Crafting a Soundtrack

The primary aim of video game sound design is to enhance a video game’s gameplay experience. The composition of video game soundtracks is informed by two primary factors. When devising a compositional direction or mood, a sound designer first considers the content of gameplay and narrative. The narrative trajectory of a video game will often inform a composer of the length of a piece, harmony constituting a piece, and underlying emotion conveyed in a piece.

In an interview with sound designer Mick Gordon (composer of soundtracks from DOOM 2016, Wolfenstein II, and Killer Instinct), we inquired about the role of game narratives in soundtrack composition. Mick reaffirmed the notion of narrative importance, saying, “Games can sort of be defined by their narrative. You know, I wouldn’t write the DOOM soundtrack for Wolfenstein II, or vice versa. It just wouldn’t fit. But there are patterns I end up following, subconsciously. Motific development is really important… building on an established theme”.

However, beyond just accounting for the requirements of a specific scene, a composer must also consider any preconditions dictated by a game production company – this is a composer’s second consideration. In order to generate commercial appeal, a game production company may hire a sound designer to craft a piece or soundtrack that intentionally conforms to the public’s notion of popular music.

The reader should also note the relationship between popular music and soundtrack composition. Video game sound design evolves in tandem with the progression of popular music. As various genres shift in and out of favor in the minds of the populous, so do the artistic inclinations of composers. If a composer intends to generate commercial appeal, they will likely, consciously or unconsciously, incorporate elements of popular music within their compositions.

Holding Captive A Player’s Attention

Video game soundtracks serve to reduce a player’s perception of reality and eliminate any subconscious acknowledgement of a fraudulent experience. In Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design, author Karen Collins addresses this notion, saying, “This element of interactivity distinguishes games from many other forms of media, in which the physical body is ‘transcended’… Although the goal of many game developers is to create an immersive experience, the body cannot be removed from the experience of video game play, which has interesting implications for sound” (Collins, 2008). If a soundtrack exists in function to enhance a gameplay, the presence of a human voice – one performing a melody, not that of an automated game character – would detract from the audio-visual enthrallment one experiences in a video game. To this end, game sound design often solely employs instrumentation to give shape to rhythm, harmony, and melody.