This is a re-post of the blog entry written for the official Playstation Blog, published Nov 4, 2020.

My adventures with Matt Nava began first with thatgamecompany’s Journey and continued with Giant Squid’s debut masterpiece ABZÛ. Now, a decade into this partnership we are poised to release The Pathless and I believe this one has pushed me harder than either of the previous two (and honestly, probably more than any score I’ve done, period).

I was lucky to be involved from the very beginnings of the project, and compose alongside Giant Squid’s development for over three years. In that…

The ‘band of soloists’

Over a year ago, I published part one of this series in which I revealed the aesthetic and main theme for Giant Squid’s upcoming adventure The Pathless. Over the coming weeks I’ll have several more posts to share detailing additional aspects of the score, which has spanned now three and a half years of development and nearly endless musical iteration.

For today, I’ll take a look at the ‘band of soloists’ that form the heart of the score throughout the game. Whereas I’d originally been thinking of a mostly-orchestral score peppered with some specific sounds, it ended up evolving into…

A primer on interactive music

Probably the single most common question I get from students and journalists alike is “what are the differences between scoring a film and scoring a game?” Depending on my mood the answer is either very short or very long, but always seems to end up at this point:

Games are interactive and films are not.

The music of ERICA — part 2

Warning: mild spoilers ahead!

Welcome to part 2 of my thorough breakdown of Flavourworks’ debut title, Erica. If you haven’t read part 1, it can be found here.

As a recap, previously I talked about figuring out the basic palette and central theme to the game and all that that entailed. What I failed to mention was that, right before filming began in spring 2019, Director Jack Attridge requested that I work out a different tune …

The Aria for Delphi

Beyond the thematic material needed for the score itself, the game called for a song which we would see and hear on screen…

The music of ERICA — part 1

Warning: mild spoilers ahead!

I normally wouldn’t indulge in so deep a dive as this, but Erica was such a complex and fascinating experience that I’ve let myself go a little overboard. Most of my “blogging” has shifted to Youtube content lately, but for the 1% that make it all the way to the end of this piece … enjoy!

Erica was, without a doubt, one of the most challenging scores I’ve ever been asked to write. All scores are a challenge in their own way, as the many variables intersect (schedule, budget, aesthetics, egos/vulnerabilities of collaborators, expectations of the…

2010–2019 in review

On a whim, I decided to take a look back at my career during this past decade and pull together the highlights. It quickly ballooned into a fairly deep-cutting examination of how I’ve spent my time these last 10 years and how far I’ve come. It’s hard to overstate my gratitude for all the opportunities I’ve had.

“A Decade in Games” by Angela Bermudez

Below, chronologically arranged, is a rundown of each year with a few words about each one. Note that there are many, many projects not included; short films, projects to which I only contributed a little music as part of a larger team, and…

A reckless approach

The following was originally published for the PlayStation Blog, published Oct 1, 2019:

It’s often not assumed that composers scoring games are themselves gamers (a travesty I have no explanation for), but in my case, my entire life has been marked by countless memorable titles. In my profession, I’ve been very lucky to score some remarkable story-driven narrative projects like Journey, ABZU, and The Banner Saga trilogy, and so I was incredibly excited when I first heard about The Bradwell Conspiracy.

In short, the game tells the story of you, an anonymous attendee of a gala at the Stonehenge…

The theme - the soul of a score

I never do this. This will be a series of blog posts about a score as I’m writing it, which is something I would normally avoid like the plague. But this is a chance to try something new and expose the creative process mid-stream. Hopefully it’s interesting! But first, some history …

I had the great pleasure of meeting Matt Nava while working together on Journey from 2009–2012. Matt was thatgamecompany’s Art Director and — as I’ve said many times — his style and aesthetic were the single biggest inspiration for what made Journey’s music what it was (a sentiment…

Days 17–31

Part 2, which began here, highlighting some of the sources of gratitude in my life:

January 17

Gratitude Day 17: Two writers, a game developer, a VFX genius, an engineer, and a producer / creative kindred soul.

The (unfairly short!) summaries of each person below make this post rather long so I will cut to the chase first: they are all on this list because in the last few years my life has undergone some extremely dramatic transformations, and all of these people made an overt priority of sticking by me. Friends who ride the surf with you, even when things get…

Day 1–16

Time for an onslaught of gushing! For the month of January 2019, I have been making daily short posts of gratitude, mostly towards specific people. Rather than have it consigned to my personal profile on Facebook, I decided to duplicate it here. Hopefully its length doesn’t discourage reading it all, because it was really hard to narrow it to even these few. I have a LOT to be thankful for in my life …

January 1

Guitarist Tom Strahle, with me (actually that’s Justin Bieber)

Happy new year! 2018 was a major year of transition for me, with a lot of personal and professional changes, achievements, setbacks, etc. But in the…

Austin Wintory

Professionally curious about music. Composer for Journey, Abzu, Erica, John Wick Hex, The Banner Saga 1–3, AC Syndicate, Tooth & Tail, etc. Fan of humanity!

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