Game Music

Tremor Town (2013)

Tremor Town was created by Knot Pants as part of Global Game Jam 2013 and was runner-up for overall best game at the Sydney/Wollongong jams. Development on the game continued after Game Jam and the game was released on the App Store for iPhone and iPad in March 2013.

My main role was as the game’s Composer and Sound Designer. To fit in with the retro-pixellated look of the game, I created an 8-bit retro-sounding score with jazz, blues and rock influences. Tremor Town’s goal is to build, repair and fortify buildings in order to keep your town upright for as long as possible as you are constantly hit with increasingly frequent and intense earthquakes. I designed the game’s score to match up to the timings of each scripted earthquake and get louder, faster and more intense each time one hit to emphasise the tension increase and the panic induced by watching more and more of your buildings collapse. By design, any of the individual short pieces are able to either loop or flow into the another seamlessly.

Of course, Tremor Town is a casual game designed for the mobile market, so the soundtrack, although intense, is also upbeat, bouncy and fun, with a healthy dose of nostalgia thrown in.

Along with the music I created sound effects for Tremor Town. Sound effects include Earthquakes, crumbling buildings, sirens and alarms, clicks and other input feedback sounds. These were created with combination of live recordings, digital samplers, virtual synthesis, using open-source SFX from the internet, and digital manipulation in both Reason 5 and Logic Pro 9.

Spirit’d (2012)

Spirit’d was created during Global Game Jam 2012 by team Brainfingers.

You control Ouroboros, the spirit of balance, as he attempts to keep the balance of life and death on the Earth.

I composed a score for the game that dynamically changes according to the state of life or death the Earth is currently experiencing. I began with a very neutral-sounding base track featuring piano and subtle, unobtrusive synths in a Dorian mode.

As the balance shifted towards having an excess of life, the music gradually added synth drums and harsher, brighter synth tones as it shifted towards a Lydian mode, often heard in children’s movies. If the player reached the far end of the life spectrum, the music would segue into a looping, very fast and frantic, painfully joyful piece with heavy electronic drums and lots of bright synth sounds.

From the neutral piece going towards the “death” end of the spectrum, the music would gradually add live rock drums and guitars getting heavier and heavier as the level of death increased. At the furthest end of the death spectrum, the piece would segue into full-blown Metal with heavy guitars and drums, an irregular time signature and a dissonant and evil-sounding Locrian mode.


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