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.
Reading this article on the GameSoundCon site, I found myself thinking about the idea of premium purchases. What kind of psychological conditions need to exist in order for a customer to become a big spender — i.e. to opt to spend more money? With a console video game, we are clearly looking at a premium purchase — these games can be up to 50 dollars or more. Does the willingness to spend reflect on the depth and diversity of the experience? Games typically outlast films in terms of their long-term entertainment value. Is this the reason why the top-tier console games are able to sustain their premium pricing?
What I find interesting, though, is what happens when these two entertainment juggernauts start reducing their prices. While movie theaters had dug in their heels for many years and refused to offer discounts, there is currently an initiative underway by the National Association of Theatre Owners for discount tickets to be offered in selected locations on off-nights. While experimental and limited in scope, the trial period should be revealing in terms of whether discounts will lure movie-goers back to the theaters with more frequency. In the world of video games, however, the discount experiment is fully underway in the form of the iTunes App Store, XBox Live Indie Store, the PlayStation Network Minis Store, Google Play, the Facebook App Center, and many other online retailers that offer games for drastically reduced prices. If the movie industry hopes that discounted tickets will lure more people into theaters, then I wonder — have discounted games captured more casual gamers and turned them into frequent players/purchasers?
Instead of focusing on the yearly salaries/earnings of audio professionals, the survey concentrated on the money generated by the music/sound of individual projects. Each respondent could fill out the survey repeatedly, entering data for each game project that the respondent had completed during the previous year. The final results of the survey are meant to reflect how game audio is treated within different types of projects, and the results are quite enlightening, and at times surprising.
The financial results include both small-budget indie games from tiny teams and huge-budget games from behemoth publishers, so there is a broad range in those results. Since this is the first year that the GameSoundCon Game Audio Industry Survey has been conducted, we don’t yet have data from a previous year with which to compare these results, and it might be very exciting to see how the data shifts if the survey is conducted again in 2015.
Some very intriguing data comes from the section of the survey that provides a picture of who game composers are and how they work. According to the survey, the majority of game composers are freelancers, and 70% of game music is performed by the freelance composer alone. 56% of composers are also acting as one-stop-shops for music and sound effects, likely providing a good audio solution for indie teams with little or no audio personnel of their own.
A surprising and valuable aspect of the survey is to be found in the audio middleware results, which show that the majority of games use either no audio middleware at all, or opt for custom audio tools designed by the game developer. This information is quite new, and could be tremendously useful to composers working in the field. While we should all make efforts to gain experience with audio middleware such as FMOD and Wwise, we might keep in mind that there may not be as many opportunities to practice those skills as had been previously anticipated. Again, this data might be rendered even more meaningful by the results of the survey next year (if it is repeated), to see if commercial middleware is making inroads and becoming more popular over time.
Expanding upon this subject, the survey reveals that only 22% of composers are ever asked to do any kind of music integration (in which the composer assists the team in implementing music files into their game). It seems that for the time being, this task is still falling firmly within the domain of the programmers on most game development teams.
The survey was quite expansive and fascinating, and I’m very pleased that it included questions about both middleware and integration. If GameSoundCon runs the survey again next year, I’d love to see the addition of some questions about what type of interactivity composers may be asked to introduce into their musical scores, how much of their music is composed in a traditionally linear fashion, and what the ratio of interactive/adaptive to linear music might be per project. I wrote rather extensively on this subject in my book, and since I’ll also be giving my talk at GameSoundCon this year about composing music for adaptive systems, I’d be very interested in such survey results!
The GameSoundCon Game Audio Industry Survey is an invaluable resource, and is well worth reading in its entirety. You’ll find it here. I’ll be giving my talk on “Advanced Composition Techniques for Adaptive Systems” at GameSoundCon at the Millennium Biltmore Hotel in Los Angeles on Wednesday, October 8th.
Many thanks to Brian Schmidt / GameSoundCon for preparing this excellent survey!
The kickstarter campaign for the documentary “Beep: A History of Video Game Sound” is entering its final six days. I’m pleased that the producers approached me to be interviewed for their film; I’ll be talking about my career as a game composer and my book, A Composer’s Guide to Game Music. The “Beep” documentary looks like it will be a fascinating project, and all indications are that the resulting documentary will be a wide-ranging discussion of the audio aspects of video game design and production. Two days ago, the kickstarter announced that its plans include coverage of GameSoundCon, the video game music and sound design conference founded and executive produced by the president of the Game Audio Network Guild, Brian Schmidt.
The conference is less than a couple of weeks away now, and I’m looking forward to giving my presentation, “Advanced Composition Techniques for Adaptive Systems.” The GameSoundCon crowd is one of the most enthusiastic and creatively-charged groups of people I’ve come across, and it will be great fun to meet new people and talk about the current state of adaptive music in games.
