If you want to talk about crucial elements of game design, music definitely deserves to be looked into. Most game students will agree with the notion that music will always have a place in this level of work, seeing as how it is an artistic element. However, how important is this to the overall process, you may wonder? For those who are curious - and I am sure that this is a high number - here are just a few reasons why students must music into heavy consideration.
To start off, music helps to captivate a gamer's attention at the onset. It could be done in a few ways, one of them being the excitement factor that comes from racing titles like "Need for Speed." However, soundtracks can just as easily instill feelings of dread in players, provided that's the design. After all, titles such as "The Evil Within" show that you do not necessarily need a catchy soundtrack but rather ambiance that can make an experience greater.
Of course, if we're talking about actual music, it should be crafted in such a way that it doesn't annoy the player after a while. Most games, in this day and age, can last for hours and you're not going to want to hear the same repetitive loop without a break. For this reason, it's important to create audio that doesn't drone on players. You may wonder how this can be done but there are a few examples of composers who have done this rather well.
Koji Kondo, in my view, stands as one of the most effective video game composers of all time. One of the reasons for this was his ability to create soundtracks that did not annoy the player. When he created a song, be it for "The Legend of Zelda" or another game entirely, he wanted to do so with the idea that players would not tune out. The fact that he would listen to his creations for an hour, to see if they started to grate on his nerves or not, showed just how vital music in game design truly is.
Music is, to put it simply, one of the most integral points that game design students should keep in mind. It is able to help set the scene, in many situations, but it's just as easy to assume that this type of music can create soundtracks anyone can leisurely listen to. However, it's important to note that audio can only be effective with strong capabilities in place. Without these, students who are focused on the creation of video games may not see the strongest work come about.
To start off, music helps to captivate a gamer's attention at the onset. It could be done in a few ways, one of them being the excitement factor that comes from racing titles like "Need for Speed." However, soundtracks can just as easily instill feelings of dread in players, provided that's the design. After all, titles such as "The Evil Within" show that you do not necessarily need a catchy soundtrack but rather ambiance that can make an experience greater.
Of course, if we're talking about actual music, it should be crafted in such a way that it doesn't annoy the player after a while. Most games, in this day and age, can last for hours and you're not going to want to hear the same repetitive loop without a break. For this reason, it's important to create audio that doesn't drone on players. You may wonder how this can be done but there are a few examples of composers who have done this rather well.
Koji Kondo, in my view, stands as one of the most effective video game composers of all time. One of the reasons for this was his ability to create soundtracks that did not annoy the player. When he created a song, be it for "The Legend of Zelda" or another game entirely, he wanted to do so with the idea that players would not tune out. The fact that he would listen to his creations for an hour, to see if they started to grate on his nerves or not, showed just how vital music in game design truly is.
Music is, to put it simply, one of the most integral points that game design students should keep in mind. It is able to help set the scene, in many situations, but it's just as easy to assume that this type of music can create soundtracks anyone can leisurely listen to. However, it's important to note that audio can only be effective with strong capabilities in place. Without these, students who are focused on the creation of video games may not see the strongest work come about.
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