Collins Chap 5

In this reading it started out with looking at how a game gets developed, then narrows it's view to the sound design aspects of the game. Audio production is much like it is in film (since I have no clue how either area works this was quite an enlightening read). I'm excited to be learning about audio in general because it's one of the things I don't think about as much while playing games, but it is defanatly an important area. It looks as if the different composers try to make music for the game with the budget and project size that they have. They try to match the music as best they can to what's going on in the game to set the tone right. They join in at the pre-production stage and work with the developers as the game is created. They look at the major plot points in the game, as well as the major characters and try to create the music that way.

I noticed that there are many more pieces of music in a game then I really thought about. Major battles will get their own music, but apparently so will the main character running. This makes since, because you don't want just dead silence during your game (unless you are trying to do something with that silence) but this makes the task much more monumental the I first thought about. I can't think in musical concepts so I have no clue how they would be able to compose this music art and all these different pieces.