Game Development Reference
In-Depth Information
and again. The signature sounds for games, along with stirring scores, have
elevated the entire gameplay experience using many of the same techniques
devised for scoring feature films.
audio producers and Composers
For the most part, game crews have an audio producer who can act as the super-
visor, overseeing the design and development of musical scores or soundtracks,
ambient sounds, and special effects audio. Every project is different. You create a
prototype first and work with the plans and the producer to continue fine-tuning
the vision of the game.
For large games with big scores, much of that work is delegated to professional
composers and musicians who are brought on board a project as independent
contractors. To get started, the composer will work with the audio producer to
get an understanding of the project scope. Music can create such an emotional
impact that it's inadequate to simply hand the composer an asset list of scenes or
events they need to write for.
The composer needs to see and understand what the world is all about that
they're writing for. Is it scary, bleak, intense, damaging, and overwhelming, or
light, carefree, and childlike? Using descriptive language to explain the look and
feel of the game to express the impact that the project needs is one way to begin
communicating with the composer.
Sometimes there is a script to work from. In addition, providing the composer
with concept art, sample animations, animatics, storyboards, and cinematics, or
even letting them play what has been developed so far, allows these professionals
to immerse themselves in the spirit of the project.
According to composer Garry Schyman (
BioShock 1
and
2
and
Dante's Inferno)
,
seen on the left in Figure 8.2, one of the techniques used to implement the audio
is layering. For example, a section of the game may start with a simple ambient
layer of sound or music, that can build in complexity as more audio elements are
layered onto it.
The layering can include additional sounds—music or background noises such
as crickets, wind, and thunder—or increased instrumentation. In Figure 8.3,
Schyman is seen working with a full orchestra as they record his score for the
game
Dante's Inferno.
Each project has unique requirements. According to Schyman, AAA games
are like feature films in that they usually have original music recorded with an
orchestra, whereas smaller games are like TV shows that can work with music
recorded using just a keyboard and software synthesizer. Generally, a AAA game
will require 50-150 minutes of music created for the project.
the composer needs
to understand the
world being pro-
duced for the game
in order to create
effective music.
An effective sound-
track for a game
tends to be invis-
ible. its presence
enhances but never
overtakes the play
experience, and
effective layering is
all but undetectable.
