Browse Books

Reviewer: Marc S Gibian

This book is a comprehensive formal treatment of sound and music, as used in video and computer games. It is a well-organized and well-written work that guides readers through the history and current state of game sound, and finishes by challenging those who will be creating future game sound. Collins identifies numerous specific topics that demand investigation, in order to better understand game sound. The book begins with an introduction in chapter 1, and quickly moves into a detailed examination of video game history-the early systems through 8-bit-and the history of game sound. Chapter 2 covers the birth of games, while chapter 3 describes the more recent 16-bit games, their hosting systems, and how game sound works in this context. Chapter 4 moves on to contemporary games and platforms. Setting the stage for the rest of the book, chapter 5 discusses many of the issues involved in producing game sound in today's games. This is followed by chapter 6's exploration of synergy between game, film, popular music, and intellectual property. Collins really starts to show her mastery of the subject in chapter 7, with a description of the many factors to consider in game sound. Chapter 8 provides a reference description of the many approaches to using sound in games. The conclusion, in chapter 9, pulls together the entire book, as few conclusions succeed in accomplishing; it raises the discussion to the next level, while proposing numerous topics begging to be investigated. The reader's background will greatly affect his or her experience with this book. All but the youngest will recognize the major milestones in the history of game sound, few will know most of the systems and games referenced, and only the consummate game professional will have a working knowledge of all referenced games. While this book is clearly targeted to game sound students and professionals, it would have been very helpful to have some form of access to the referenced games-for example, media clips distributed via an included disc or accompanying Web site. On the other hand, there is plenty of material accessible without such knowledge. The author does an excellent job of describing the game, sound, music, and many other aspects of the experience being discussed. I am a software professional, not a "gamer," and I have had only limited exposure to video and computer games-I was once involved in a small way in the production of a game and I have musical training. With this background, there were many aspects of this book that I understood only through the author's words; these aspects would probably be better appreciated if I had knowledge of the referenced games. The end result of reading this book is a greater appreciation for the issues, challenges, and opportunities residing in game sound, and a new desire to explore some of the referenced games. For any composer or producer who is looking to get into game sound, this book belongs on your reference shelf. Online Computing Reviews Service