GCAP 2017

This talk will focus on how texture, tempo and audio integration can be utilised to transform a game’s soundtrack into more than just underscore. We plan to challenge developers and music composers to consciously examine these fundamental elements in music and games.

Using examples from the monochromatic ninja multiplayer Kieru, we will demonstrate how each track composed and integrated into the game is texturally and rhythmically unique from one another. The purpose behind designing music like this is to disrupt the expectations many players have of battle music in video games. In Kieru, layers of atmospheres and weird noises take precedent over big drums and massive guitars.

There is a deliberate inconsistency in the music. Each match draws you into a completely different array of sounds and rhythms, constantly keeping you guessing about what will happen next. The core idea for the music is to drive feelings of suspense and uncertainty through integration. I will explore the risks and challenges of this in-progress development, explaining that while exploring concepts such as this is appealing, it must also be backed up by practical application to both music and gameplay.

Using examples in the middleware Fmod, we intend to leave developers and composers with a desire to integrate texture and tempo into their game music in a different ways. The appeal for developers and composers alike will be that gameplay, narrative and immersive elements in their game can be exploited through musical theatrics to force the player to question certain actions they have or must take.