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CLoUD CoNtroL Game music only continues to get more sophisticated and more complex,
both compositionally and technically. Wwise and FMODs considerable acceptance across the industry has given game composers an advantage that was sorely missing for years: standardized tools. When the gig can be about composing interactive musicas opposed to building technology that facilitates composing interactive musiccomposers as a group can begin to focus on innovation rather than reinvention. The ubiquitous music loop was once the undisputed king of game scoring. King Loop, however, has become tiresome, and audio teams across the industry are now working with game music systems that focus on more variety. Interactive music scores are starting to be more about stitching non-looping material together, rather than wall-to-wall loops of repetitive music. This increase in variety is bringing with it an increase in the amount of music needed to cover a game. By the end of the next generation of gaming, conversations regarding disc footprint will be a thing of the past. Cloud storage and cloud streaming
j e s s e h a r L I N has been composing music for games since 1999. He is currently the staff composer for LucasArts. You can email him at jharlin@gdmag.com.
www.gdmag.com
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