When I heard that “Beep: A History of Video Game Sound” would be covering GameSoundCon, I started thinking about the nature of Brian Schmidt’s conference, not only as a great gathering place for creative audio folks, but as a historically-significant event. After all, one of the slogans of the “Beep” documentary is “Be a part of game sound history!”
The GameSoundCon conference will take place at the Millennium Biltmore Hotel in Los Angeles on October 7 – 8. GameSoundCon will be celebrating its 10th conference this year. Since its first event in 2009, GameSoundCon has been steadily growing as a resource to the game audio community. GameSoundCon concentrates its sessions solely on game audio, which separates it from other industry events that encompass the entire discipline of game development. Further, the GameSoundCon conference embraces both the music composition and sound design disciplines, differentiating it from other music-centric gatherings such as Game Music Connect, the Ludomusicology Conference and the North American Conference on Video Game Music. This particular combination of priorities seems to make GameSoundCon an ideal event for the “Beep” documentary team, and I wonder how their historical perspective will inform their coverage of the conference.
In my own speech at GameSoundCon, I’ll be approaching the topic of interactive music in games from both a modern and historical standpoint, and I imagine that other presentations will do likewise in regards to their topics. It’s nice that the GameSoundCon event will be documented with the intent to understand its historical significance, and I’m looking forward to meeting the documentary team of “Beep: A History of Video Game Sound.” There are still 6 more days to go before the kickstarter ends, so if you want to get involved, you can go here.
Can sound be used as a primary gameplay mechanic? In this blog post, I’ll be showing you videos of a number of recent games that have tried to answer this question – they’re all fun and fascinating in their own ways.
As an audio content creator for the video game industry, I’m definitely intrigued by the trend of using audio as the primary mechanic in a video game. In an audio-driven game, the players have to use their ears in order to play – sound takes over the responsibility to deliver crucial gameplay messages to the player. Instead of audio providing support to a primarily visual experience, the audio-driven game turns that paradigm on its head, forcing the visuals into a supporting role for a primarily aural experience. To explain it another way, consider those players who sometimes prefer to turn off the sound of a game and simply rely on the visuals. In an audio-driven game, that would be impossible. On the other hand, players could conceivably turn off the visuals (or simply close their eyes) and still successfully play the game and enjoy themselves while playing it.
Papa Sangre is one of the purest examples of this approach. The game has almost no visual content at all, instead presenting only a rudimentary black-and-white dial for changing direction, and the image of two feet that propel your character forward when tapped sequentially. With this bare-bones interface, you navigate a lush aural environment. As a new arrival in the land of the dead, you navigate through total darkness, searching for your lost love. The game was created by Paul Bennun and the team at Somethin’ Else. Here’s a video demonstrating a few minutes of gameplay (best enjoyed wearing headphones).
While Papa Sangre is designed as a story-rich experience, Ear Monsters is a more casual game that relies on sound to drive gameplay. Gameplay involves killing invisible monsters by locating them based on their vocalizations. Again, the visual presentation is utilitarian and static, while the audio portion is more vibrant and active. Brian Schmidt of Ear Games created this game – he posted an interesting blog about the making of an audio game to the Gamasutra site. Here’s a tutorial demonstrating how to play Ear Monsters:
On the other end of the spectrum, a few games have experimented with the use of audio by the player as the primary method for controlling gameplay. One of my favorite examples of this is PewPewPewPewPewPewPewPewPew, created by Josh Schonstall and Ian Brock of IncredibleApe. As the name suggests, players control a sidescrolling shooter by saying “PewPewPew” into a microphone, which triggers the character to fire weapons. The game is hilarious to watch – here’s a video:
Another game I want to mention is more of a work of performance art. It could never actually be released to the public, although the public can play it when it’s displayed as an interactive art installation during game festivals, game music concerts and museum exhibitions. The game is called Cello Fortress, and was created by Joost van Dongen. In this multiplayer game, one of the players is always a cellist, who controls various forms of weaponry by virtue of specific musical articulations on the cello. Fast notes control guns, chords control flamethrowers, low notes control mines, etc. The cello player improvises a musical performance while also attempting to destroy a group of opponents, who control tanks by using traditional console controllers. It’s fascinating to watch – here’s a video:
Finally, I had the opportunity to compose music for a gameplay sequence in God of War that functioned as an audio-driven minigame. During the Desert of Lost Souls sequence, the player is tasked with locating an enemy during a blinding sandstorm. The enemy is the mythical Siren, who sings to lure unsuspecting warriors to their deaths. In this case, the player must disregard visual stimulus and focus on the location of the singing voice in the desert, following the sound until the Siren is reached and can be killed. I composed and performed the song of the Siren. Here’s a link to a video of that gameplay sequence: