Unlocking the Secrets of Austin Wintory’s Musical Genius at GDC 2025!

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At the Game Developers Conference (GDC) 2024, esteemed composer Austin Wintory, famed for his work on titles such as Journey, ABZU, Assassin’s Creed Syndicate, and The Banner Saga series, showcased some of the most exceptional gaming music at GDC Main Stage: A Developer’s Concert. Originally intended as a spontaneous addition to the usual conference schedule, this event has now evolved into an annual tradition, with Wintory set to return for the second annual Developer’s Concert at GDC 2025.

Game Rant recently chatted with Austin Wintory about his upcoming A Developer’s Concert, discussing his methods for selecting songs, its relevance to this year’s GDC theme, and even some intimate insights into his music composition style. Throughout the interview, Wintory’s love for music, both gaming and otherwise, shone through, as he eagerly anticipates headlining GDC this year. The concert itself will take place on Wednesday, March 19 at 12:30 PT.

Preparing for GDC 2025’s Developer’s Concert

For those unfamiliar, I thought it would be great to explain what a Developer’s Concert is and share the inspiration behind its creation.

This concert marks the second year of what we aim to make an annual series, provided we can maintain it. The inaugural event took place last year, initiated by GDC. They contacted my friend, Brian Schmidt, who is the president of the Game Audio Network Guild, and inquired about organizing a concert. Being acquainted with both parties, I was asked for my input on the feasibility. With limited time to prepare last year, we managed it successfully. This year, however, we’ve had ample time to strategize and plan, with our goal being to honor and showcase the artistic aspects of games through music.

To me, this isn’t merely a concert showcasing game music; it’s more like a musical tribute to the spirit of gaming itself. While it’s true that the music comes from games, its purpose goes beyond simple entertainment. It serves as a bridge to honor the magic that lies within the world of gaming. Given that it takes place at GDC, a gathering predominantly attended by game developers and budding talents, it’s designed to offer an uplifting moment, reminding us all that even in challenging times, working in the game industry can be a dream come true. The impact our creations have on people globally is something truly worth celebrating.

Essentially, I view it as a way of honoring and celebrating the diverse crowd in front of me, who are primarily game developers. It’s like saying, “We’re here for you!” It’s an exciting and unique experience, one that I’m incredibly grateful for. Interestingly, GDC asked me to be part of this, which is particularly significant because they assigned us the opening keynote address time slot for GDC. Traditionally, this Wednesday at noon time slot has been reserved for a publisher executive or a renowned studio head like Tim Schafer or Neil Druckmann to deliver a high-level talk. But they suggested, “What if instead of a talk, we created a celebration?” And I’m fortunate to be given the opportunity to contribute to that.

A: Reflecting on last year’s successful event, have you learned something that you will apply during this year’s performance?

Absolutely! Last year, we found success with a broad approach. To kick off our show, I performed a lively medley of brief snippets from approximately 25 different video games, covering nearly the entire gaming era. It was quite enjoyable as it established the mood for the viewers, hinting that they were in for a heartfelt tribute to games. They could anticipate popular titles like “Final Fantasy 6,” but also lesser-known gems. I aimed to convey the idea that there’s a rich history of fantastic scores and games beyond just the most well-known ones.

In my line of work as a composer within the gaming industry, I have an abundance of talented friends and peers who create these captivating scores. My relationships with them grant me access to numerous outstanding pieces of music. However, even exceptional compositions can be overlooked if the game they accompany doesn’t achieve widespread popularity. There are many projects I’ve worked on that remain unknown — not due to any lack in quality but because the game didn’t gain traction. This phenomenon is universal across various roles within gaming, such as animation, voice acting, or writing. If a game isn’t widely played, the work associated with it often fails to receive recognition. That’s why I’m enthusiastic about showcasing such scores — whether it’s a brief snippet in a collection or an in-depth exploration of a lesser-known title.

In this upcoming hour-long show, I aim to highlight the cutting-edge advancements in video game music while maintaining its authenticity, showcasing how it continues to evolve. Last year, we found success by delving deep into select titles and offering brief glimpses of others. This year, I’ve tweaked the approach slightly but still keep a similar structure. What’s more, you can expect an array of surprise guests — significantly more than last time! I have composers, singers, and something new up my sleeve that I can’t disclose just yet. If it turns out as well as I envision, it might even become a regular feature for future performances.

Last year, I didn’t do something that recently occurred to me as a fantastic way to honor the art. In other words, there were no significant mistakes from last year that require correction. However, this time around, I have ideas for expanding on what we did before. The difficulty lies in the fact that the show is only an hour long, which is relatively brief compared to most concerts. Consequently, I must carefully select what elements to include.

How does the theme for this year, “Linking the Globe via Games,” affect your strategy when selecting games for the playlist?

