A few months ago I spoke at GameSoundCon — a terrific conference that explored all aspect of audio creation for video games. My own speech focused on melodic composition for games, with a particular emphasis on the music I created for the LittleBigPlanet franchise. Since that speech touched upon a lot of issues that are explored in depth in my book, A Composer’s Guide to Game Music, I thought I’d post some of that speech here as a video presentation, complete with the PowerPoint visuals and video demonstration excerpts that I used at GameSoundCon. Here is the first installment of this two-part video presentation: “GameSoundCon: Melodic Composition, Part One.”
Every year, I head to the Electronic Entertainment Expo with the hope that my creative energies will be stimulated by some incredibly unique game that I’ll see on the show floor. While my primary mission at E3 is to meet with other developers and talk about future projects, I’m always keeping an eye out for what’s happening in the two major expo halls. Because of that, I tend to view my E3 experience as a series of hunting trips. Each time, I hope that my expo floor excursion will be interrupted by a moment of surprise and inspiration, as I discover a game I hadn’t seen before. In previous years I’ve had my attention arrested by the fantastical world of El Shaddai: Ascension of the Metatron, the visual artistry of Trine, the hypnotically unique game-play of From Dust, and many others.
Last year, I couldn’t attend E3 because I was working on the music of Assassin’s Creed III: Liberation. Because of that, I was doubly eager to see what games would be on display this year, and what would capture my attention. There’s something about the way in which games are gathered together at E3… wandering through this collection of game exhibits never fails to fills me with creative fuel, helping me to stay energized throughout the year.
At this E3, the two games I remember most are Rain and Dragon’s Prophet.
Rain is a poetic game in which you play as an invisible little boy, searching for a mysterious girl through a dilapidated and inexplicably empty city soaked by an eternal rainfall. The boy is only visible in the rain, which reveals him to the creatures that hunt him. The visual presentation of the game blends realism with a stark stylized lighting and texture. The game makes use of licensed music well, particularly Debussy’s Clair de Lune. I must admit that, since Debussy is one of my favorite composers, my immediate affection for this game might have been influenced by its musical accompaniment.
Dragon’s Prophet, on the other hand, is a free-to-play MMORPG that focuses on obtaining, training and riding dragons. The appeal of the game, for me, rested almost completely in the lush details in the landscape and the opportunities for exploration. Flying on the back of a dragon over a glittering waterfall is a deeply enjoyable experience in Dragon’s Prophet, enhanced by a very effective orchestral score written by Alexander Roeder, Mindy Lo and Rmoney Chen. The soundtrack is not available for sale, but it can be heard in a playlist on the developer’s YouTube Channel. The track I remember hearing during my playtime at E3 was “Auratia” – a grandly thematic musical backdrop for gliding on the back of a dragon.