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While typical RPG titles made the protagonist work from a zero to being a grand hero, Itoi had the [[Ninten|main protagonist]] work from a "negative number" to 'zero hero' to better reflect real life. Some NPC characters are condescending towards Ninten, which was purposely designed by Itoi to evoke feelings of rebelliousness and irritation within the player character, so the emotions supposedly felt by Ninten actually came from the real world ([[The player|you]]) and not just the game world. | While typical RPG titles made the protagonist work from a zero to being a grand hero, Itoi had the [[Ninten|main protagonist]] work from a "negative number" to 'zero hero' to better reflect real life. Some NPC characters are condescending towards Ninten, which was purposely designed by Itoi to evoke feelings of rebelliousness and irritation within the player character, so the emotions supposedly felt by Ninten actually came from the real world ([[The player|you]]) and not just the game world. | ||
During development, Itoi drew upon multiple sources for inspiration, including the iconic Stanley Kubrick film | During development, Itoi drew upon multiple sources for inspiration, including the iconic Stanley Kubrick film [[wikipedia:2001: A Space Odyssey (film)|2001: A Space Odyssey]], which can be seen with ''Mother'''s extraterrestrial themes and the importance of [[Eight Melodies|monkeys]] within the game's plot. To provide a fantastical element in the game, the city of [[Magicant]] was created, in which [[Maria|its ruler]] is critical to the story's progression. One inspiration led to another when forming ''Mother'', which Itoi himself calls a "blending of genres". This principle applied to the music as well, with the composers Hirokazu Tanaka and Keiichi Suzuki drawing from the works of [[wikipedia:Prince (musician)|Prince]], {{wp|Frank Zappa}}, {{wp|The Beatles}}, and [[wikipedia:My Bloody Valentine (band)|My Bloody Valentine]] for inspiration. Tanaka was also the engineer for the Famicom's sound chip, and he pushed the limits of what types of sounds he could create on the system. | ||
When ''Mother'' was first green-lit, Tanaka was forcibly ordered by his superiors to compose music for the project. He and Itoi also disagreed on the game's soundtrack at first, with Itoi wanting a unique BGM track for the game distinct from other game titles; however, his "technique was incredible", and after composing demo track after demo track for the game, he came to understand Itoi, and they built a firm relationship of trust between them. Keiichi Suzuki, a musician who co-founded the Moonriders, one of Japan's most innovative rock bands, was brought on to help guide the direction of the game's soundtrack and composed the songs [[Mother (soundtrack)|"Pollyanna"]] and [[Mother (soundtrack)|"Bein' Freinds"]] for the game. The approach the duo took with composing the game's songs were "to establish the rules that governed the audio for this world. There were considerations in terms of how time and space were related, how characters were associated with one another, and how the concepts of good and evil were represented." While Suzuki composed the game's soundtrack, Tanaka programmed every single sound into the game, including both the game's BGM and its SFX. This was unusual, as typically separate teams handled the composing and programming; however, Tanaka was confident in his abilities, as he had designed the Famicom's sound chip. He struggled with the Famicom's hardware limitations, especially the memory capacity of the Famicom's audio channels. One such difficulty was a channel falling out every time a certain sound effect played: he circumvented this by leaving a short pause before the note in the song to emphasize the effect. Ultimately, Tanaka wasn't able to implement all of the sounds he intended to in the ''Mother'' soundtrack. | When ''Mother'' was first green-lit, Tanaka was forcibly ordered by his superiors to compose music for the project. He and Itoi also disagreed on the game's soundtrack at first, with Itoi wanting a unique BGM track for the game distinct from other game titles; however, his "technique was incredible", and after composing demo track after demo track for the game, he came to understand Itoi, and they built a firm relationship of trust between them. Keiichi Suzuki, a musician who co-founded the Moonriders, one of Japan's most innovative rock bands, was brought on to help guide the direction of the game's soundtrack and composed the songs [[Mother (soundtrack)|"Pollyanna"]] and [[Mother (soundtrack)|"Bein' Freinds"]] for the game. The approach the duo took with composing the game's songs were "to establish the rules that governed the audio for this world. There were considerations in terms of how time and space were related, how characters were associated with one another, and how the concepts of good and evil were represented." While Suzuki composed the game's soundtrack, Tanaka programmed every single sound into the game, including both the game's BGM and its SFX. This was unusual, as typically separate teams handled the composing and programming; however, Tanaka was confident in his abilities, as he had designed the Famicom's sound chip. He struggled with the Famicom's hardware limitations, especially the memory capacity of the Famicom's audio channels. One such difficulty was a channel falling out every time a certain sound effect played: he circumvented this by leaving a short pause before the note in the song to emphasize the effect. Ultimately, Tanaka wasn't able to implement all of the sounds he intended to in the ''Mother'' soundtrack. | ||
