G.A.N.G Awards at GDC 2011

RED DEAD REDEMPTION RIDES OFF INTO THE SUNSET WITH MULTIPLE WINS

The ninth annual G.A.N.G awards took place in San Francisco last week (March 3) with the Music of the Year award going to Red Dead Redemption – Yeehaw! The musical aces of the soundtrack, Bill Elm and Woody Jackson, were also recognised, winning the Rookie(s) of the Year category – something that I consider to be well and truely deserved.

However Red Dead Redemption didn’t stop there; the relentless game also scooped up three more awards: Audio of the Year, Best Interactive Score, and Best Dialogue.

By no means was it an easy judge either, because the Rockstar game was up against some brilliantly strong competition including Heavy Rain, which unfortunately won nothing, Halo: Reach, again nothing, and Battlefield: Bad Company 2, the other prominent winner that day (Best Sound Design, and Best Use of Multi-Channel Surround in a Game).

The Music of the Year award is a huge accolade in the games industry, so hopefully it will mean we may hear more from Billy and Woody in the future. However, the fact that Red Dead Redemption claimed four awards, and also the fact that it was nominated for six other categories is an outstanding feat and one that sustains Rockstar Games’ sharp eye – or rather ear – for detail in every department, obviously including music and sound.

Battlefield: Bad Company 2 was awarded for it's awesome sound design.

 

The gamut of talent was so strong last year, giving us a phenomenal selection of videogame music. It’s unfortunate that strong favourites of Now Loading didn’t win or get nominated – Heavy Rain and Mass Effect 2 respectively – but there’s no question regarding the sheer brilliance behind the Red Dead Redemption score. John Marston was the last cowboy standing after all.

G.A.N.G Awards

AUDIO OF THE YEAR
Battlefield: Bad Company 2
Dante’s Inferno
God of War III
Heavy Rain
WINNER: Red Dead Redemption

MUSIC OF THE YEAR
Assassin’s Creed: Brotherhood
Bioshock 2
Dante’s Inferno
Heavy Rain
James Bond 007: Blood Stone
WINNER: Red Dead Redemption

BEST AUDIO OTHER
WINNER: Halo: Waypoint “The Return”

SOUND DESIGN OF THE YEAR
WINNER: Battlefield: Bad Company 2
Bioshock 2
Dante’s Inferno
Enslaved: Odyssey to the West
God of War III
Red Dead Redemption

BEST SOUNDTRACK ALBUM
Bioshock 2
Dante’s Inferno
Halo: Reach
Mass Effect 2
Red Dead Redemption
WINNER: Video Games Live – Level 2

BEST INTERACTIVE SCORE
Dante’s Inferno
God of War III
Halo: Reach
Heavy Rain
James Bond 007: Blood Stone
WINNER: Red Dead Redemption

BEST HANDHELD AUDIO
God of War: Ghost of Sparta
WINNER: Monkey Island 2 Special Edition: LeChuck’s Revenge
Monster Hunter Portable 3
Ni no Kuni: Shikkoku no Madoshi
Prince of Persia: The Forgotten Sands

BEST CINEMATIC/CUT-SCENE AUDIO
Battlefield: Bad Company 2
God of War III
Medal of Honor
Red Dead Redemption
WINNER: StarCraft II
World of Warcraft: Cataclysm

BEST DIALOGUE
Bioshock 2
Enslaved: Odyssey to the West
God of War III
Mafia II
Medal of Honor
WINNER: Red Dead Redemption

BEST ORIGINAL INSTRUMENTAL
WINNER: “Athens Harbour Chase” – James Bond 007: Blood Stone
“Ethan Mars Theme” – Heavy Rain
“Main Theme” – Red Dead Redemption
“Northern Grasslands” – Age of Conan: Rise of the Godslayer
“The Palace Gates” – Prince of Persia: The Forgotten Sands (Wii)

BEST ORIGINAL VOCAL – CHORAL
“Alice’s Theme” – Tim Burton’s Alice In Wonderland
“Dante’s Theme” – Dante’s Inferno
“Hymn” – Halo: Reach
WINNER: “Invincible” – World of Warcraft: Cataclysm
“Overture” – God of War III
“Redemption” – Dante’s Inferno

