Chaos Theory in Game Music
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- Опубліковано 21 січ 2024
- In this GDC 2023 talk, game composer Winifred Phillips discusses her score for the Jurassic World Primal Ops video game. By focusing on tonal ambiguity and unconventional harmonic progression, the music of Jurassic World Primal Ops was able to subvert expectations, keeping players on edge and infusing chaotic excitement into gameplay. Phillips' music for Jurassic World Primal Ops is currently nominated for a Game Audio Network Guild Award in the category of Music of the Year. The score was also nominated in the Society of Composers and Lyricists Awards in the Outstanding Original Score for Interactive Media category, and has won a Global Music Award for Best Game Music.
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I'm not a professional musician or composer but the talk was very interesting and insightful.
The info I haven't had yet about video game composers is what exactly is their job composed of?
I mean, I know the process to write for a symphonic orchestra but in case of lower budget games maybe only the title theme will be played by an orchestra, the other music will be played by (high end) VST instruments, in that case does the composer send the music he/she wrote to a team which is specialised in orchestrating with VSTI, then the music is exported to audio files and mastered or does the composer have to do all that additional work him/herself?
There is not a definitive answer, all of the above can be true depending on the budget and skills of the composer. Or just some of it. totally depends
As a professional composer for (mostly) games with a modest budget, I can answer that: Yes, the composer does all the VSTi programming and mixing/mastering themselves in 99% of cases. It's not as terrible as it sounds - as with most areas of game development, you have to have a real passion for it anyway, since you spend A LOT of time just practicing before you can make anything remotely good.
I hope that answer helps you! :)
@@Yufka52 Yeah, thanks, strangely, I am more impressed by the VSTi programming and mixing/mastering than by the composing skills displayed in that video. 😅
@ Both skills (composition and audio production) definitely have different creative and technical requirements, but each are satisfying in their own way. ^^
Midi realisation has been around for a long time, especially for pop music but for games although I suspect many composers today have their own setups and are adept with the tools.
wow, this woman is incredible. They gave her a mobile game and she gave them Webern, Berg, and Ives. so inspiring.
8:03 G7b9omit3/F Db7#5/Cb E7#5/D G7#5/F the 3 last chords are the same moving up a minor 3rd (but voiced)... I don't get why the last one is in red...
8:07 G7b9omit3/F Db7#5/Cb E7#5/D Fmaj7#5/F# ok, I get it, it feels like it switches tonality on the last one compared to previously but it is weird to use the word "tonal" and the word "pivot" when the context is pretty close to atonal... The whole "orchestra hits" fragment sounds very Quincy Jones indeed... 😀
Always a pleasure to hear her enthusiast about her work.
I thought this was about Spinter Cell 😂.
14:19 ok, the Octatonic scale is just the Diminished scale 2-1, I thought I was about to unlock a new scale and get some EXP points. 😅
I believe octatonic is any 8-note scale - but usually it means diminished, so it can be both diminished 2-1 and diminished 1-2. But who's counting anyway? 😂
20:55 ok Db staff has a natural A and a natural D, the C wholetone staff starts with a natural B and has a natural F... But that is ok, I already used polytonality that way and it was quite tough and time consuming to stay strictly in each tonality on each staff AND keep it making sense musically, so let's say polytonality has to be adjusted by ear for the whole instrumentation to make sense.
Polytonality can be as vague as minor tonality harmony, that's the lesson of the day.
She doesn’t need your help dude.