And the upgrade broke all of the sound, which had to be rebuilt pretty frantically at the eleventh hour. On Journey, there was a major software upgrade to the primary music tool we were using two-thirds of the way through the project. It can be frightening to implement unproven new tech in the middle of a game’s development, with all of its undiscovered bugs and instabilities. Most of the time, the really interesting advancements are only enjoyed on the next game, rather than applied to a project you’re writing currently. During a project, a gaming console’s hardware capabilities could be upgraded significantly. And The Pathless is a good example over its development, the scope of the game expanded considerably, and I had to make sure the score could commensurately expand as well. What might start with ‘45 minutes of music will do the trick’ becomes three hours of music. There’s a hard limit on the amount of music you might potentially be writing, whereas even small games can be nebulous. I love scoring television and film for their short-term, hyper-focused nature. I think if you asked a runner, ‘what’s better, a marathon or a sprint?’, alternating between the two is perhaps the ideal. Even as a composer, you’re able to be part of the development team, and I love that environment it’s almost like being in a band. What’s wonderful about games is getting involved early.
#Pathless define movie#
The movie gestation period is actually not that much shorter than games – it’s just that the composer isn’t involved until near the end. How do you manage those differences, both compositionally and emotionally?Ĭertainly, compared to episode-to-episode TV, games take much longer. Compared to TV shows and films, a game soundtrack’s gestation period is long and constantly evolving.
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