Richard Jacques (second left), a leading composer of blockbuster videogame soundtracks, has said that the games industry has come of age, offering a wealth of opportunities for composers.
Talking at the PRS for Music Explores: Gaming event yesterday (Wednesday), he said: ‘We used to be such poor relations to film and TV [composers] but now I can use the same players as are on any Hollywood film, I can record in the same studio and it’s no problem at all. We used to get looked down on but we don’t any more.'
Ivor Novello Award-nominated Jacques, who has scored soundtracks to hit games franchises including James Bond 007: Blood Stone and Mass Effect, went on to explain that gaming is now as competitive as the film industry, if not more so.
He was joined on the panel by composer and Games Music Connect co-founder John Broomhall, Andy Payne (Appy Nation), Miles Jacobson (Sports Interactive) and moderator Graham Davies (PRS for Music).
Together they discussed the evolving relationship between the music and videogame industries.
Broomhall agreed with Jacques, saying that Rockstar Game’s Grand Theft Auto franchise paved the way for innovative music use - bringing yet more opportunities for artists and composers.
‘We’re now starting to see more sophistication in the use of licensed music in games,' he added.
‘Obviously with some games you want a kick-ass soundtrack. You’re driving emotion and adrenalin. It’s a backdrop, scene-setting device.
‘But we know in film that licensed music, through its lyrical content, can be used incredibly creatively and artistically. And I think that’s something we’re beginning to see in games now. It’s not just about getting the latest music, but getting music that actually says something and speaks to the game’s narrative.’
The British gaming trade body UKIE recently said it expects global gaming revenues rise to from $91.8bn in 2015 to $118.6bn by 2019.
By comparison, the global music industry in 2014 was sized at $15bn by IFPI.
Talking at the PRS for Music Explores: Gaming event yesterday (Wednesday), he said: ‘We used to be such poor relations to film and TV [composers] but now I can use the same players as are on any Hollywood film, I can record in the same studio and it’s no problem at all. We used to get looked down on but we don’t any more.'
Ivor Novello Award-nominated Jacques, who has scored soundtracks to hit games franchises including James Bond 007: Blood Stone and Mass Effect, went on to explain that gaming is now as competitive as the film industry, if not more so.
He was joined on the panel by composer and Games Music Connect co-founder John Broomhall, Andy Payne (Appy Nation), Miles Jacobson (Sports Interactive) and moderator Graham Davies (PRS for Music).
Together they discussed the evolving relationship between the music and videogame industries.
Broomhall agreed with Jacques, saying that Rockstar Game’s Grand Theft Auto franchise paved the way for innovative music use - bringing yet more opportunities for artists and composers.
‘We’re now starting to see more sophistication in the use of licensed music in games,' he added.
‘Obviously with some games you want a kick-ass soundtrack. You’re driving emotion and adrenalin. It’s a backdrop, scene-setting device.
‘But we know in film that licensed music, through its lyrical content, can be used incredibly creatively and artistically. And I think that’s something we’re beginning to see in games now. It’s not just about getting the latest music, but getting music that actually says something and speaks to the game’s narrative.’
The British gaming trade body UKIE recently said it expects global gaming revenues rise to from $91.8bn in 2015 to $118.6bn by 2019.
By comparison, the global music industry in 2014 was sized at $15bn by IFPI.