BEST ORIGINAL VOCAL – POP
“Dagomba” – Just Dance 2
“Dead Man’s Gun” – Red Dead Redemption
“Far Away” – Red Dead Redemption
WINNER: “I’ll Take It All” – James Bond 007: Blood Stone
“No Death In Love” – Enslaved: Odyssey to the West
“The Peri” (Zahara’s Theme) – Prince of Persia The Forgotten Sands

BEST USE OF MULTI-CHANNEL SURROUND
WINNER: Battlefield: Bad Company 2
Call of Duty: Black-Ops
Crackdown 2
Fable III
Halo: Reach
Star Wars: The Force Unleashed II
Transformers: War for Cybertron

BEST USE OF LICENSED MUSIC
WINNER: Bioshock 2
Civilization V
DJ Hero 2
Guitar Hero: Warriors of Rock
Mafia II
Rock Band 3

BEST GAME AUDIO ARTICLE, PUBLICATION OR BROADCAST
APM Film & Television Music Podcast
“Composing the Music of Star Wars: The Old Republic”
“From the Shadows of Film Sound: Cinematic Production & Creative Process in Video Game Audio”
“Recording Firearms Explosions”
WINNER: “The Weight of Silence – How Silence Can Indicate a Character’s Importance”

G.A.N.G Recongition Award
WINNER: Sumthing Else Musicworks

G.A.N.G. Distinguished Service Award
WINNER: Dren McDonald, Jacquie Shriver

Rookie of the Year Award
WINNER: Woody Jackson, Bill Elm

Lifetime Achievement Award
WINNER: Chris Huelsbeck

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A Musical Score: Red Dead Redemption

RED DEAD REDEMPTION

Composer: Bill Elm and Woody Jackson

Release: May 2010

Length: 18 Tracks

Label: Rockstar Games

There are a lot of things we know that can instantly identify the old American West. Quintessential symbols of that time, like Cowboys and Native Americans, are renowned – yet sometimes greatly misinterpreted – in popular culture. Films, books, and even videogames have been using the Western concept for years, sourcing archaic texts and quoting legend. This year, critically acclaimed developer Rockstar unleashed Red Dead Redemption, a sequel to a much underrated game. Redemption is one of the most atmospheric games available, fully immersing the player into the final days of the Old West. Though the visuals and genuinely believable characters are a strong part of the game’s success, the original score also plays a significant role in telling the story of protagonist John Marston.

Composed by Bill Elm, member of instrumental rock group Friends of Dean Martinez, along with his former band mate, Woody Jackson, Red Dead Redemption’s soundtrack is dynamic and well thought out. Opening with the melancholic piece “Born Unto Trouble”, a composition led by a perfect partnership of country fiddle and whistling, you’ll instantly see yourself in a pair of spurred boots, riding your trusty stead majestically towards the horizon. The attention to detail in the music is on par with the game’s environment and characters, proving that Rockstar only aim for the best.

Elm and Jackson rather ingeniously decided to record all the music to the same tempo – 130 beats per minute if you must know – meaning that all tracks would brilliantly transit into each other. In game it works well, for instance you could be hunting coyotes out in the wilderness, the music creeping up on you every now and again. Suddenly you’re ambushed by bandits, and the music becomes more dramatic, however the transition was unnoticeable because of the tempo remaining the same. Whereas other games would have slaughtered your ears with sudden changes in tracks, this score makes the transiton feel more natural and immersive.

After leaving the ranches of New Austin behind we move onto Mexico, where the whistling, fiddles, and discordant piano are replaced for rudimentary  percussion instruments, a cello, and, of course, a good old Spanish brass section – the composer partnership again adding to the game’s atmosphere.

Aside from all the original compositions, the soundtrack also features the four licensed songs used during the game’s most dramatic moments. “Far Away” by Jose Gonzalez is the well-suited piece played after Marston takes his first steps across the border and into Mexico. There’s also “Compass” by Jamie Lidell, the track played while our hero races home to see his wife and son, never before has a licensed song captured so much emotion in a videogame.

