[WARNING: I’m going to spoil everything in BioShock Infinite, so don’t read unless you’ve already beaten BioShock Infinite. I’m also going to get into topics on paradoxes, the multiverse theory, and several other thought-provoking questions.] MY OBSESSION IN A VACUUM If you’ve read past this point then you’ve consciously chosen to delve further, deviating into a new universe where you are now smarter for reading this. In fact, the other version of yourself that didn’t read th

One of my best qualities as a composer is being able to connect with a character on an emotional level. It’s very easy for me to empathize and feel like the character would in each situation. Composing from a first-person rather than a third-person perspective creates a much deeper sound and immerses the player further into the game and out of their living room chairs. Knowing exactly when a character changes from timid optimism to absolutely jubilant will help the composer t

This opening trailer took some time to hash out. It's not every day that you're thrown back into the 1950's, when it's actually 2277 and the world has imploded on itself. The subway scene starts with a few images of toys as it pans out slowly, and I wanted to give the scene a "family" attribute in the beginning. I imagined a family traveling with their little girl and bringing her teddy bear along for the trip right before the apocalypse. It's a grim scene with some grim chil

I recently read Winifred Philips A Composer's Guide to Game Music and found it to be a huge help in developing music samples for video games. It offers a hollistic view of the entire industry rather than just hitting on the techniques used in creating video game music loops. The book starts off with a look at the tools every game composer should have in their bag before venturing into the world of game music. We each have a creative skillset and need to understand it before d