’t want to say it was a “baptism by fire” since that sounds like a bad thing, but it sort of was. There was three of us doing all the sound, led by a composer and good friend, Vince Webb. Then myself and Raoul Neumann. We didthe music, the sound design, the voiceover (which was my main focus)… We had so much fun putting that together. Again, I think that just ignited how much I enjoy working in the industry.
I’ve always been a fan of gaming in some guises, like we got aPlayStation 1when I was much younger. It’s always been an interest for me, so being able to take that interest into producing the sounds was great fun on many levels.
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Q: Did you get into that on invitation from Vince?
A: Yeah, sort of. I’ve worked with Vince and Raoul for a number of years, Vince is an incredible composer and musician who I did many projects with. It was a natural step, we moved into a stage where we could focus as a collective that he led. As I said, one of those things that sort of culminated.
Q: How did that carry into your next opportunities? I understandGet PackedandTransformers: Battlegroundshave connections.
A: So especially through Coatsink, which Vince has been involved with for a number of years, it grew intoprojects such asTransformers. It was partly a case of “right place, right time” because Vince was getting very busy, so he wasn’t able to take that project on fully. He asked if I was interested, and obviously I was.
I’ve gone on to have a very nice relationship with Outright Games, we’ve worked on a number of projects - obviously includingDreamWorks Dragons: Legends of the Nine Realms, but also other projects likePAW Patrol: Grand Prixwhich came out earlier this year. That was a really fun one. It has been really nice to have that opportunity to work with the same publisher or developer, and their producers like another Vince (Vincent Grogan) to add to the confusion.
I think it helps you have a good understanding of what the expectations are for a project when you’ve worked with that producer or developer before. Builds your understanding of what they want.
Q: That connection has brought you into contact with a lot of “brands” that people will know; you can say you’ve worked onTransformers, DreamWorks properties, etc. How does that feel?
A: It’s simultaneously lovely, because obviously they’re names everyone knows really well, but it’s also really daunting. That’s a good way to link it intoLegends of the Nine Realms, as a brand,Dragonsis a huge existing name that people are not only aware of, but have a certain attachment to. Not just to the dragons, but that sound world.
The originalHow to Train Your Dragonmusicby John Powell - it’s incredibly daunting, the idea that you have to in some ways try emulating or adding onto the sound world he created. What I find myself doing is tracing certain elements of that music which I feel bring on that sound world, and try to bring those nuances into this new sound world.
Being part of any musical canon, you have to be aware of what has gone before and ensure you respect that and understand why that canon was appraised. Then verify you’re contributing to it. It’s a real pleasure to be able to have that opportunity, and it’s such a wonderful sound world to work from and expand on.
When it came toDreamWorks Dragons, as source material goes, it was lovely to work in.
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Q: On top of the original movies, this is also specifically tied-in with a current TV show. Was there any extra consideration for that?
A: Obviously yeah, as I said you’re very aware of the musical canon and everything that goes with it. TheTV series itself draws on elements of the original films, so it’s important to tie in with that. What’s interesting is that the game is not set necessarily at the same time as the TV series, so you often have to be very aware of this relation while understanding it’s a world within its own. A lot of it was knowing what elements we associate - know and love, you could say - with certain brands or styles.
For me, a variety ofwoodwinds or Celtic/Irish fluteswas lovely to bring in because it meant I could bring in instruments I have a background in and understanding of. That was a lovely element to be able to draw on. I always had it in the back of my mind.
Q: I recently spoke with composer Phill Boucher, one thing discussed was how he tries to slot in excuses to perform as part of his scores. Do you do something similar, particularly when instruments you understand are involved?
A: If need be, only if it’s something I feel will fit within the work. When we recorded the main theme forNine Realms, obviously I ensured all thewoodwind parts were written for the orchestra. They’re incredible players, and the way it’s recorded you want it to be “in the room.” Part of the overall sound is that it should be captured together - though there can be solo parts that can be layered on top, recorded in isolation.
I never intentionally write myself parts, but if it gets to a point in the project where I think “it needs this or that,” it can be handy if there’s an instrument I perform to add that layer in. It depends on the project. For example, going back toTransformers: Battlegrounds, there’s not really instruments or solo lines that I can perform myself, but I got a huge number of incredible musicians who I was lucky to involve. Same withLegends of the Nine Realms, there’s an array of parts to perform.
Especially composing these days, you tend to find sometimes you’re multifaceted. You’re not only the composer, there are often many roles you take on. If you have a certain skill set that suits certain projects, there’s no reason not to utilize that.
Q: You have prior experience with live music. In your time with games so far, do you find it’s a regular thing for studios to work with orchestras? Or wasDragonsan exception?
