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We asked 13 video game composers how they keep scores interesting

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We asked 13 video game composers how they keep scores interesting

As a music enthusiast and amateur composer, I find the insights shared by these talented game composers truly inspiring. Their unique approaches to creating memorable and non-repetitive music for games are fascinating.

I delight in games that challenge my mind, causing me to frequently pause (not physically pausing a game, but rather taking a moment to ponder) about my next move. It’s during these instances, such as examining ways to scale a wall in “Ori and the Blind Forest” or reviewing my items before venturing into the mines in “Coral Island”, that I become more aware of the game music.

We asked 13 video game composers how they keep scores interesting

Check out our special issue TopMob FM, a week of stories about all the places where music and games connect — retrospectives, interviews, and much more.

In any game, there are numerous instances where the music plays, and it can be challenging for composers to create a soundtrack that remains engaging without becoming irritating. With modern games having hundreds of tracks and players potentially investing hundreds of hours into games like Elden Ring, one might wonder how the music from our favorite games becomes so nostalgic, motivating, and thrilling. How do they achieve this?

We posed this question to 13 talented video game composers, who have created the scores for games such as Hollow Knight, Assassin’s Creed, and Pacific Drive: When crafting music for video games, you understand that the songs will be played repeatedly. Could you share some strategies you employ, whether they concern music theory or game design, to prevent players from growing tired of in-game music?

Here are their answers.

[These interviews were conducted via email and edited for format and clarity.]

Chipzel, aka Niamh Houston (Dicey Dungeons, Interstellaria)

In simpler terms, if I don’t grow tired or frustrated with my own songs while repeatedly playing them during the project, it suggests they aren’t too grating or irritating.

Christopher Larkin (Hollow Knight, Tohu)

The objective is to create music that strikes a harmonious blend of consistency and change. Overly repeating elements within a single loop can lead to a multiplication effect when each loop plays, resulting in something quite annoying. Conversely, if you continuously compose within the loop without any repetition, you might end up with something complex and hard to follow, making the loop’s ending more conspicuous, which is contrary to the aim of continuous composition.

As a gamer, I’m always on the lookout for patterns – they’re like hidden treasures to me. And while repetition can be comforting, it’s those subtle shifts in repeating patterns that really excite my mind. This concept is similar to theme and variation. I strive to create themes that are familiar and easy to grasp, but then I love to throw them into new situations with a twist of variation. It’s a delicate dance, and I don’t always hit the right notes. However, I firmly believe that loops work best when they strike the right balance between pattern creation and intriguing variations.

Another aspect that captures players’ attention is the way loops are handled, particularly when a track has multiple mix states. Team Cherry has skillfully designed a three-tier music system consisting of a “main,” “sub,” and “action” layer. The game’s immersion lies in the dynamic volume adjustment between these layers as the player navigates through the world, adding more depth to an already rich musical composition due to the continuous transition between volumes.

Daniel Olsén (Sayonara Wild Hearts, The Gardens Between)

In my creative process, I don’t strictly adhere to any specific rule. Instead, I aim to make melodies intertwine sufficiently to create a subtle droning effect. I also strive for the songs to feel more like a continuous progression when they start over, rather than just looping. Above all, if the song seems too repetitive upon integrating it into the game, I need to rework it by extending its length, softening certain elements, or altering repetitive parts.

Jason Graves (Dead Space, Tomb Raider)

To keep things fresh, a significant aspect involves composing music that progresses consistently without resorting to repetition. In-game, I intentionally refrain from looping melodies for an uninterrupted flow. However, it’s important to note that replaying levels or entire games is always welcomed!

Music implementation is the key to keeping things from sounding too repetitive. I always work as closely with the developers as possible. Much of this comes from closely collaborating with the audio team; obviously, every game is different. One of the general ideas is using stems to keep things fresh — turning different instruments up and down, not just gameplay dependant but also time-based. The combination of the two, along with a fairly large selection of stems to choose from, can make the music feel like it’s constantly moving forward.

