Photography: Dan Griliopoulis and Jinnan Wang
ALPHA | EVENTS // GAME MUSIC CONNECT
Game Music Connect a resounding success
Welcoming audio experts and novices alike, this brand new event shone a light on the sterling work of video games composers
A CULTURAL COMPLEX in London that has played host to performances of classical music, spoken word and literary recitals was fitting for the premier of Game Music Connect, a new convene exploring the art and science of video games music. Curated by audio specialist and Develop
columnist John Broomhall, and admired British composer James Hannigan (Harry Potter), the one-day event tackled the art of composing for games, the technological shifts that are changing it and the issues that face all composers who choose to provide their creative skills to the video games industry. Joining Broomhall and Hannigan at the
Southbank Centre’s Purcell Room were several of the most prolific names in games composing today: Martin O’Donnell (Halo), Jesper Kyd (Assassin’s Creed), Jason Graves (Dead Space), Richard Jacques (James Bond 007: Blood Stone), Joris de Man (Killzone), Paul Lipson (Kinect Disneyland Adventures) and Alastair Lindsay (Wonderbook). Games would arguely be lost without
the power of music. Its ability to create feeling and make the player’s presence in the gameworld that much more believable is what these composers are devoted to. But how does a composer keep the music fresh across an experience that can last upwards of 20 hours?
INTERACTIVE MUSIC The answer is interactive music systems – a topic which fascinated the assembled composers, educators and students that Develop spoke to. Jason Graves demonstrated how he approached the score for Crystal Dynamics’ Tomb Raider reboot. The developer, he said, wanted a score that would give the franchise an identity for a new era, while avoiding repetition in-game. “I wanted it to be really dynamic, so I
proposed to do the entire score in my studio,” Graves explained. Outside of the cinematics, he said Tomb
Raider’s in-game music was composed of a series of layered “stems and strings”, which are individually triggered depending upon the player’s actions and their proximity to enemies. For instance, as Lara sneaks up on unwitting foes, the quiet clang of cymbals plays. If she performs a stealth kill players hear a sudden crescendo of stings, and when combat becomes heavier still the beat of drums is added to the mix. “Every single combat event in the game was individually scored,” said Graves, who used orchestral samples and recorded the percussion live at his home studio.
08 | OCTOBER 2013 Graves produced close to four hours of
original music, without loops, and added that Crystal Dynamics was able to stretch it even further because of the interactive layering system. Graves said scoring Tomb Raider has
“changed the way I think about music,” particularly as this was the first time he’d worked so closely with a games developer.
We need to create music that can
reach beyond the US, and touch the hearts of anyone who experiences
our story. Martin O’Donnell, Bungie
REPEAT PERFORMANCE Much to the audience’s delight, the composers discussed intimately what life is really like for them as creatives and contractors during the conference’s afternoon sessions. Lipson, Microsoft Studios audio director
(read more from him on page 53), advised aspiring composers that how they conduct themselves professionally can be more important than the music they write. Graves said showing your commitment
by travelling to meet a developer in person makes a big difference when looking to secure commissions. Kyd set off roars of laughter with his
response to a question about generative music: “You can’t tell a computer to have a rough childhood.” And O’Donnell regaled the audience with his tales of working with music legend Paul McCartney on the forthcoming Destiny soundtrack, as well as its overture, Music of the Spheres. “Game music has a truly global
audience. For Destiny, we need to create music that can reach beyond the borders of the US and touch the hearts of anyone who experiences our story,” he said. From tales of record-breaking at
Skywalker Sound, which drew a round of applause from the audience, right through to Hannigan’s call for game music to be recognised more widely in the mainstream, Game Music Connect was an event filled with insight and inspiration. And the event should be back, as the mood in the room was overwhelmingly in favour of a repeat performance.
www.gamemusicconnect.com
Game Music Connect took place at the Southbank Centre’s Purcell Room
Composer James Hannigan with audio commentator and host John Broomhall
Richard Jacques, Jesper Kyd and James Hannigan offered advice for budding composers
Sony’s Alastair Lindsay and Microsoft’s Paul Lipson give the platform holders’ views on audio
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