![]() ![]() There are many other ways to approach the challenge of interaction between what the player does and how it is reflected in the music, but that’s the most common example in my experience. The intros and outros are always treated separately from their main body of the piece as well. Those recorded parts of bigger pieces need to be interchangeable. This can also affect the way the score is written and prepared for the recording session, where the musical pieces are also recorded in parts – rarely are all the instruments recorded at the same time. Often in games cues need to be comprised of smaller sections within the main composition. The degree of interactivity directly affects the way you write the music. How greatly does the inherent dynamic quality of video games as a medium impact upon the creation of a score? In the case of a film or TV show, in general you have a linear story to support – not so much in video games where you need to focus more on the mood and how you want the player to feel… that is a very broad picture and there are exceptions of course. The only element common to both film and video games is when scoring cut-scenes, which are short movies that are intertwined into the gameplay. ![]() It needs to be created in a way that keeps it open to a change at any given moment, therefore, very often bigger sections of music need to be planned as one.Īnother important factor in games is looping a piece which has to be taken into consideration as well. ![]() As a result, the music has to be interactive which affects the whole musical approach. In the case of a film or a TV show the music is permanently assigned to any given scene, whereas in a video game it never plays exactly in the same spot and completely depends on what a player decides to do and when he or she decides to do it. MIKOLAI STROINSKI: Those are two different worlds. CRAVEONLINE: How different is the process behind making a score for a film/TV show and making a score for a video game? ![]()
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