Jesper Kyd (Assassin’s Creed Valhalla, Warhammer: Verminitide 2)

Video game music is uniquely captivating compared to other music genres. In pop music, the focus often lies in creating something immediately satisfying. Film music, conversely, must seamlessly blend with the narrative and the scene, even if it doesn’t directly correspond to the moment on screen, it should still resonate with the story. However, when it comes to scoring a video game, there are numerous viewpoints to consider.

In Warhammer: Vermintide 2, the musical style immerses you into the Skaven army, making you feel like an outsider in a world that seems eerily alien. The music is creatively designed to reflect how a Skaven band might sound in this universe. As such, you’ll hear unusual instrumentation, with a mad scientist on keyboards and homemade instruments for string and percussion performances, among other unconventional methods.

Instead of simply evoking specific emotions like fear or sadness through music, I prefer to incorporate layers of meaning. I strive to draw from the narrative or characters in ways that extend beyond the obvious, offering listeners a chance to delve deeper into the story or gain insight about characters through the music selection itself. This approach encourages the audience to connect the dots and possibly learn something profound about a character.

As a gamer, I’ve found an intriguing technique that really elevated my gaming experience in titles like Darksiders 2 and Freedom Fighters. In these games, the musical score adds an extra layer to the adventure, mirroring the world of the afterlife in Darksiders 2 or evoking a sense of grandeur after destroying structures, such as bridges, in Freedom Fighters.

As a seasoned composer who has had the privilege of creating music for various genres, I firmly believe that scores should be an immersive and engaging journey for both the game player or film viewer. Drawing from my extensive background in adventure, fantasy, sci-fi, horror, and thriller genres, I strive to craft unique and captivating pieces that resonate with audiences on a deeper level.

Initially, the idea was to incorporate this melody into the sequence depicting Ezio’s father and brothers, but I’m relieved we chose another path since such a connection would have been inseparable from that specific scene. Instead, its meaning is more flexible and requires your own interpretation to decipher why it sounds as it does. This gives the music depth, making it unique and personal for each listener, providing a distinct experience for everyone who listens to it. The beauty lies in the fact that we don’t explicitly explain what it means or why it’s included, allowing listeners to find their own meaning.

As someone who has spent countless hours immersed in the vibrant world of Borderlands 3, I’ve come to appreciate the subtle artistry that lies within its main menu music. It subtly hints at an epic adventure waiting just beyond our screens, a tantalizing tease that beckons us to step into this fantastical universe. Yet, for now, we remain anchored to the main screen, invited to pause, relax, and contemplate the depth of emotions stirred by this simple melody.

In my compositions, I strive to embed intricate harmonies that encourage multiple listens, revealing new aspects each time you hear them. The second listen might uncover hidden layers, while the third could still surprise you. Composing a lengthy main title theme, such as a 10-minute one, is thrilling because it may initially seem like a brief loop, only to be discovered fully by listeners who decide to continue listening and then realize, “Wow, this music doesn’t end!” This style of composition reminds me of my youth, when I was 13, immersed in my room, engrossed in game music.

Jessica Curry (Dear Esther, Everybody’s Gone to the Rapture)

As a seasoned composer with years of experience under my belt, I’ve been fortunate enough to work on shorter games that require less music repetition, making it easier for me to focus on creating unique and impactful compositions. In my career, I’ve never had to write background music or “wallpaper” as some might call it – if a cue is present in the game, it serves a purpose and holds significance.

Lena Raine (Celeste, Chicory)

As a lifelong music enthusiast who has spent countless hours immersed in melodies from various sources such as movie scores, TV themes, and commercial jingles, I have developed two primary strategies for creating memorable tunes that linger in the mind. One approach, which might seem surprisingly straightforward, is to craft catchy melodies and motifs that resonate deeply within me, often evoking a sense of familiarity or nostalgia. This technique has proven effective over the years, as I find that much of my musical creativity unfolds organically in my mind before being transferred to paper or digital format.