The credit track “Deadman’s Gun” by Ashtar Command is a great song to end with, having the same upsetting effect as Starsailor’s “Way to Fall” as used in Metal Gear Solid 3: Snake Eater.

Bill Elm and Woody Jackson have really opened this writer’s eyes and ears to new ways that videogame music can be written. Greatly inspired by the work of Spaghetti Western composer Ennio Morricone, Red Dead Redemption’s score remains as one of the most genius pieces of videogame music released this year.

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A Musical Score: Street Fighter IV OST

STREET FIGHTER IV OST

Composer: Hideyuki Fukasawa

Release: February 2009

Length: 66 tracks

Label: N/A

Is it game over for Fukasawa’s latest project, or should we expect to be knocked out?

In my personal opinion, I’ve always found Japanese video game soundtracks just that little bit more original than the western part of the industry. With the exception of a few western composers such as Martin O’Donnell (Halo), Harry Gregson-Williams (Metal Gear Solid, Modern Warfare) and Jack Wall (Mass Effect, Jade Empire), Japanese composers tend to trump the rest in terms of imaginative and suitable soundtracks. Hideyuki Fukasawa, whose work includes the Onimusha series, is proof of this claim and it’s never more evident than in his latest project, Street Fighter IV.

What sets Fukasawa away from other Japanese composers is his ability to mix traditional scene music with techno, rock and heavy metal music. Tracks like “Crowded Downtown China” and “Deserted Temple Japan”, which feature oriental chords and scales played with traditional eastern instruments mixed with synthesisers and techno drum beats, are perfect examples of his unique creativity. These two arrangements are some of the best compositions that feature on the two disc soundtrack, which has just fewer than 60 tracks. However, several tracks are only five to fifty seconds long and it’s difficult to review that fraction of the soundtrack, because they’re only sound bites that feature on the VS. Screen or when a new warrior has entered the ring.

The character themes are amazing, each one matching their characters beautifully. The two that stand out the most are the dramatic “Theme of Gouken vs. Ryu”, which is by far the catchiest and strongest track to feature, and “Theme of Zangief’s”, a jazzy composition with a frivolous trumpet effect.

The title theme, “The Next Door”, performed by Exile, is the by far the weakest track to feature. It sounds like an old Backstreet Boys track that never got released because of its ridiculous lyrics and high-pitched harmonies.

Over looking Exile and the ten second sound bites and what you have is an exceptional work of art, put together by a creative and innovative composer. Fukasawa has set a prefect precedent for the Street Fighter series, and let’s hope his next work is also a knockout.

9/10
Recommended Downloads:

Theme of Gouken vs. Ryu

Morning Mist Bay Stage

TGS’08 PV BGM

This article was originally published in Issue 18 of Thirteen1

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A Musical Score: Uncharted 2: Among Thieves OST

UNCHARTED 2: AMONG THIEVES OST

Composer: Greg Edmonson

Release: October 2009

Length: 20 tracks

Label: SCEAI Music

Can Edmonson create a blockbuster soundtrack for a blockbuster game?

Uncharted 2: Among Thieves is a must title for anyone who owns a Playstation 3. The exclusive title is by far one of the best looking games for the Sony console and the quality of the production put into the game is outstanding, and the same applies to enrapturing soundtrack.

Relatively unknown American composer, Greg Edmonson, returns to provide the soundtrack for the sequel, and he’s reprised themes from the original game and layered them beautifully into his latest compositions. “Nate’s Theme 2.0” – a sure fan favourite – opens the soundtrack in a captivating and momentous way. Right off the bat many listeners will think of the Indiana Jones series, which is understandable; Naughty Dog took inspiration from the fedora hat wearing archaeologist, and it’s ever so likely that Edmonson did too. Edmonson cleverly layers tracks with Far East influences and exploratory colours and textures, resulting in a majestic and romantic score. The music engages the mind into a state of empathy and many players of the game will marvel at the superb way it enhances the cinematics and set pieces. Uncharted 2: Among Thieves plays out very much like a film, its intricate design allows the player to feel like they’re almost directing the story, and the music sustains that sensation. It provides maturity, elegance and – most importantly – suspension. The track, “Train Wreck”, is worth a mention. Its beautifully composed string pieces show Edmonson’s capability to conduct an orchestra and choir. Though the wailing vocal on this piece does reach a wincing crescendo and will cause most listeners to adjust the volume slightly.

