Video game music in search of recognition

It’s really fun, says the co-founder and art director of Vibe Avenue, a Montreal studio specializing in creating music and sound for video games. We’ve long been considered a bit inferior category to film music, and there, I get the impression that it puts everyone on an equal footing, so I think that’s very positive.

Video game music already had its heyday at the Grammy Awards in 2011, when Christopher Tin won the trophy for best arrangement for Our fathera composition for the game Civilization IV.

This creator is in the running for the first video game music Grammy award for game music Old Worldalongside, in particular, Richard Jacques for the Montreal title arrangements Marvel’s Guardians of the Galaxy.

Video games, cousins ​​from movies?

Video game music and film music are not so distant, according to François-Xavier Dupas.

Just see the work of Bear McCreary, who in addition to signing the tunes of the game Call of Duty: Vanguard – Grammy nominated – is also the artist behind the soundtrack of the blockbuster series The Lord of the Rings: Rings of Power.

The difference is that in the game the music must be interactive, so react to what is happening in the game. We compose it, but then we cut it into pieces or layers to make it dynamicexplains François-Xavier Dupas.

« While we know in advance what will happen in a video game, we don’t know when it will happen. One player can go faster than another. »

A quote from François-Xavier Dupas, co-founder and artistic director of Vibe Avenue

The creative process also differs from industry to industry, he said.

While film scores are often composed after the images have been shot – but not always – video game scores are generally produced alongside the games, to accompany the various prototypes. The development period of video game titles can last several years.

This text was written by from an interview by Annie Desrochersguest show On 15-18. Comments may have been edited for clarity and conciseness.

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