| V. MUSIC PRODUCTION | | | | diminished. The purpose ofthe FMV is to |
| A. THE UNDERSCORE - INTERACTIVE VS. FILM | | | | dramatically move the storyline, and to provide a |
| MUSIC | | | | break in theaction. Since Most FMVs occur after |
| Until recently, you simply could not compare game | | | | completing a level, there is an inherentsense of |
| music to film music. Everyaspect involved in their | | | | reward when viewing the FMV. The sound design |
| production, from budgets to performance, made | | | | should pay respectto this as long as it doesn't |
| it animpractical comparison. Today, these two | | | | stray too far from the in-game sound. The |
| media have a working relationship. | | | | FMVshould act as a seamless transition into and |
| Games are created to support movies and | | | | out of the game play. In myopinion, it is best to |
| movies are made from successfulgame | | | | use in-game sounds within the FMV wherever |
| franchises. Film composers are now writing for | | | | in-gamemovements or actions are present. |
| games, and some gamecomposers have made | | | | The second consideration for FMV sound is the |
| the transition to film. Hollywood orchestras | | | | mix of all the sound elements. |
| andorchestrators are now commonly used for | | | | All dialog, sound effects and music should be |
| game music scores. Why make thiscomparison? | | | | mixed at comparable levels tothe in-game mix, |
| Because even though the considerations involved | | | | unless there is a dramatic motivation for stressing |
| in their creationare different, their effect and | | | | one overthe other. |
| function are relatively the same. | | | | VII. SOUND REVIEWS |
| B. STORY-DRIVEN/ROLEPLAYING GAMES | | | | The Beta date is just around the corner. Your |
| As the name suggests, the scores to | | | | sound team has worked countlesshours, and is |
| story-driven games must primarily tell astory. To | | | | nearing the finish line. You might think it's time to |
| tell a story musically is a sublime art. A composer | | | | examine thesound for any necessary revisions. |
| must be wellversed in the work of his | | | | Well by this time it's probably too late. |
| predecessors in order to understand what | | | | Asmentioned earlier, the sound team is generally |
| constitutessuccessful story telling using the | | | | the last in line to begin creatingtheir content. Add |
| language of music. Fortunately, centuries ofmusic | | | | to this, the fact that all previously missed |
| have been written for this purpose, allowing | | | | deadlinesbecomes their burden to make-up. Your |
| today's composer afoundation for developing this | | | | sound team will likely be deliveringcontent right up |
| art. We now associate certain sonorities | | | | to the last minute. You will need to have in place |
| andrhythms with specific actions, emotions or | | | | a regularand effective reviewing mechanism to |
| locations. Compositions like | | | | stay on top of the direction of the gamesound. |
| Rossini's 'William Tell', Wagner's 'Tristan' and Holst's | | | | Using the same group of reviewers used for the |
| 'Planets' have laid thegroundwork for these | | | | demo phase (part 1 of article),create a |
| non-verbal associations. Film and television | | | | questionnaire that rates the general aspects of |
| composershave since expanded on these motifs | | | | the sound. Rating eachindividual sound would be |
| to help express the elements within astory. | | | | time-consuming, so use categories of sounds |
| A portion of story telling is to define the | | | | andinclude room for comments or explanations. |
| environment, both time and place. | | | | By assembling the variousquestionnaires, you will |
| Musically, we draw influence from folk traditions | | | | be able to develop a consensus opinion that will |
| for such a purpose. Throughethnomusicology we | | | | revealspots that need further attention. If this is |
| can effectively represent locations and time | | | | performed in a timely and periodicfashion, your |
| periods byincorporating traditional instruments, | | | | sound team will be best able to manage the |
| modes and progressions into the score. | | | | revisions, as they areneeded. |
| For instance, a tabla, tambour or sitar is | | | | VIII. GOT YOUR SOUND BUDGET? ...USE IT! |
| appropriate for describing an Indianlocation. If such | | | | A. YOUR SIMPLE CHECKLIST |
| instruments are not available, the music may be | | | | Today's games are competing with each other on |
| orchestratedin such a way as to mimic these | | | | every level. Sound is noexception. You must |
| traditional sounds. A modern orchestra isgreatly | | | | secure the best resources possible for your |
| enhanced by the addition of folk elements for the | | | | sound team. |
| purpose of describinga specific time and place. | | | | This will require that you use your budget wisely, |
| Characters within a story are supported through | | | | and use all of it. |
| the development of melodicthemes and motifs | | | | Prior to beginning the sound effects production, |
| associated with each character. Orchestrating the | | | | ask yourself the followingquestions. |
| motifsthroughout various instruments will provide | | | | 1. Is your sound team complete? (i.e. sound |
| a sense of character developmentas the game | | | | designer(s), supervising/Leadsound designer, |
| progresses. In addition, varying the harmonic | | | | composer, audio director and audio programmer) |
| support of thesethemes will reflect the | | | | 2. Is each member of the sound team assigned a |
| character's physical, mental and emotional states. | | | | specific task uncompromisedby additional or |
| Game music for the story and role genre must | | | | overlapping roles? |
| highlight the dramatic events inthe story as well | | | | 3. Is your sound team assigned only to your |
