The Game Developers Conference is coming up soon! Last year I presented a talk on music for mobile games (pictured above), and I’m pleased that this year I’ll be presenting the talk, “Homefront’ to ‘God of War’: Using Music to Build Suspense” (Wednesday, March 1st at 11am in room 3006 West Hall, Moscone Center, San Francisco). In my talk I’ll be focusing on practical applications of techniques for video game composers and game audio folks, using my own experiences as concrete examples for exploration. Along the way, I’ll be discussing some very compelling scholarly research on the relationship between suspense, gameplay and musical expression. In preparing my GDC 2017 presentation I did a lot of reading and studying about the nature of suspense in video games, the importance of suspense in gameplay design, and the role that video game music plays in regulating and elevating suspense. There will be lots of ground to cover in my presentation! That being said, the targeted focus of my presentation precluded me from incorporating some very interesting extra research into the importance of suspense in a more general sense… why human beings need suspense, and what purpose it serves in our lives. I also couldn’t find the space to include everything I’d encountered regarding suspense as an element in the gaming experience. It occurred to me that some of this could be very useful to us in our work as game makers, so I’d like to share some of these extra ideas in this article.
Every so often, I like to grab some time between music composition gigs to gather together the current general wisdom regarding career strategies for game music composers (since so many of my readers are new to the industry and looking for guidance). In this article, I’ve included some of the stand-out ideas garnered from three online resources – a Gamasutra article by a former audio designer for Rockstar North, an awesome discussion thread on Reddit about effective communication strategies (found in the GameAudio subreddit), and a roundtable discussion at GameSoundCon about best business practices for game audio pros.
Make some noise! Getting a job creating sound and music for videogames
Audio Director Will Morton of Solid Audioworks (formerly a senior audio designer and dialogue supervisor at the famous Rockstar North development studio), has written a comprehensive article for the game industry site Gamasutra about getting jobs in the game audio field. The article, entitled “Make Some Noise! Getting a Job Creating Sound and Music for Videogames,” focuses on the importance of experience, networking and a polished presentation in order to sufficiently impress a potential employer/client. While much of the article is solid advice that might apply to a job seeker in any industry, a few areas impressed me as particularly interesting for game composers to bear in mind.