On Video Game Music
As a member of the American Composers Forum, I receive their newsletter Sounding Board every other month. I just got around to reading the May/June issue on Friday, and I came across an interesting article (originally published in the LA Times) about video game music. Despite having an awful title, it provides some insights into the composing and recording process, and is worth a quick read:
Video game music was never a field of composition that I was too interested in; I grew up on Nintendo, Game Boy, Super Nintendo and PlayStation but was never what you’d call a “gamer.” But after reading this article, I have to admit that my interest has been piqued.
I know I have a few gamers out there among my readers, and probably more who have some level of interest and experience. Do you normally notice the score in games that you play? What are some of your favorite game scores? (Guitar Hero doesn’t count….)
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Mark Harbison on 06.14.2009
I’m too lazy to actually read the article, but concerning my own experience with video games, I’ve noticed that video games often use music in such a way as to force you to notice it, such as having fast, dramatic music play whenever an enemy is near.
I feel like music in video games actually creates mood even more effectively than in movies for that reason . . . in movies, music supplements the other elements of the film (e.g., the dialogue, the actors’ faces, the set/setting, etc.) to enhance the mood, but in video games the music actually CREATES the mood by signaling to the gamer what they should be feeling. In a movie, the music just makes you feel what you’re already feeling more strongly.
It also occurred to me that you’ve probably never played Ocarina of Time . . . that’s a Zelda game where the main item is a musical instrument, and playing different songs and such do different things. Actually, that theme has been present in every Zelda game since then . . . in Majora’s Mask you used the Ocarina again, in Wind Waker you held a baton that conducted an unseen choir, and in Twilight Princess you have melodic wolf howling. You should check those games out and see what you think about the way music is implemented in those games . . .
Idhrendur on 06.15.2009
Half-Life 2 and the following series of ‘Episodes’ had a good score. It tended to be fast-paced electronic music during the more intense sequences, but that’s what the game called for.
Bioshock (on which another reader worked) was also good. The parts I noticed were natural for the environment (radios or record players), and in their normalacy made everything more creepy. The setting was an underwater city where objectivist principles and genetic tampering have ruined everything, so normal, happy music is quite the contrast.
And finally, Lord of the Rings Online is excellent. Besides the different, well written music for the different locations and events, they allow players to create music. You can either control the various instruments using the (computer) keyboard, or set up some files that specify music that will be played automatically. It’s not uncommon to run across small bands playing quite well. I only wish they provided midi input…
AJ Harbison on 06.16.2009
Thanks for commenting, guys!
Mark: That’s a very interesting point about music in games creating the mood, rather than enhancing it. It’s true that I’ve never played Ocarina of Time, but I do remember hearing the theme before and I remember not being too fond of it….
Idhrendur: I was waiting for you to comment on this post! I’ve never played any of those games, but I like scenarios where the music actually plays against the action onscreen (as you mention it does in Bioshock) and the LOTR Online game sounds pretty cool.
AJ Harbison
Ryan Fleming on 06.16.2009
I can’t stand video game music the way it is now. I believe that the philisophy behind video game music composition is not all that good. As Mark said, they try to create a mood for the player. They do this by extremely over-dramatizing everything. All the instrements are synthesized (usually using some sort of sawtooth wave to pierce into your mind), and the beat is very pulsing and monotonous.
I believe this is the wrong philosphy because of two reasons: it does not allow the gamer to feel the way he naturally would, and it creates for extreme monotony during the gaming experience (usually because certain levels are played numerous times).
I think that this new idea of having different themes or sounds play when different actions occur in the game is neat. This will reduce the monotony and add some unexpected moods to arise. It will be interesting to see this type of composition implemented.
Jason Brock on 06.20.2009
Well, this is really interesting conversation around video game music. I think there is good and bad music in video games today. It just depends on the composer and what the game developer is looking for really. Check out our music – I’d be curious to know what you think about it.
Cheers!
Ben on 07.09.2009
I absolutely love the Zelda theme. I think it is a very elegant piece that really pulls you into the adventure.
I also believe that the updates that were made for the Super Smash Bros. Brawl game for Wii were great. You should check out its theme.
AJ Harbison on 07.09.2009
Thanks for all your comments!
Fleming: I know what you mean, but I think that was more typical of older video games. Most big-name games nowadays have orchestral scores and sound more like film scores than old video game music.
Ben: Thanks for stopping by! I love the Zelda theme as well–Link To The Past is my favorite game of all time, and I’ve alwasy enjoyed the theme music. One of the classics, for sure.