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• Mike Worth, Game Music, Inc.
Game Music’s Uniqueness• Evolved from Film Music.
o Epic, Emotional, drives the experience.• Uniquely different from Film Music.
o Adaptive rather than Linearo Promotes Gameplay Excitement, rather than Narrative
Cohesion.o Designed to support the Game Experience and
Immersion, rather than support the Story.o Is often Assembled in real time, rather than Constructed
before delivery.
What Game Music Is, Part 1• Game music is not Film Music!
o Great film music reacts to and supports the narrative story. Designed to follow and support dramatic beats.
What Game Music is, Part 2 • Game music enhances the emotion and fun of
game play.o It can be thematic and support the story…o But it’s primary goal is to enhance the game play
Game Music Vs. Film MusicMovie/TV/Linear Game/Adaptive
Came from a merge of 19th Century Romantic music and 20th Century jazz
Came from a merge of film music and synth and progressive rock
Designed to support linear narrative Designed to support the gameplay and game state
Easier to write, often looped Harder to write, often branched, conditional, and combinatorial
Does not react or adapt to changing game states
Is adaptive, responding in real time to the gamer’s play
Is often what uneducated game composers write
Is often what true game composers write, but requires implementation skills as well
Less expensive, and takes less time More expensive, and takes more time
Mapping Out Your Cues
• Like a movie has a timing sheet,o Game scores have a “Game State” matrix spreadsheet.o Example: list of cues
Outdoor exploration, outdoor battle, outdoor victory Indoor exploration, indoor battle indoor victory Player Game State, Injured, Triumphant, Powered Up Composer must be able to have the above pieces link and
flow to one another!
A Typical Adaptive Structure
Exploration State
Possible Enemy Discovered
COMBAT!
You are Winning!
You are Really Winning!
Victory!
You are Losing!You are About To Die!
Defeat/Reload
The Game Audio Team• Composer, Sound Designer
o Creates music and SFX assets.• Implementor / Integrator
o Gets music and sound effects into the game.• Editor
o Loops, tweaks, cuts and arranges music. • Programmer
o Most likely not a musician. o Works on the audio engine or middleware code directly, not
assets.• Music Supervisor - Like TV/film, seeks existing songs to license.• Audio Lead / Director
o Manages the staff, deals with budget, scheduling, interfaces with rest of team.
Who Hires the Game Composer?
• It depends:o Small, “indie” games (iPhone, Flash)
Lead Game Designer, Owner of Studio Probably one guy.
o Mid-level, “work-for-hire” titles (Nintendo DS, games for a large portal) Game Producer, Lead Game Designer, Audio Lead/Director
o Big-time, “Sky’s the Limit” title (Xbox 360, AAA title) Game Producer and Audio Director and Lead Game
Designer
Finding Work• Person-to-person
o Big Game Cities (LA, San Fran, Austin, Seattle, Boston, Atlanta)
o Conferences (GDC, E3 Expo)• Trade Associations
o IGDA (International Developer’s Association)o Game Audio Network Guild (GANG)
• Online forumso Gamasutra, Gamedev.net, GarageGames.com
• Good old fashioned Word-Of-Mouth!
Demo Reel• Know your Audience!
o All rules of Demo Reels applyo It’s not film music!o Know your game music history, reproduce ito Different platforms, different music needso Different genres, different music needso 8-12 tracks, each 90 seconds to 3 minuteso Montage Style: 3-5 minutes, showcase
• Zen Paradox of Game Music Demoso Demonstrate a versatility of styleso Demonstrate a defining voice through the variety
Getting Hired• Understand the other roles of a studio team
o Game Programmers, Game Designers, Producers• Learn the Audio Technology• Make the Client’s life Easy
o Good Communicationo Clear Milestones and Deliverableso Understand FTP and SVN
• Connect on more than just the job.o Find Common Ground.o Find people you want to work with.
The Art of Writing Game Music• Map out your cues
o Discuss game levels with your producer/audio directoro Reference other gameso Create an Audio Design Document!
• Play similar games to get ideaso Shamelessly lift concepts and strategies
• Decide on a sonic paletteo Orchestral, World, Electronica, Hybrid, etc.
• Decide the emotions you want to conveyo It’s not always adrenalized excitement!
Textbook Adaptive Music
The Craft of Writing Game Music
• Map out How Your Music “cells” flow between one anothero “Composing with Legos”
• Use your Audio Design Document• Reduce, re-use, recycle
o Audio requires memoryo Re-use sections of music, cut down loops, re-
combine
Textbook “Well-Crafted” Game Music
The “Tech” of Writing Game Music
• Audio Implementation:o “Middleware” app that allows game code variables to
trigger sound effects and music. Player Game State (Injured, Discovered) Level State (Boss Level, Discovery Zone) Narration Point (Key Item Discovered, Puzzle Solved) Real Time DSP to Morph Environmental Audio
Textbook “Well-Implemented” Game Music
Common Applications to Implement Your Audio
• FMODo www.fmod.como Industry Standard – ports to most common platforms:
Xbox 360, PS 3, PC, Wii…o Been around for ages
• Wwiseo http://www.audiokinetic.como New kid on the block – amazing GUI.
• Xacto Xbox Live XNA Audio Implementation App
Sooo nice and friendly (C# compiler) Only exports to XBLA format/XNA format
Wwise in Action
Things to Think About When Implementing Audio
• How much memory is the producer giving you?o Disk Space, RAM
• Preloaded or Streaming Sounds?• Mixing sounds on the fly, or premade textures?• Running effects on the fly (DSP), or pre-done
effects?• Number of simultaneous channels of audio?• Budget and Time Constraints?• Are you capturing the feel of the gameplay?• Are you supporting the game designer’s vision?
How to find out what to charge?
• Researcho Game Career Guide, G.A.N.G.
• Ask!o Discuss with the producer or audio lead
• Industry Rates, as of 2009o Ultra-low budget (Flash, XBIG): $0 - $200 per minute o Low-Budget, “indie”: 400-700$ per minute o Mid-budget: $700-$1200 per minuteo “AAA” Budget: $1500-$2500 per minute (high-end)
Back End and Royalties?• Game music is generally a BUYOUT deal• Bonus Structures:
o Every “X” Thousand Games Shipped = “Y” bonuso Port to new Platform = “Y” bonus
• Ancillary Rightso Ancillary usage (eg. soundtrack release), profits are split
with the studio.• “Performance Rights”?
o Ehhh, not really. Covered in the bonus structure and Ancillary structure.