A second strategy is to borrow methods from jazz improvisation and structure your piece like a lead sheet. First, play the complete melody. Then, for subsequent performances, keep only the chord progression while omitting the melody as it has already been played. The chord changes serve as a guide, and you can add improvised solos, loops (vamps), or transitions to new sections, but when reintroducing the melody later, it seems less monotonous because we’ve experienced an adventure beforehand.

Mark Sparling (A Short Hike, Cursed to Golf)

In the game “A Short Hike“, adaptive music is employed as a tactic to prevent listener fatigue. By subtly altering the instrumentation and atmosphere of the music, each region offers three to four distinct sections. As players transition between these sections, they can delve into an area for a significant period without growing weary of the music.

In my writing process, I strive to create distinct sections that alternate between active and passive elements. My goal is for the active parts to function as engaging hooks that occasionally surface, while the passive parts are enjoyable yet not overly catchy or repetitive. This way, I aim to ensure that listeners will recall the music in the future without growing tired of it after repeated listens.

Mikolai Stroinski (Metamorphosis, The Witcher 3: Wild Hunt)

When creating music, there are intentional selections made in various aspects such as pitch range (register). For instance, a higher register can feel more strained to our ears, but due to the principle of harmonics, it allows for bolder orchestration and a more melodious presentation. Other choices include interval selection, harmonic tempo, and complexity of counterpoint. There’s no definitive solution as to what works best and what doesn’t. After I’ve composed a piece, I let it play on repeat for about 10 minutes while attending to other tasks in the studio. If the music doesn’t annoy me, then it’s working well. Much of my creative decisions are influenced by the nature of gameplay and the level of player engagement at any given moment.

Rich Vreeland (Hyper Light Drifter, Reigns)

When creating music for video games, it’s crucial to take listener fatigue into account. There are strategies for both composition and implementation that can help combat this issue. The most effective tactic is to introduce variety, ensuring that the listener doesn’t get too accustomed to certain sounds. By strategically using silence, you can make the music more impactful when it does play. Games like “Fez” and “Hyper Light Drifter” use silence effectively to interrupt musical moments, offering players opportunities for reflection, refreshment, or simply different emotional experiences.

Simon Viklund (Dead by Daylight, Payday 2)

As a seasoned composer with over two decades of experience in crafting music for video games, I firmly believe that adaptive music is not just a trend, but an essential aspect of game audio design. Over the years, I have witnessed the transformative power of adaptive music in creating immersive and engaging gaming experiences.

To provide a clearer response to your query, I believe it’s essentially about playing the game and deciding how long a player might spend in each stage or location. This length determines the music composition. Naturally, game music should align with and boost the atmosphere, similar to film scores. However, what makes gaming unique is the risk of repetition. If you’re creating music for a part where players may linger due to various reasons, ensure that the music is soft or varies greatly to prevent it from becoming annoying over time. It’s just common sense, in essence.

Wilbert Roget (Call of Duty: WWII, Mortal Kombat 11)

As a gamer, I’ve discovered that the art of composing music for games is not just about complex harmonies and long pieces with numerous textural shifts. Instead, I find it more effective when creators strategically limit bass line movements for shorter loops or even craft extended compositions filled with silences to emphasize sound design. However, I think the real magic lies in the implementation of the music itself. Designers should thoughtfully choose when and where the music plays, creating moments of quietude where no music is heard at all, allowing the game’s sound effects to shine. Moreover, having a range of cues with different intensity levels can greatly enhance the experience. These intensities should be adaptable through gameplay syncs, ensuring a dynamic listening experience that adapts to my actions in the game.

Yuka Kitamura (Bloodborne, Dark Souls 2)

In composing game music, I aim to ensure that it aligns with the game’s environment, characters, and in-game events. Consequently, I strive to avoid creating music that is overly dominant, chaotic, or excessively emotional for the player. However, there are instances where a more intense emotional response may be required, especially in staged scenarios. Moreover, it’s crucial to balance the music’s emotional impact so that it doesn’t overshadow the actual game situation.

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2024-08-10 17:19

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