| as drive the game-play. NIS and FMVs are the | | | | project? |
| primary toolsfor advancing the storyline and | | | | 4. Does your sound team have enough time to |
| scoring to these videos is generally | | | | complete your project? |
| astraightforward process. You must consider, | | | | 5. Does your sound team have the adequate |
| however, that game-play is also adramatic event | | | | resources necessary for yourspecific game? |
| that contributes to the overall development of | | | | These include sonically treated work spaces, |
| the story. Hereinlies the careful balancing act of | | | | equipment,software and sound effects libraries |
| supporting the story as well as the action,without | | | | that are compatible with the needs of your game. |
| the music sounding repetitious. Cross fading | | | | 6. Does your sound team have a demonstrated |
| alternate versions andtransitions, or layering | | | | track record of producingsound within the style |
| individual tracks that are programmatically muted | | | | and genre of your project? |
| andun-muted, will secure the musical effectiveness | | | | If you answered "yes" to all of these questions, |
| over long periods. Theprogramming methods of | | | | your sound design team isproperly equipped, |
| manipulating music within a game are beyond | | | | prepared and ready for production. Answering |
| theintent of this article. Further reading from | | | | "no" to anyof these questions will tell you where |
| game development resources suchas | | | | you will need to focus portions of yourbudget. |
| 'gamasutra.com' will provide a closer look at some | | | | B. OUTSOURCING |
| of the programmingmethods used in game music | | | | If the sound team is incomplete or in any way |
| playback. | | | | compromised, you shouldconsider outsourcing an |
| B. ACTION/ARCADE AND SPORTS GAMES | | | | appropriate amount of the workload to game |
| The most basic function of game music is best | | | | audiospecialists. Look for companies and people |
| exhibited in 'arcade' stylegames in which the | | | | that have a strong resume ofinteractive sound |
| overall gaming experience is enhanced by the | | | | production, and have successfully produced sound |
| addition ofadrenaline-surging music. The music | | | | for "highprofile" titles. If your game has special |
| helps to drive the action, therebyheightening the | | | | stylistic needs, then consider companiesthat have |
| intensity of the experience. For this reason, it's | | | | a track record of producing sound for similar titles. |
| very commonfor these games to license tracks | | | | C. FOLEY |
| from well-known, marketable artists with atrack | | | | The overall 'theme' of your game will help dictate |
| record of producing music that translates to the | | | | where you may needadditional resources. A |
| listener. The interactivepotential of this music, has | | | | historically based game will require |
| thus far been very low. However, as many | | | | authenticity;therefore consider obtaining fresh |
| artistsare also avid gamers, they are beginning to | | | | recordings of historically accurate weaponsand |
| show interest in lending their talenttoward | | | | vehicles. If your game focuses on destruction, a |
| interactive soundtrack design, if not producing | | | | sizeable Foley session maybe appropriate to |
| tracks in their entirety. | | | | produce original content unencumbered by |
| Generally speaking, the interactivity of the music | | | | overused soundeffects libraries. A small but well |
| in arcade-style games rarelymoves beyond loops | | | | organized recording session can give yourgame a |
| and stings. In many cases, this is all that is | | | | lot of fresh spark without breaking the budget. |
| required. | | | | IX. MARKETING YOUR SOUND |
| However, as the complexity of arcade-style | | | | Game marketing has typically focused on the |
| games grow, so must the level ofmusical | | | | creator, developer or the voiceactors within the |
| interactivity. The music for these games should | | | | game. In many cases, sound can be used as a |
| support any changes ingame-play. Power-ups, | | | | marketing toolas well. For "The Incredible Hulk - |
| signature moves and multiple damage are all | | | | Ultimate destruction" we hired some of |
| examplescommonly reserved for the sound | | | | Hollywood's finest sound recordists to coordinate |
| design to immerse the player in the action,but are | | | | a Foley session that wouldproduce the raw |
| appropriately expressed through music as well. A | | | | destruction sounds we needed to create the |
| deep understandingof the game-play will reveal to | | | | sound effectsnecessary for this game. Our |
| the composer, new areas to interactivelyenhance | | | | session took place at an auto-dismantling yard ina |
| an otherwise monotonous arcade soundtrack. | | | | southern California desert. A giant forklift and |
| VI. FULL MOTION VIDEO (FMV) | | | | bulldozer were used to drop,drag and tear apart |
| Since the FMV is a controlled environment, it is | | | | cars, vans and trailers. Multiple video cameras |
| tempting for the sounddesigner to elaborate on | | | | captured thesession for future use on the |
| the sound effects. While in some cases, it may | | | | "Behind-the-scenes" reel. The added benefit |
| beappropriate to heighten the dramatic impact of | | | | wasthe marketability achieved by everyone's |
| the story; great care should bemaintained to be | | | | dedication to producing the mostdestructive |
| consistent with the in-game sound design. An | | | | sounding game to date. Your ability to market |
| incredible-sounding FMV is surely a joy to behold, | | | | your game's soundwill also help raise any additional |
| however, if the in-game sounds do nothold up to | | | | finances needed to bring your sound up tothe |
| the FMVs, the playing experience will be | | | | next level. |