In the previous installments of this series, we discussed the importance of repeating musical themes, using the variation technique and fragmentation to support different gameplay types. So now, let’s explore what happens when musical themes are employed within more complex interactive music systems.
In the last article, we discussed the concept of the “hook” as it relates to thematic composition, and we explored how an awesome hook can function best from within a main theme track. In our discussion, we used both a famous example from the Star Wars franchise, as well as the main theme from one of my own recently-released game projects – The Dark Eye: Book of Heroes. Both examples included a fairly dynamic foreground melody, which made it a great example for our discussion of the role of the hook in thematic construction. So let’s now consider what happens when we eschew such an attention-drawing melodic element and instead take a more subtle approach.
Welcome to the fourth installment of my five-part article series discussing music composition techniques that heighten tension and suspense for video game projects. These articles are based on the presentation I gave at this year’s Game Developers Conference in San Francisco, entitled Homefront to God of War: Using Music to Build Suspense. If you haven’t read the previous three articles, you’ll find them here:
Before we move on to the next music composition technique in our suspense-building arsenal, I’d like to briefly revisit a video game project we discussed in our last article; the popular Dragon Front VR game for the Oculus Rift, developed by High Voltage Software.
Welcome back to our five part discussion of the role that video game music can play in enhancing tension and promoting suspenseful gameplay! These articles are based on the presentation I gave at this year’s Game Developers Conference in San Francisco, entitled Homefront to God of War: Using Music to Build Suspense. If you haven’t read the previous two articles, you’ll find them here:
So, now that we’ve discussed ominous atmospheres and jarring jolts, let’s look at the next technique in our arsenal:
The Creepy Cluster technique
As we know, tone clusters are collections of notes packed together to produce unnerving dissonant effects. While it might seem like any cat can walk across a piano and produce unpleasant clusters, well-executed dissonance is actually one of the trickiest techniques we can employ. It’s tremendously potent when used with expert precision.
Welcome back to our five-part discussion of some of the best techniques that video game composers can use to enhance tension and promote suspenseful gameplay. These articles are based on the presentation I gave at this year’s Game Developers Conference in San Francisco, entitled Homefront to God of War: Using Music to Build Suspense. If you haven’t read our previous discussion of Ominous Ambiences in part one of this series, please go check that article out.
Are you back? Good! Let’s continue!
We’ve already talked about how to create an edgy, ominous atmosphere. By carefully nurturing the player’s suspense and anxiety, we can prime the player with an assortment of quietly unnerving sounds, until the player is perfectly ready for…
The Jarring Jolt technique
This is the second technique we’ll be discussing in our five-part article series on the role of music in building suspense. Like the Ominous Ambience (which we discussed in part one), the Jarring Jolt also owes a debt to the expert work of sound designers. In fact, the Ominous Ambience and the Jarring Jolt are fairly interdependent. One doesn’t work that well without the other.
At this year’s Game Developers Conference in San Francisco, I was honored to give a presentation entitled Homefront to God of War: Using Music to Build Suspense. While I’ve certainly discussed techniques for building suspense in this blog before, the talk I gave at GDC expanded significantly on that discussion and included lots more research and practical examples that we haven’t previously examined here. With that in mind, I’m excited to begin a five-part article series based on my GDC 2017 presentation! During the course of these five articles, we’ll be taking a look at some of the best techniques that enable video game music composers to introduce suspense into their music, control tension levels during gameplay and keep players engaged.
So, let’s start by defining the core concept. What exactly is suspense?
A physiological reaction
We all can agree that music is one of the most effective ways to produce emotional reactions. But suspense, particularly in the field of game development, isn’t just about an emotional state. It’s also a unique physiological reaction – a tension rising out of the uncertainty that we’re encountering during gameplay.
Welcome back to our two-part exploration of the role of tension and intensity in a musical score, and the techniques that can best and most effectively accentuate our audience’s nervous excitement. If you haven’t read Part One yet, please read that article first, and then come back for the continuation of our discussion.
In Part One we explored how popular narrative genres such as horror benefit from a tense musical score, and we studied effective techniques for horror music composition as a model for musical tension-building in any narrative genre. We learned about some techniques from the world of sound design that can add intensity and emotional pressure to our music. We listened to a couple of musical examples that I composed as a member of the music team for Homefront: The Revolution (pictured right). We also consulted the opinions of some top experts in the field to better understand how amplifying tension can make any story feel like a more awesome, satisfying experience. Now, let’s move on to the more musical meat-and-bones of the topic: the actual harmonic textures and chord structures of our compositions.
Tension has always served a crucial role in music composition and performance. My next two blog articles will focus on how music works to shape tension and intensity in a dramatic presentation such as a video game.
During these blogs, we’ll be consulting with lots of top experts on the subject, and I’ll be sharing my experiences in regards to the tension-filled music that I composed as a member of the music team of Homefront: The Revolution – an open world, triple-A first person shooter game that was just released by Deep Silver/Dambuster Studios. Along the way we’ll check out some excerpts from music tracks I composed (in my music production studio, pictured right) for Homefront: The Revolution, and we’ll talk about multiple techniques to build tension in a piece of music, with the goal of inciting the most emotional intensity possible in our audience. With that in mind, let’s start things off with a great quote from philosopher Henry David Thoreau:
“The fibers of all things have their tension and are strained like the strings of an instrument.”
Thoreau not only saw the connection between music and tension, but also made a good point about the stresses and strains in our lives – we all possess our own inner emotional pressure. The more fervently we pursue our goals and struggles, the higher the tension grows. Taken to the extreme, it can feel as though our insides are wound up as taut as clockworks. As game composers, our job has always been to induce players to care about what’s happening in the game, and that includes inciting and escalating the nervous anxiety associated with an awesome investment of emotion and empathy. So let’s explore the best ways we can make players feel the tension!