This is a much more in-depth discussion/rant about the brilliant event Games Music Connect. I’m not expecting many people to read this to be honest so I guess it’s more to get it out of my system. There will of course be similarities but I discuss my ideas and interpretations of some of the things said and maybe it will open up a discussion with some of you. Leave comments below if you have any opinions to share on the matters.
Enjoy!
Before the event even began there was an obvious buzz of excitement in the air. No-one ever questioned why this event was happening because most people there thought the same as me “Finally, this is the event I’ve been waiting for!”. I have been waiting for an event such as this for a long time. Although my speciality is sound design, I originally wanted to be a composer so I have always had a huge passion for music in games. To finally have an event to showcase these wonderfully talented individuals and give an insight to the game audio community is amazing. Even more amazing was the fact that these people were willing to teach us about what they do and help us understand the inner workings of what is required when working on a video-game as opposed to linear formats such as TV or film.
The place was full of aspiring composers. I was actually surprised there were no other sound designers there as it is a great place to meet people you might be working with one day and it makes sense to also meet the people who don’t do what you already do. Don’t get me wrong it was fantastic that composers were there because they got to meet and learn from the greats that were speaking. It’s just from their perspective it’s hard for a composer to get work from a composer, because the composer is already composing on the work…. However sound designers and composers should definitely be more involved with each other. I know composers also do a lot of the sound design too but on bigger projects you need delegation to take place to hit deadlines.
The event kicked off with a warm welcome from co-founder John Broomhall before swiftly proceeding into a lecture from Prof. Stephen Deutsch. Prof. Deutsch then began his interesting lecture on “What can we learn from Film?”. Amusing and insightful as well as slightly controversial made this a great lecture. Immersion and engagement were his opening words. These words, in my opinion, should be what all of us in game audio are striving to achieve more of. Even outside of the game audio realm, the idea is that the video-game world is one where we can get lost and immersed. He began by comparing a scene from the original Psycho with it’s dire remake. It was interesting how he mentions ostinatos (repeated patterns) in the music, talking about how if something is repetitive enough the brain blocks it out. The brain does this because the ears can’t. Unlike our eyes, our ears can’t blink. I found this particularly interesting as it made me think of all of the early game music, with the short loops as opposed to developing themes. In the end your brain blocks them out and you don’t find them irritating because you tend to forget that it’s there. The controversial side of his lecture included asking whether music was even needed in games to provide immersion and engagement. The gamer is already engaged because they are playing the game, why would the music add to this, is there even any need? I would say yes. All of the games I have played, all of the emotions I have experienced within games have been enhanced (or in rare cases ruined) by the music. Without the uncomfortable horror stings in Dead Space, sure it would still be scary but it probably wouldn’t be as scary if a high pitched string section didn’t enhance the moment where all that happened was a a bit of scenery fell over. I would feel so emotionally attached to Ezio Auditore if all of his personal emotions were not conveyed through some of the most powerful music I have ever heard. No-one would feel as “epic” as they do in action games such as Tomb Raider, Uncharted, Battlefront, Killzone, Call of Duty even, without the huge bombastic orchestra blasting out alongside all the gunfire, explosions and fight scenes. So that’s my opinion, I could be wrong, is musicality a redundant side of video-games? From the panels that followed, I believe that the guests as well as attendees would probably agree with me.
Soundcard to Symphony
With John Broomhall as chair, the guests were Jesper Kyd, Jason Graves, Joris De Man, Richard Jacques and Martin O’Donnell.
The first thing that became apparent with the panels, is the positive dynamic between them all. They may have all been in the same competitive area but it was obvious how mutually respectful they were of each other’s craft. Listening to them discuss the past, present and future of their craft was incredible. What also intrigued me the most was their views on interactive game-play.
I had just recently been to a lecture where Dave Cage discussed his direction with QuanticDream and emotional story-telling. He had said he was fed up of the “story being told through cut scenes” and wanted the player to be more engaged in the story-telling. This was exactly what the panel had brought up. To me this signifies that the gaming community as a whole are beginning to feel the next level of gaming is introducing the player to have more control over the the storyline of the game and not just the action sequences.
From a music perspective I find this really interesting. I was dying to ask them about it but sadly I never got the chance. My question is simple. If we do get to a stage where the player does have more control and there are less generic cut-scenes, what implications and complications would arise for the sound and music? Surely more “possible” music will have to be created. The linearity of games will practically be gone. The cut-scenes were the only point where they could treat the visual with precognition, the same as film. With this gone, it creates an immense amount of multiple paths for the music to take and it will constantly have to be dynamic to keep up with the constant decision making from the players point of view.
One of the interesting things Martin O’Donnell raised, is how the emotions that the music are raising is telling you what the character is feeling, not what you are feeling. With interactive music that is based on our own decisions, does this go back to Stephen Deutsch’s point of immersion and engagement? Would this allow us to fully engage and immerse the player and even have musical and/or sound cues that reflect how they are feeling and what decisions they are making? I think this opens up an exciting new world in all areas of gaming, with the introdcution of more games like “Heavy Rain” and “Beyond: Two Souls”
The Music Machine
Another exciting session as it gave more of an insight into the views of the audio directors. So for this one there was John Broomhall (Chair), Steve Lord-Audio Director of Jagex, Adele Cutting-Audio Director of SoundCuts, Paul Lipson-Music/Audio Director at Microsoft Studios, Martin O’Donnell-Audio Director/Composer at Bungie.
We got to hear from the key decision makers in audio for games. It was an excellent insight into the audio side that most composers, and game audio people in general, don’t consider. How they have to work out the budget for how much music can be in the game, how much sound can be in the game in general, the cost of an orchestral recording. Most gamers wouldn’t have a clue how many people are involved with even just the music side of things. The composer doesn’t do everything. Music is written, then it has to be recorded by live musicians. This can be the composer for some of it, but a lot of the time orchestrators are involved to help the transition of what the composer has written so that it can be interpreted by a classical orchestra.
Game Music React
One of the most fun talks of the day where we learned more of how the music stems are created to easily manoeuvre between different intensities in situations such as combat. Richard, Jason and Joris gave talks and demos on how they would utlise this technique.
Richard began, with a fantastic demo from 007: Blood Stone. This talk showed us how different stems can be faded in and out to develop the music between high and low intensity.
Joris elaborated on this by mentioning stingers and how they can be necessary when in transition between the intensities to make them as seamless as possible.
Jason’s talk was very interesting as he discussed his techniques in Tomb Raider. Unlike the others where the high intensity was triggered when in combat and low when the last enemy was dead, Tomb Raider works very differently. The intensity of the music differs based on Lara’s form of attack. For example a stealthy approach will maintain the low, hand to hand will increase the intensity, whilst using guns will lead to full high intensity music. I found this concept extremely relevant to the point made earlier of the player telling the story and the music responding to the players choices.
Platformers Perspective
Alistair and Paul sat on this one, so we gained the inside view of Sony and Microsoft audio directors and their big picture and setting the standard in the future of next gen consoles.
The main question that John asked that I think the audience most wanted the answer to was “What advice would you give to composers who want to get hired for games?”
The words “Be amazing” came from Paul, as he suggested listening to what’s out there and realising the quality of work you have to produce. Not in a replicative way of the music genre or style, but in the quality and how good you have to be. Very true, you have to be great to get anywhere near their level. Sony and Microsoft can pretty much have whoever they want, so you have to be amazing to get them to notice you. This leads well onto his next point about being on their “radar”. You have to keep getting yourself out there, your face to the events, such as Game Music Connect. Keep meeting the right people, don’t just meet them once and tick the box, you have to build these relationships. This I couldn’t agree more with. It even took me a while to realise that no matter how great technology is and you can speak to people all over the world.
Also “some people should know when to go home.” I believe this is a bit too harsh. I’m not saying he’s wrong and I agree some people should know when to stop pursuing something they’re just not good at. However, with a lot of the audience so early in their career I worried for their conviction. Maybe it will sort out who is driven enough and who isn’t, but I also believe it may lead some good potential to give up because they start to doubt themselves too much too soon.
Game Music USA
An interesting panel chaired by Paul Lipson where the US based guests, so Martin O’Donnell, Jesper Kyd, discussed how different they think the industry is and the different directions they’ve seen between Europe and the US. It was quite cool to hear how things differ in opinion from their perspective and Jason Graves did say that fans of game music are more “intense” over here, which he assured me is meant in a positive way.
Crosstalks/Q&A
Another brilliant part of the day. Although time constraints meant I couldn’t ask my question, it was still an enjoyable experience to listen to the audience interact with the guests.
It perfectly rounded of the day with some great quotes. Especially when they were asked about generative music, where a computer algorithm takes a basic music concept and composes the rest itself, and it’s future in games. Jesper Kyd’s response of there’s no emotion, “you can’t teach a computer to have a rough childhood”.
The question from earlier was also put to the panel “What advice would you give a composer wanting to get to where you are?” with some interesting responses. Jason Graves had a great example where he had gone for a job and driven all the way up there to get the job just for that reason, because he had put the effort in.
The rest was a networking hour in the foyer, which then turned into going for beers with Jesper, Richard, John and a few other attendees for an all round fantastic time!
I highly recommend going if you have any interest in game development at all, it was fantastic to learn from, engage with and talk to the guests who are humble, knowledgeable and fantastic to talk to.
See you next year at Game Music Connect!
Article by Sam Hughes
Uploaded 11/09/13