The power of video game music: Press Play with Amanda Tillett

What’s your earliest memory of video game music? Was there a moment where you really heard the score for the first time? 

I don’t think I’ve forgotten the music to a single game I’ve ever played, the score is always so intrinsically linked with gameplay. A great example of this is The Legend of Zelda: Ocarina of Time on Nintendo 64. An integral element of this game is learning short songs; usually an 8 bar phrase, on an ocarina you are given after the first boss fight in order to progress – things like changing night to day, summoning your horse, making it rain etc. The player needs to recall these various songs multiple times throughout the game, and if you’ve forgotten the correct order of buttons to press you will hear an incorrect note and won’t be able to proceed. You literally develop pitch awareness without even realising. The game also boasts a wonderful background score, changing for each location you find yourself in. It took my brother and I a good part of a year to realise you could actually leave the Kokiri Forest, so I’ll never forget the tune that plays at the beginning of the game by Koji Kondo. 

Looking at the repertoire for this concert, which pieces are you most excited to play, and are there any standout moments for the low brass section?

Hollow Knight is beautiful, and composed by an Adelaide local! I expect the low brass will be kept busy for the bulk of this program, it looks to be a really fun and nostalgic night.  

Do you think video game music deserves a more permanent place in orchestral seasons? What could it offer audiences that traditional repertoire might not?

It’s a fallacy that video game music is just for gamers. The perfect example is Christopher Tin’s score for Civilisation VI. I often hear tracks from this requested live on ABC Classic, not just on the Game Show! If the music is good it doesn’t matter what it was originally intended for, people will enjoy it. Including excerpts from game or film scores in a concert season exposes audiences to local, contemporary music that may be more accessible and easier listening than other offerings and hopefully opens up our concerts to younger audience members too. I love the thought that a diehard gamer could be coming to a concert like this seeing an orchestra for the first time but recognising everything we play. 

When you think about the scale of the gaming industry and the sheer amount of original music being created, how do you see the future of game soundtracks evolving? Do you think there are still “hidden gems” waiting to be discovered, or is game music becoming more formulaic? 

I think video game soundtrack composers are now more creative than ever, and while the games themselves are becoming more cinematic it seems the music is not necessarily following suit. Most current day film scores are less melodic and more of an atmospheric soundscape, whereas game scores still need to assist the player in some way – think hinting at a direction to follow, notifying of incoming enemies, or finding hidden items. Games are not necessarily linear, and particularly in MMO and sandbox games the music you’re forced to listen to can make or break the experience. I’m really excited to see how video game music continues to grow and if we’ll ever hear something as iconic as Super Mario Bros again!

Do you have a favourite game soundtrack that you think deserves more attention? 

I would love to see the Crash Bandicoot theme fully orchestrated. I’m sure the original was just a midi file; but it sounds like it would make for a really cool solo marimba part, and the music for each level is just as groovy. In contrast the Uncharted series by Greg Edmonson (composer of Firefly) features a wonderfully rich orchestral score that has won numerous awards. Within the first four bars of “Nates Theme” the percussion and horn section announce the treasure hunting adventure that awaits the player, and the sweeping melodies that develop in the strings later on are just as engaging. With three games in the series scored by Edmonson and each one lasting roughly an hour, there is so much material to draw from. 

Who is your favourite gaming composer, and what makes their work stand out for you? 

One of my favourite composers is Bear McCreary – he wrote the score to the Apple TV series Foundation, but also for the Norse era God of War series. It’s an action adventure/hack and slash game so you can expect plenty of menacing low brass, but there are also long stretches of the story that see the player travelling by boat taking in wonderful landscapes and having meaningful conversation with other characters. McCreary uses these moments to write in a much more contemplative manner; utilising solo voice, choir and basso profundo to full effect while the underlying Nordic elements remain consistent throughout. 

Do you ever game to unwind after rehearsals or performances? What’s your current favourite? 

I just finished Ratchet and Clank Rift Apart, and next on my list is The Last of Us Part 2. (I know, I’m behind). I won’t deny that an immersive campaign can at times be too much of a distraction from daily trombone practice, so if I’m short on time and feeling extra disciplined I’ll just play a short session of Tony Hawk Pro Skater. I think as an artform video games are highly underrated – not only can they be more memorable and impactful than a good movie or novel, but you as the player have to interact and make decisions as you go. It’s a great way to unwind without completely switching off your brain. 

What gaming soundtrack would you like to see the orchestra perform next and why? 

I would absolutely love to play the music from Jedi Fallen Order by Gordy Haab and Stephen Barton. This score is so wonderfully Star Wars; it’s John Williams minus the plagiarism. The music is original and melodic enough to listen to in its own right, and the low brass writing is phenomenally good. I usually don’t succumb to the ‘low and loud’ obsession of other bass trombone players but this is the exception; it just sounds so thick and exciting and would be really rewarding to play in the section!