BY STEPHANIE ESLAKE
If you see Angelo Valdivia’s name pop up across Level and Gain, it’s for good reason: this guy is a mastermind of music for screen. He writes some pretty cool stories for us about the topic — but he also works as a classical trumpet player and educator, videographer and game reviewer…the list goes on.
The real reason we wanted to sit down together with Angelo, though, is to learn about one of his most impressive creations: his podcast Game Composure.
It’s an audio series boasting interviews with game-changers in the industry (if you’ll pardon our pun). After a huge launch with composer Christopher Larkin (Hollow Knight, Barbecue, Expand), the podcast has featured talent such as Jeff van Dyck (EA, Creative Assembly), Daniel Golding (Untitled Goose Game), and Meena Shamaly (ABC Classic) among others.
Angelo, games. Why do you love them?
The easiest way for me to answer, really, is they’ve been a part of me throughout my whole life.
It was the first hobby I developed when I was 3 years old; I recall memories and life events alongside having played certain games, and it’s how I developed a lot of relationships while growing up. Through the best and worst times, I was playing them.
Heck, playing adventure games and RPGs was how I got better at reading!
So you’re something of a games music nerd, hey. Why are you dead-set on sharing your love of this music?
Everyone has their favourite film actors, directors, and composers. It’s only been in the past 10-15 years that people have really taken notice of who’s making video games and, by extension, the music.
As classical musicians, we know our ‘style’ is very niche, and can take some convincing to get others interested. It’s kinda the same for me with games music; and being a teacher, I’m always excited to try to explain music and concepts to people in a way that they can somehow find an ‘in’ for themselves. (Read more: Do you really think classical music is dying?)
But, really, I just don’t have many people around to talk about games with on a deeper level, so I do it into a microphone and throw out to the internet!
One of your impressive projects is your podcast Game Composure. How did this start, and how do you choose who to program on the podcast?
I just finished my second degree, which majored in screen media and minored in journalism. And in the current state of freelance games-writing (which has dwindled severely in the last decade), I needed a way to differentiate myself and try to create something enjoyable. I decided putting together a podcast would help develop my interview skills, and get me to meet some super cool people.
At the moment, I’m looking for people who work in and around games music in Australia first, then start a new season featuring others.
What are some of the biggest lessons you’ve learnt through your podcast about composing for games?
Everyone is different, has different life experiences, and even learns differently. What I’ve loved learning so far is how deeply personal it is for people to not only listen to music, but to create it. And what’s really changed my perception is how I reflect on music I thought I already knew well, but now understand differently after hearing about its conception, straight from the source.
You enjoy and work within industries of classical music and games music as a podcast host — so how would you describe the differences between these two music cultures?
I think what’s interesting about musicians who compose for varying mediums is how little expectation there is of their sound. And from that, I mean the music will sound radically different from game to game.
We spend years learning about and analysing Beethoven, Schoenberg, or even John Williams, and pull examples of their distinct styles or trends in history among their work. But with games music, it’s very, very different. Back before CD-quality music was available, games were heavily restricted in the sounds they made, and composers had be incredibly creative.
I guess what I love most about games music is how easily composers embrace different styles: new and old.
In the nicest way possible, classical music sounds like classical music. Games music, though, can sound like anything from retro beep-boops to sweeping symphonic suites.
A great example of this is The Game Awards theme that debuted at the show late-2018, wonderfully celebrating its maturity in sound.
Games music is indeed influenced by so many styles; we often hear cinematic or orchestral music in open-world games, while pop and rock-influenced styles feature in many of the 2D platformers and some JRPGs. As a musician yourself, what ‘genre’ of game music do you like the most? And do you think there is any stylistic discrimination or perception of more ‘serious’ music inside the industry itself?
I think it’s difficult to classify games music into genres, because so many games have different genres within them to convey varying emotions, much like film.
In terms of how a game sounds, I’ll always have a special place in my heart for the 16-bit era in the ’90s, particular the synth sounds of the Sega Mega Drive. It’s just too delicious.
I don’t think game developers or creators can afford to favour/discriminate against any musical styles, because it creates limits on the outcome. And as a musician, the most wonderful thing is how well many game tunes can be adapted or arranged to suit different styles.
YouTube and other visual/aural platforms have afforded creators the opportunity to demonstrate this, and many do it very, very well.
Where do you see the future of games music fitting into the music industry as a whole, based on the conversations you’ve had on your podcast and your experiences with fellow musicians?
The optimist in me hopes, eventually, games music will snugly fit into the classical repertory, much like how film has in recent decades.
More music is always better for more people, and its impossible to take away from what many already hold sacred, because it will always be there. The hundreds of years between today, Classical, Baroque, and even Renaissance eras have already proved this.
Thankfully, there are musicians, ensembles, and composers out there working hard to make it all happen. And these are the people I want to talk to!
Your podcast has received international attention, which is just fantastic. Games often receive bad press — the music is not as ‘serious’; the gameplay encourages ‘violence’. There’s an enormous amount of misunderstanding and stigma. How do you think games can unite the world, as your games podcast is doing? (And why should musicians enjoy more games in between the hours we spend in the practice room?)
It will be a very interesting day if my podcast unites the world [laughs]! But like anything, the naysayers will talk down anything they don’t understand.
Games are already mainstream, and have been for a long time. People in previous generations or eras blamed music for corrupting The Youth, and it just happens to be video games’ turn to take the blame. But it’s become such a mainstay of 21st Century society: people play games on phones; kids are winning millions of dollars playing them in packed sports arenas. So it’s only a matter of time before the next Big Thing comes along to get mad about. And who knows, chances are equally good I’ll be leading that charge in my twilight years.
But, in all seriousness, games help people. They’re fun. They’re provocative, thoughtful, sad, exciting, challenging, beautiful, frustrating. They bring all kinds of people together in all kinds of ways: concerts, conventions, esports, forums, Facebook groups, Discord servers, and livestreaming are just some of the ways people share their experiences and forge relationships.
What game are you going to go play when you sign off from this interview?
I’m still chipping away at Fire Emblem: Three Houses, and I’ll continue ignoring the other bazillion games waiting for me like Outer Wilds, Final Fantasy XV, Captain Toad Treasure Tracker... Then there’s the butt-load more coming out very soon. Haaaaalp!
Tune into Angelo’s podcast Game Composure to hear his conversations with those making it in the industry.
Images supplied.
