The second aspect is, what does it look like? A lot of people don’t know that the visuals are something that happens later on in a game. So a lot of my initial experiments are playing through an early version of the game to find out what the general speed of the game play experience is. Much like when you watch films for the first time and each theme that you score has a tempo, I believe games have a tempo too. Gareth Coker: I think this largely depends on the game, but if it’s a narrative game there are three things that I look for. Q: When you’re approaching a game score, whether a new game or a sequel game, what are the first elements you consider when you are starting out? It’s not enough, now, to just deliver a great sounding piece of music, it’s absolutely got to be so closely defined to what the player is experiencing in the game at any moment. So that, I think, is going to be the biggest challenge, moving forward, for composers.
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It’s something that I feel is much harder to achieve in games, because you’re having to deal with the fact that the player controls the experience – as opposed to a film or TV show where it’s entirely linear. The same is happening in games right now – lots of games have great music which functions in the background, but the truly special ones are where you just cannot separate the two. You’ve watched probably many films where the music just exists, maybe as wallpaper, and it does its job, but then there are those special films where the music feels inseparable from the film. When I say “great game music,” I mean that the music has been written with the idea that the players are at the center of the experience – as opposed to just existing in the background. What I mean by that is that I think a lot of games have really good music in them, but far less games have great game music, and there’s a subtle distinction between that. I feel that’s now the minimum standard, so the challenge now is how can we use that great music and make sure that it plays back in the game correctly. I’m talking about live recordings with orchestra where the music is just very well-made: good melody, good use of harmony, etcetera. Gareth Coker: That is a loaded question, especially since the game industry is constantly evolving and changing on a yearly basis – sometimes it appears that something new is coming up on a monthly basis! I think the biggest challenge now, moving into 20 and beyond – something I’ve noticed in the last two or three years – I think the vast majority of game soundtracks now have generally very well-produced music. Q: What are some of the biggest changes you’ve seen in scoring video game music since you started scoring games with MINECRAFT in 2009? The same is happening in games right now.” “You’ve watched probably many films where the music just exists, maybe as wallpaper, and it does its job, but then there are those special films where the music feels inseparable from the film.
He has also written multiple soundtrack albums for various MINECRAFT expansions (2016-2019), and contributed to Insomniac Games’ VR title THE UNSPOKEN (2017).
His recent works include the videogame scores to ORI AND THE WILL OF THE WISPS (2020), DARKSIDERS GENESIS (2019), ongoing work on ARK SURVIVAL EVOLVED (2017-). He has received nominations from BAFTA, GDC, and IFMCA, amongst others. His scores have garnered numerous awards, including the Academy of Interactive Arts & Sciences Award for Outstanding Music Composition, the SXSW Award for Excellence in Musical Score, multiple Game Audio Network Guild awards. He is known for his melodically driven scores, unique soundscapes, and attention to detail and execution in the application of how music emotionally relates to the gamer as they are playing. Gareth Coker is a British composer and producer working out of Los Angeles.
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