Video game sound designer and composer.

Philippines
Joined June 2014
Replying to @WeAreGameMusic
@GameArtConnect @JohnBroomhall @TopScorePodcast Mr. John Broomhall was what made me decide on my current career path. Thank you, sir!
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Tremingway retweeted
今週末の #M3秋2026 canoue新譜情報公開しました!ツアー宇都宮公演で先行公開した『君が出逢う詩』も収録されてます✨ youtube試聴はこちら youtu.be/Z1z2IHKGVBA?si=VUTy… BOOTH通販予約も開始しました!数量限定のグッズセットもあるよ! hiyatsukin.booth.pm/items/89… #canoue
🪽新譜情報🪽 「canoueVII~微睡みと千年の約束~」 霜月はるか・MANYO・日山尚の音楽制作ユニットcanoue 幻想物語を綴るナンバリングシリーズ、9年ぶり新章始動! #M3秋 #M3秋2026 10/25(日) 二展2F シ-34a しちごさん。& canoue 特設 canoue.jp/cd/7/ 通販予約 hiyatsukin.booth.pm/items/89…
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hello
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Replying to @furbalicious555
69 goodbyes. Still no takeoff. 😂✈️
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I feel the need to say this. Japanese DTM twitter is such an amazingly positive experience, auto-translate is possibly the best thing this site has implemented.
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spin dat!
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Tremingway retweeted
Ace Combat 8 Secretly Has the Best Video Game Music of the Year polygon.com/ace-combat-8-win…
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Can I just say Ghost Rider is broken
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Green Hill Zone in the style of Super Mario World.
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Tremingway retweeted
Battlefield 3 - Thunder Run - Johan Skugge & Jukka Rintamäki (2011)
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Tremingway retweeted
Terran One – Glenn Stafford, from StarCraft (PC, 1998)
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ACE COMBAT 8 Main Theme - ACE COMBAT/S THE SYMPHONY 30th Anniversary Concert Album
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Tremingway retweeted
I would like to PERSUADE you to like this post and share it 😈 A day without a Syndicate post is a day wasted 🔊
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LOL hahaha. Of course. Here’s the reality: video game nerds like us spent our weekend nights inside games. When we were young, after school or work, we weren’t just “playing” ..we were living in arcades, battling for high scores, dissecting strategies. Every year brought new massive cabinets and motion-based machines, and that raw excitement was irreplaceable. Unlike the normies, gamers like us were grinding gold and coins long before crypto and digital wallets became trendy buzzwords. Back in the early internet days of the 1990s, farming items, gold, and platinum in Diablo, Ultima Online, and EverQuest was busier than our actual day jobs. And the first moment the world truly connected through online games? That was unreal. On Ultima Online’s official launch day, players were introducing themselves by country, saying things like: “My grandfather and yours fought in WWII — and now we’re playing together. How insane is that?” That was the first time the world genuinely felt connected. The virtual world outshined real nightlife districts by a mile. This was the narrowband era. Servers were fragile, and just putting an image on your homepage could get you treated like a criminal. Early Ultima Online? One step could take minutes. No exaggeration. We weren’t using undersea fiber from Japan to North America. Japanese players literally signed contracts with American AT&T providers and dialed by phone line all the way to Lake Superior servers. The lag was borderline unbelievable but no problem at all because fun. Going out to real-world parties? Not even remotely an option. When EverQuest hit its peak, anyone who invited you out on a Friday or Saturday night was friendship-ending. If you had time for nightlife, you clearly weren’t camping rare named spawns. Why go drinking when you could go dragon hunting? And yes.... the excitement was bladder-bursting level. We literally couldn’t leave to use the bathroom. Then PC performance went insane. Overclocking, benchmarking, higher resolutions.. nonstop. Then came story-driven shooter campaigns like Medal of Honor and Call of Duty, plus multiplayer games that simply never ended once you started. At some point, our lives even turned into nightly virtual bank robberies. Gamers were absurdly busy. There was zero time for old men’s social gatherings, elite banquets, or brain-dead club parties. The truth? Video games completely surpassed real-world entertainment. When my wife first came to my place, she was horrified and asked: “Why is there an arcade table cabinet in your living room? Does it cost 100 yen per play?” “Why is the next room filled with towers of empty boxes, CDs, and DVDs?” “Why are there so many screens and PCs ,,,, are you trading stocks?” “Why are hoses filled with green liquid running from all these PCs to giant metal towers on the balcony?” “Why are arcade controllers everywhere?” “Why are PC parts literally covering the walls?” Because at night I was being a blacksmith, a cute elf, a soldier, a bank robber, and a world saver — then going to work to make games, talking games, “researching” games by playing them, rushing home, and staying busy landing headshots. How long do you think it took before that finally made sense to her? I’ve lived a life that was insanely busy! and incredibly fulfilling. I’m proud. I’ve experienced every kind of place, moment, and community in the game world... and traveled the real world too, talking about games with people everywhere. It’s been an overwhelmingly fun life. There was no time wasted in decay. Every second was converted into XP, coins, or skills. And yes,,, even within the same game industry, there are plenty of people who have never written a line of code, drawn a single pixel, composed a bar of music, or written a line of specs.... yet somehow stay busy burning entertainment budgets with outsourcing vendors and license holders. They still love saying “when we made this game,” dropping the word "made", while bragging about nightlife war stories like that’s an achievement. For the record, those fake “industry guys or producers” (and there are a lot of them) live in a completely different world from us.