This soundtrack is a must-have for fans of oriental film and video game scores. Many of the techniques Edmonson executes are nothing original or innovative – Jack Wall have been doing it for years – but his creative decision to keep the soundtrack consistent by frequently featuring a melody from “Nate’s Theme”, is a technique many composers fear to use nowadays.

Uncharted 2: Among Thieves OST isn’t a defining piece of work, but its simplicity makes it a strong and captivating musical experience. There’s no doubt that it enhances the gameplay, but it doesn’t provide anything new or original to videogame music. Fans of Nate’s adventures should definitely look into purchasing a copy though, as it will be a valuable piece of video game memorabilia in the distant future.

8/10

Recommended Tracks:

Nate’s Theme 2.0

Train Wrecked

The Road to Shambhala

This article was originally published in Issue 21 of Thirteen1

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A Musical Score: MadWorld OST

MADWORLD OST

Composer: Naoto Tanaka (aka Akemi Kimura)

Release: June 2009

Length: 20 tracks

Label: Sumthing Else Music Works

Do MadWorld’s pounding rhythms score high points?

MadWorld, a game that practically oozes controversy, is one of the most violent games to appear on the Nintendo Wii. The Sin City like design and embellished gore are astonishing, but the game’s unseen edge is in the hip-hop heavy soundtrack. With all honesty, I’ll state that I’m no big fan of the hip-hop genre, but my opinion has surely changed after having such an original and relatable soundtrack pumped into my ears.

The MadWorld soundtrack offers 20-tracks all written and composed by Platinum Games in-house composer, Naoto Tanaka. Working alongside four different artists, Tanaka created each track with a general theme for each level in mind. These tracks were then passed on to the artists – Ox, Doujah Raze, Sick-YG and Bandy Leggz – who wrote and performed the lyrics, which they wrote to fit the game’s levels. If only to give you an indication of what to expect, Tanaka admits to being inspired by the album Collision Course, by Linkin Park and Jay Z.

One track that really stands out is “Crazy”, performed by Doujah Raze. This eerie song plays during the Mad Castle stage (remember the Werewolf?), and its rap lyrics suit it perfectly, with the chorus asking: “Does the full moon make you go crazy?” The other two tracks featuring this artist – “Come With It” and “Deathwatch” – don’t match up to “Crazy”, but the former features a superb piano backing, just one example of Tanaka’s originality.

Ox seems to be the most favoured artist, appearing on half the album tracks. It would seem that Tanaka was very experimental with the tracks associated with Ox, as a fair few feature a 1950s backing track, layered with techno drums and distorted guitars. The credits track “Get It Up” is certainly a highlight. The scope of music creativity is astounding in this piece. It features a vintage sounding brass introduction, which is eventually joined by a head-banging rhythm guitar and the crassest lyrics ever heard in a video game.

A final mention has to be “Ain’t That Funny”, performed by Sick YG, yet another example of Tanaka’s ability to create music to fit the mood of a level. This track makes its debut on the first Asian Town stage and is assembled using Oriental scales and instruments. It also includes the catchiest lyric on the disc: “Jack, Jack. He’s a psycho maniac,” – brilliant.

With the exception of the title track and “Death & Honour”, the soundtrack is an innovative and wicked piece of work – these two tracks lack the originality and creativity of the rest. Despite this, it is a triumph for Tanaka. Let its tunes be violently beaten into your ear canals.

8/10
Recommended Downloads:

Crazy

Get it Up

Ain’t that Funny

This article was originally published in Issue 19 of Thirteen1

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