A: Again, I think itdepends on the project or composer. Composers I know who either have experience with orchestras or like to write for orchestras (or musicians in general) will always try and find a way of recording live if they can. It doesn’t always mean they’ll record with a full orchestra, sometimes just recording layers for an existing sound. It also comes down to what the project is and what it allows.
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Any opportunity to work with live musicians is A) such a pleasure, and B) a wonderful feeling to have your music performed. It’s quite irreplaceable compared to, for example,sample libraries. You can make them sound great, they’re such a useful and powerful tool now, playing a vital role in various ways. But for me, they’ll never fully replace the experience or sound from working with live musicians.
I like to make the most of those opportunities where I can, and most people like me will try to do the same. It can make the difference between music sounding alive and feeling not quite as alive as it could be.
Q: Part of the reason we’re talking is that a live orchestra recording is being released. Would you say it’s common for music to be used like this in marketing? How do you feel about being front-and-center like that?
A: It’s a really good question, actually. I’m probably not the best person to ask on the marketing side, but I know sound in general plays such an important part in games. The sound world you’re creating exists to enhance the gameplay and create an immersive experience. If you’re able to show how important that is to the process, it’s a great opportunity. I’m really thankful that Outright and, obviously,Universal and the other cogs involved withDragonswant to utilize that material.
To showcase the music is such a lovely thing, because there’s so muchhard work that goes on from the musicians and audio teamson any project. For any element of it to have a moment is a really nice experience. Sometimes it can be easy to gloss over the fact that something has been recorded live.
Q: I also wanted to ask about the construction ofDragons' music. There are different worlds and characters associated with each, how much consideration went into adapting them - even if it all has a pretty tranquil sound.
A: In general, making sure the music is adaptive and dynamic in any game is crucial, again relating back to theidea of it being immersive. I think the music should always feel like it’s linear despite being nonlinear. It should always feel like it’s meant to be one piece of music. The challenge is always finding a way to verify the music represents what’s going on emotionally, whether you feel like you’re exploring or in combat mode, if you’re safe, etc.
But I’d say one of the really fun challenges is deciding how I’d do that musically. ForDragons, I worked closely with the developer and producer from an early stage, which means I felt the music sort ofgrow up with the game and its different biomes. Each world has its own sets of themes in a way, more underlying when you’re exploring and a different one for combat mode. Both also contribute something associated with the boss.
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In doing that I would find some elements or themes that keep recurring, but I wantedeach world to have its own distinct character that felt like ice, fire, etc. That was my focus on the music side, finding a way of creating that sense of belonging for the music in each of the worlds.
Q: A lot of the work you’re doing now is for a younger audience. How is conducting for kids different from previous endeavors like Indian filmmaking?
A: Yeah, it’s funny. It’s an interesting challenge in one sense because you want to be aware of certain considerations. As an example, you wouldn’t make somethingoverly scary for a game aimed at younger audiences. But for me, it’s finding a balance between ensuring the music is accessible to your target demographic without oversimplifying. You shouldn’t play it down in any sense. The music represents what you want it to in the game world you’re creating.
Even games such asDragons, aimed at a younger audience, are going to be heard (and hopefully enjoyed) by a range of audiences beyond that. There will be occasions when these games are played by older audiences, orconsumed by parents. You can potentially make the music more accessible, but I never think about simplicity as the approach for a younger audience. The intricacies, details, and nuances within the music are such an important part of giving it character.
Don’t make something not suitable for the target audience, but it comes back to what makes a game feel more immersive, enhances the gameplay.
Q: Related to that,Dragonshas a lot of voiceover - be it for the target demographic or accessibility. How much consideration do you have to give toward having music with talking over it?
A: You do have to consider it, think about having moments in the music where it would be underscoring - or sit more underneathnarration, VO, or storytelling. You can have music with moments that have less of a melodic focus, for example. But other moments like cutscenes offer a real opportunity to think about how the music helps narrate the story being told.
For in-game moments, I think it’s always key to find the balance between a linear, seamless feeling without trying to compete. We’re never trying to compete with what’s going on in areas like VO. But when it comes to specific momentsprogressing the story, the musicneeds to be a part of that and ensure it’s helping.
As a composer, your job is to find those gaps in-between the narration or action that can help enhance that story.
Q: Is there anything else you want to add?
A: The main thing is it has been such a pleasure to be a part ofDreamWorks Dragons: Legends of the Nine Realms. Huge thanks go to Outright Games and AHEARTFUL OF GAMES. As a sound world, it’s great to be involved in some way.
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DreamWorks Dragons: Legends of the Nine Realmsis available now on PC, PS4, PS5, Switch, Xbox One, and Xbox Series X/S.
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