One of the biggest concerns I had going into this project was the background music. In my previous animation collaboration, the director had brought in a composer specifically for the music, so I was responsible only for the sound design and foley work. This time, however, Phyu didn’t manage to find a composer, and after some discussion, I decided to step up and give it a try myself.
To be honest, my background in music is quite limited. I’ve never written a full piece of music before—at least not something I would confidently describe as having real musicality or harmony. My previous experiments with sound involved sample manipulation and learning the basics of DAWs, but that was more about sound design than composition. While I can play instruments, I’ve never learned how to structure or compose music from scratch.
That made this a huge step for me.
The style we were aiming for was pixel-art-inspired—a retro, slightly nostalgic but light and healing video game vibe. For the supermarket scene, where the protagonist helps an elderly woman as if completing a game mission, I created a short 8-bar loop with a basic drum pattern and lead melody. Then I experimented with automated reverb to give the piece a more playful and slightly surreal atmosphere, aligning it with the quirky visual style and game-like narrative.
Surprisingly, the clip worked really well with the scene. It complemented the timing, mood, and character logic in a way that made the moment feel cohesive and engaging. This success has given me a small but meaningful boost in confidence—I realized that even a simple composition can be effective when it supports the story and visual rhythm.
Looking ahead, Phyu and I are planning to use a drum-and-bass-inspired sound for the final scene. It will be more energetic to match the climax of the animation.
Although music composition is still unfamiliar territory for me, I’m glad I took this leap. And even if my tools are still simple, they’re starting to feel more expressive in my hands.