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Sometimes more is the right amount. And less is too little. When I was developing Age of Empires 2: The Conquerors one of the civilizations I added was the Huns. I wanted to give them a really cool early game boost. But I also wanted it to "feel" like the Huns, like rampaging nomads. I came up with "Huns don't need houses". In Age of Empires, you require one house per every 5 units, including villagers, boats, etc. This means as you expand your empire, you must be constantly spending wood (25 a pop) and villager time (25 work-seconds) to put up houses. One classic method to hurt an enemy is to burn down his houses so he can't produce an army to fight your pillagers (because he's out of housing room). So Huns lacking houses was a striking bonus. Naturally, there was push-back. "That's too good - make their houses cheaper." Or "start them with extra wood to build those houses." (Instead I had started them with 100 less wood.) I had faith in my glorious Huns, and I believed they would be balanced because they didn't really have any other economic bonuses. And this one REALLY felt "Hunnish". It was good in the late game as well as the early game. Hun towns were small - everything was a production or resource building. This meant they had small bases. If attacked, they could relocate easily. It was super convenient. Well, the most steadfast foe of my Hun no-house idea was my friend Sean Wolff, an artists. (He's still a working artist. If you see this, Hi Sean!) I liked Sean and our sometimes heated dispute over the Hun houses had no impact on our friendship. Sean was not alone in his dislike for the no-housing rule, but he was the most vocal. He even suggested what if Hun houses were FREE. You just still had to build them. Anyway, one day the programmers introduced a bug. This bug meant that the Huns had to build housing after all, but the database structure I'd created did mean their houses were free. So we did a playtest Sean Wolff-style - with free Hun houses that you still had to build. It was a disaster. We'd been playing Huns ignoring the need to build houses and EVERYONE playing Huns got "housed" as we called it at Ensemble Studios. All the players found their production stopped cold because they ran out of population room. This is of course frustrating and Not Fun. To Sean's credit, he IMMEDIATELY changed his stance. He said, "Now I see it." and instead of trying to keep up a pretence that he'd been right all along, he took my side, and fought in favor of the no-house rule from then on. He was one of our best playtesters, because he could actually be convinced of his error. Sadly not everyone is like this. This ability also made him a great developer and a great artist. If you showed Sean something bad in his art, he wouldn't defend it or gaslight you. He'd fix it. John Carmack also had this personality trait. I can remember several times arguing with John about something or other and in mid-argument, suddenly he saw my point. He'd stop, and say, "Oh, I get it. Yes you're right." Then he'd turn back to his computer and dismiss me. But from then on he took my side in that particular area. I was so impressed by John's ability to do this (and later, Sean's) that I constantly strive to adapt this admirable attitude in my own dealings. I don't always succeed, but at least it's my goal.
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Tremingway retweeted
One of the great pleasures of exploring 6/10 and lower games is discovering games that are bad in almost every regard except one person (usually the composer or artist) putting both feet in it like they need the job
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wild shit happening on birdsong instagram right now. they have located the Autechre of birds. give this bird an Orange Milk tape. put this bird in the GRM ppl love plugging synths into mushrooms when using a bird as a sampler was right there
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I never get tired of watching the footage of Ryukishi07 developing Higurashi in the Akihabara Geeks documentary. This section showing how his entire family contributes to the game is a personal favorite.
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Tremingway retweeted
Secret to writing a toxic song? Just say some crazy, relatable sh*t 😂
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