"I search for influences for every project I work on because I just love to rip people off as much as I possibly can!" laughs Jack. I was lucky in that everyone, including the programmer, the designer, the producer and the head of the development studio all knew me, and I'd actually ask them for their ideas: 'What do you want to see in the game? How shall we design the music? What's possible? What's not possible?' So that thought process was going on before production even began, which was useful." Good Artists Copy. It's not that I did a lot of work in the beginning stages, but I was involved in design meetings and that gave everybody a sense of how the music was going to work. "From a music standpoint, the brilliance of this game and the crew that put it together was that they wanted the composer involved in the very beginning - they didn't wait until the last couple of months of production. In the second week of January, I started working on the 'in game' music and that took about a month and a half, and then in April we started working on implementing all the music. We recorded a choir midway through December, mixed all the cinematics, and that part of the project was finished before the Christmas break. We were going to record the music for the cinematics with an orchestra in December, so I worked pretty much straight from September through to December 4th as the cinematics came in. Then in September, I started getting the cinematics for the game. "It was a really easy process, and I wrote the piece over about two weeks - it just came to me and I didn't force myself to do it within a particular timeframe like I seem to do with everything else. When the time came to actually start writing the music, Jack began to immerse himself in the world of Myst (see the 'Going Home' box, at the end) and wrote the main title piece very early in the process, in June 2000. They also asked for a design, basically 'How's the music going to work in the game?' I really wanted this game, so I was happy to do the audition, although I don't think we actually used any of that music in the final game." Starting Point "There were five or six composers brought in to audition for the game and the committee asked for three pieces of music: a main theme, a secondary theme, and a piece that was scored directly to picture.
However, because the Myst franchise was so valuable, nobody was willing to take one person's word for it, so I had to do an audition. Jack Wall, composer.So how do you get to work on what Presto, the games studio responsible for Myst III, described as the computer game equivalent of the next Star Wars film? "I'll be honest: I got the job because I knew the guy who was producing the game.
#MYST 3 INTRO MUSIC PC#
Having written the music for Myst III: Exile, the latest instalment in one of the best-selling PC games series of all time, he has a clear idea of what works within this industry, with his Exile score-winning Game Industry News' Soundtrack Of The Year 2002 award and generating sales of 25,000 copies of the soundtrack CD.
"Over 50 percent of the music done for games is horrible, and the sound design as well, it's absolutely horrendous," says Jack Wall, a games composer who's currently leading a double life, promoting the importance of high-quality music and audio in the games industry. Jack Wall is a leading light in the video game soundtrack industry, where his credits include the latest chapter in the best-selling Myst series of computer games.
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