So happy you’ve joined us! I’m videogame composer Winifred Phillips (pictured above working on my career breakthrough project, God of War). Today I’ll be discussing a hot topic that we’ve previously explored, but that definitely deserves to be revisited periodically. This is one of the most popular subjects that I’ve addressed in my previous articles here: How does a newcomer get hired as a game composer?
I’m asked this question frequently, and while I offered quite a lot of advice on this topic in my book A Composer’s Guide to Game Music, I’m keenly aware of how urgent the need is for updated guidance on this issue for aspiring video game composers. Game music newcomers often feel adrift and alone in the game industry, and some good advice can be a welcome lifeline. In my book, I described the career path that led me into the game industry and allowed me to land my first gigs, but I’m well aware that my experience was pretty unique. With that in mind, I’ve collated some recent research and insights from some top game industry professionals in this article, in the hopes that some of these expert observations might prove helpful. There are lots of original and provocative viewpoints presented here, so we should feel free to pick and choose the strategies and tips that will work best for us.
Also, later in the article you’ll find my presentation for the Society of Composers and Lyricists seminar, in which I answered the question about how I personally got my start in the games industry (for those who might be curious). Finally, at the end of the article I have included a full list of links for further reading and reference.
As a video game composer and author of the book A Composer’s Guide to Game Music, I’m frequently asked for advice on how a young composer can gain entry into this business. I dedicated a chapter of my book to this topic (Chapter 14: Acting Like a Business and Finding Work), so I’ve certainly thought a great deal about the issue. From my very first project (God of War) all the way to my most recent game (Homefront The Revolution, pictured right), one thing has always been abundantly clear: landing gigs can be a complex journey. That’s especially true for newcomers, and there are no easy signposts pointing the way. While I tried to use my own experiences and insights to provide useful guidance in my book, I know that everyone’s experience is different, and multiple points of view can be very helpful. So in this article, I’ll be offering resources from articles and community discussions on how to face down the awesome challenges of breaking into the industry as a composer of music for games.
First, I’ll be sharing a video from my presentation at the Society of Composers and Lyricists seminar, in which I answered the question about how I got my start in the games industry. Then, we’ll be exploring highlights from a collection of online articles that offer helpful tips for how to break in and establish a career as a game composer. Finally, at the end of this article I’ll be including a full list of links for further reading and reference.
Happy Holidays, everyone! 2015 has been a really memorable year for me, and a successful one for my book, A Composer’s Guide to Game Music. Writing this book not only allowed me to express my excitement about game music, but also opened up my world to a huge community of game music enthusiasts that I’m now proud to call friends.
I’ve been delighted to meet so many people who have read my book – from aspiring composers, to scholars and educators, to game audio pros. It’s been tremendously gratifying!
I’d like to spend this blog recapping the events of 2015 as they related to my book, and I’ll also be sharing some book-related resources and tutorials that I created in 2015 (in case you missed them). Happy Holidays, everyone, and thank you so much for your tremendous support this year!