Jan 25th 05
Posted by admin in Youtube
The creation of music for films and games are interesting in comparison. There are both interesting comparisons and diversions between the two types of music.
Films and games were both media born without audio and music. Films were silent for over 35 years from 1892-1927 (Chion, 1994) and games were silent for 10 years from the first, Space War, game in 1962 (Smith, 2005) to the introduction of a beeps in the game, Pong, from 1972. The implementation of music in games came 8 years later in 1980.
The first stage of music implementation in both media also shared some similar types of aesthetics, which consisted of over-exaggerated and attention-needing types of music. The first types of film music were real-time improvisations done by piano players, who accompanied the silent movies played in the cinemas. The idea was to emphasize the emotional atmosphere of the silent movie by playing dramatic music to the events.
The role of the earliest film music was to emphasize the drama in the movie and to enhance the dramatic experience in terms of adding music to the otherwise, silent experience.
The first music in games had a similar role, which can be illustrated in the game, Pacman, released in 1980. Pacman was one of the first games to actively implement and use music in order to emphasize certain dramatic moments and moods in the game. Additionally players are “rewarded” with music, when starting the game and completing levels. The music is very distinctive and thematic, yet very attention-needing and monotonous. This aesthetical tradition was inherited in game music for many years, especially in arcade based games.
But regardless of the “Bleeps and Bloops of Yesterday” (Marks, 2004) both film music and game music have evolved significantly. They are no longer caught in stereotypical boundaries of monotonous muzak and they are both widespread industries with a variety of different practices. Yet one could argue that both film music and game music are neglected forms of art (Pendergast, 1992), which might be the case considering the lack of academic and aesthetic studies in both phenomena, especially game music.
The two media are however not alike in all aspects. Film music does not account for the challenges of interactive media, such as music for games or other types of interactive and adaptive multimedia. Films are a static linear media of projected motion photography consisting of a pre-planned cause of events. Where as game music differs due to its interactive nature and real-time alteration. Game music, unlike film music, can be both static and/or dynamic (Marks, 2004) as it can both consist of pre-composed music or by adaptive types of music, which forms itself according to the real-time actions or interaction of players. The interactive types of music pose new challenges for both designers and composers. The music must be able to change its own behaviour and characteristics in real-time and in correspondence with player action or interaction.
The main concept of music in games has many resemblances to film music. We are basically influenced by the music no matter what context it is used in. The six basic building blocks of music, rhythm, melody, harmony, tonal center, silence and contrast are powerful tools in order to enhance and influence our emotional response and experience in both games and films (Sonnenschein, 2001).
Jan 7th 05
Posted by admin in Youtube
I don’t know why I am wasting my time on this.
But I am still provoked by the fact that nobody really knows what this Absurd-Alcohol-Allergy is about. What does tripple-A mean (in game related contexts) and what does it stand for? Well… My most qualified guess is that the term “AAA” was invented by producers and/or publishers. Its the equivalent of Super-MEGA-sized burger meals or XXX porn movies. More is more and bigger is better. Its that simple. Though I am still positive that the first real XXX games will end up being AAA games as well. But thank God I am not the only one speculating about this.
There are numerous and similar definitions floating around on the net. Basically “AAA” refers to very large and expensive production titles, which include a highly productive PR/marketing apparatus. Several companies are now referring to their titles as having “AAA” potential, which is basically just to hype it up. In my opinion “AAA” is only something which makes sense after release, reviews and sales records. Or maybe it would be more easy to say that the definition of “AAA” is something that has sold at least a million copies?
Anyway. I found an insightful article from 1998, which also discusses this matter:
“…Presently, in 1998 you have basically three types of games: AAA, A, and B games.
AAA game means games that have almost unlimited budgets and are media events. Blizzard is the AAA game company these days. They won’t release anything that doesnt fall under AAA.
They killed Warcraft Adventures not because it was a bad game but because it would have been only an “A” rated game. AAA, A, and B level games have nothing to do with how good the game is. If I wrote the worlds greatest space invaders clone today and even if it had great graphics, great sound, and was totally rock solid, it would still be a B class game. Only a handful of games each year make it out as AAA because the bar is so high to be a AAA game. It costs millions of dollars to create a AAA game. My personal favorite game, Total Annihilation, barely makes it out as a AAA game because it didnt have full motion video through out, the units didnt talk. Its a AAA game still but just barely. So even the best and funnest games may not be AAA games. Starcraft is a great example of a AAA game and Ill use it because its also an excellent game.
Games like Entrepreneur, Panzer General and Warlords III would be great examples of A games. They may be as fun or even funner than AAA games but dont have the budgets behind them of a Starcraft. No full motion video between every level, they are about the game, not the game and experience.
Deer Hunter is a great example of a B class game in quality. Cheap to make. And where Deer Hunter changed the world was in discovering that a B level game can now make as much money, if not more than a AAA game. And believe me, the game designers of AAA game companies are probably sweating a bit about Deer Hunter. Because corporations are about profit and if they can make more money cranking out B titles they will. But that’s for another discussion entirely.
Historically, AAA, A, and B games represented how much money youd put in and get back. A AAA game may cost a ton to create but they bring back the big bucks. They are the games of the year, they are the 2 million plus unit sellers. Myst, Dialbo, and Starcraft, these are AAA games…”
Jan 2nd 05
Posted by admin in Youtube
Yes!? Its true! I just read a sweet article (in Danish) about the pleasure of enjoying music. You see… All audio is basically perceived the same way inside our heads, as our sense of hearing is arguably an automated body function. However we interpretate music highly individually, which indicates that a large portion of our aesthetical experience of music is related to socio-cultural issues, affection and emotion.
There are two widespread phrases within music research. The first one is “Plaisir”, which basically means “Happiness” – and then there is “Jouissance”, which means “Pleasure”, but a kind of pleasure where we forget ourselves.
I often find myself in weird places when composing music. I wouldn’t say that all places are equally pleasurable. But I guess thats a part of ones musical journey through life.
Anyway – to make this short. I have learned two new words. Plaisir and Jouissnace. Arh damn! I meant Jouissance.
