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.
Welcome to the third (and final) article in this three-part discussion of how video game composers (like us) can make strategy gamers smarter! We’ve been exploring the best ways that the music of game composers can help strategy gamers to better concentrate while making more sound tactical decisions. During this discussion, I’ve shared my personal perspective as the composer for the popular Dragon Front strategy game for VR.
In part one, we discussed the concept of ‘music-message congruency,’ so if you haven’t read that article yet, you can read it here. In part two, we explored the meaning of ‘cognition-enhancing tempo’ – you can read that article here. Please make sure to read both those articles first and then come back.
Are you back? Awesome! Let’s launch into a discussion of the third technique for increasing the smarts of strategy gamers!
In psychology, the term ‘affect’ refers to emotion, particularly in terms of the way in which such emotional content is displayed. Whether by visual or aural means, an emotion can not be shared without some kind of ‘affect’ that serves as its mode of communication from one person to another. When we’re happy, we smile. When we’re angry, we frown.
Welcome back to our three-part discussion of how video game composers (such as ourselves) can make strategy gamers smarter! In these articles, we’re looking at ways in which our music can enhance concentration and tactical decision-making for players engrossed in strategic gameplay. Along the way, I’ve been sharing my personal experiences as the composer for the Dragon Front strategy game for virtual reality. Over the course of these articles we’ll be covering three of the top concepts that pertain to the relationship between music and concentration. In part one, we discussed the concept of ‘music-message congruency,’ so if you haven’t read that article yet, please go check it out and then come back.
Are you back now? Good! Let’s move on to the second big technique for increasing the smarts of strategy gamers!
As video game composers, we create music in a wide variety of tempos designed to support the energy of play and the pacing of the game’s overall design. From leisurely tracks that accompany unstructured exploration to frenetic pieces that support the most high-stakes combat, our music is planned with expert precision to shape the excitement level of players and keep them motivated as they progress.
Can video game composers make you smarter? Well, video gaming can be a pretty cerebral activity, requiring astute problem-solving skills and disciplined concentration in order to excel. That’s especially true for any game built around strategic and/or tactical gameplay, such as real-time or turn-based strategy, tactical shooters, multiplayer online battle arenas (MOBAs), and online collectible card strategy games. To succeed in these types of games, players must assess the current situation and formulate a plan that accounts for future developments and variables. Without this type of tactical forward-thinking gameplay, a gamer has little chance to win. So, can music enable gamers to think tactically, stay focused and make smart decisions? Over the next three articles, I’ll try to answer that question, while exploring the role of music in enhancing the concentration of strategic/tactical gamers.
Along the way, we’ll be taking a look at some scholarly research on the subject, consulting the opinions of experts, and I’ll be sharing my experiences creating the music for the recently released Dragon Front strategy game from High Voltage software. We’ll check out some music tracks I composed for the popular Dragon Front game (pictured at the top of this article), and we’ll discuss methods for supporting and enhancing concentration for strategic/tactical game players. But first, let’s take a closer look at the Dragon Front game.
Our discussion of Vertical Layering will focus on its use in one of my projects: The LittleBigPlanet 2: Toy Story video game (photo above). As opposed to the three layer music system we discussed in the previous article, this vertical layering music model for the LittleBigPlanet 2: Toy Story game features six layers, all able to function simultaneously. To make this possible, the layers needed to be most carefully constructed. In my book, A Composer’s Guide to Game Music, I talked at length about how musical events can best be vertically constructed for the purposes of such complex interactive implementation. That discussion included an exploration of what ‘vertical’ means in the context of such a music system:
Welcome to the third installment of my four-part article series on the core principles of music interactivity, including video demonstrations and supplementary supporting materials that take these abstract concepts and make them more concrete. In Part One of this series, we took a look at a simple example demonstrating the Horizontal Re-Sequencing model of musical interactivity, as it was used in the music I composed for the Speed Racer Videogame from Warner Bros. Interactive. Part Two of this series looked at the more complex Horizontal Re-sequencing music system of the Spore Hero game from Electronic Arts. So now let’s move on to another major music interactivity model used by video game composers – Vertical Layering.
Welcome back to my four-part article series presenting videos and helpful references to aid aspiring game music composers in understanding how interactive music works. In Part One of this series, we took a look at a simple example demonstrating the Horizontal Re-Sequencing model of musical interactivity, as it was used in the music I composed for the Speed Racer Videogame from Warner Bros. Interactive. Now let’s turn our attention to a more complex example of horizontal re-sequencing as demonstrated by the interactive music of the Spore Hero game from Electronic Arts.