A: It’s amusing because when I was informed that the common theme or recurring message at GDC would be this way, I had already begun creating the playlist, and a significant portion of it aligns naturally with that concept since it seems to be an inherent part of the art form. It’s almost unavoidable. You could almost have attributed that theme to it even without being told, as it’s just the essence of what games are about – they bring people together, connecting strangers. However, one section of the playlist I’ve titled “Twelve Games from Twelve Countries,” which is a medley of music from games across the globe. The rule here is that none of these games would be American or Japanese, as they dominate the industry and receive most of the attention.

I aimed to distribute myself across different parts of the world as equally as possible, and I achieved this by having pieces from every continent. This was thrilling because, despite my constant vigilance for new discoveries, I stumbled upon many works that were previously unknown to me. I served as a sort of pioneer, hoping that these discoveries would spark curiosity about what else is out there that remains unknown, even among those deeply knowledgeable about the industry and current events.

In my experience working with individuals from diverse global backgrounds and maintaining friendships that expand this network, there’s always something new to discover at any given moment. The unknown often outweighs the known by a significant margin, perhaps 100 times more. This idea serves as an inspiration for me, which was further fueled when Ashley Corrigan reached out with a suggestion to incorporate this theme into the concert. I contemplated and thought, “This could be a meaningful approach,” and it has been delightful to connect with some composers I previously didn’t know, appreciate their work, and now correspond with them regularly.

I deeply cherish this, and I eagerly anticipate it serving as a foundation for something that could flourish on a similar frequency. My dream is to make the game development community as inclusive and interconnected as possible, fostering an environment where everyone feels like they’re part of a tight-knit neighborhood, regardless of geographical location. In essence, I envision a global community where distance doesn’t hinder familiarity or friendship.

A: In gaming, we often connect with music as it tells a story. When you introduce lesser-known pieces in live performances, how can you evoke the same feelings that gamers experience when they hear music in a game? How can you make the performance reflect the narrative and emotions of the game?

Answer: Essentially, when you immerse yourself in a game like Mass Effect, the emotions and feelings it evokes, including those triggered by its music, become ingrained within you subconsciously. It’s not about trying to convince you that you’re playing the game; rather, it’s the game itself that triggers such intense emotional responses. So, in a sense, when you play, you unknowingly absorb and retain these emotions, creating a sort of feedback loop between your experience and the music within the game.

In a nutshell, I find myself deeply attached to specific characters or scenes in certain games. These moments leave such an impact on me that they seem to be encoded within the music, serving as a sort of emotional time capsule. Whenever I listen to that music, whether it’s on Spotify or at a concert, I unlock those memories and feelings associated with the game. In essence, working in music gives me a special ability – I can essentially transport all the wonderful aspects of the game back to you years after you’ve played it. It’s an extraordinary experience that not everyone gets to have.

I get why artists often play their popular songs because it resonates with audiences on a larger scale, but it doesn’t mean people aren’t curious about new music. However, if you want to create an emotional connection similar to the “Ratatouille” scene, you take a chance by performing well-known hits that have touched many hearts. Therefore, I always strive for balance in my set list, as it’s both an art and challenge to find the perfect mix of popular songs that truly resonate with people.

Austin Wintory’s Approach to the Art of Music Composition

Apart from gaming, are there other factors or experiences that have an impact on how you create and produce your unique music style?

A: Absolutely, I draw inspiration from music across a broad range. Gaming is merely one aspect, and no single component makes up the majority. Be it movies, TV shows, or games, none holds a dominant position in influencing me. Growing up, my musical diet was diverse. I learned to play the piano and compose music, which led me to listen to various genres such as film scores and new age music that emphasizes the piano.

Growing up with my father, who was a big fan of the ’60s folk music scene, greatly influenced my musical preferences. I developed a deep affection for artists like Cat Stevens, Harry Chapin, Bob Dylan, and even Billy Joel during that time. As I grew older, my taste in music expanded significantly. Nowadays, it’s not unusual for me to attend various types of live performances within just four days – from big band shows to operas, and even watching Nordic death metal music videos. In this 21st century, many people claim to have diverse musical tastes, and I certainly fall into that category, always eager to catch a wide variety of live shows.

If someone were to wonder about the origin of those ideas, for me, it often stems from observing the world and humanity, appreciating our unique qualities as well as our ongoing development and imperfections. Being a science enthusiast, I also find myself exploring various subjects with the hope that my understanding of them contributes to something larger.

As a gamer, it sometimes feels like I’m drawing from my personal music library when composing a piece. Later, I might hear a melody or motif in my song that reminds me of something I’ve created before, as if I’ve accidentally pressed the wrong button and pulled out an old tune from my collection.

It often surprises me when people listen to my music and say, “Wow, this sounds just like ‘fill in the blank.'” Usually, I didn’t intend for it to sound that way, and it catches me off guard. Music is inherently subjective, and there can be unexpected connections between very different pieces. For example, someone might hear one of my compositions and say, “This reminds me of Chrono Trigger,” or something similar. While I did go through a phase where games like Chrono Trigger, Chrono Cross, and early Final Fantasy titles were a significant part of my life, I don’t consume them as much now.

When someone likens my music to another, I often find myself questioning, isn’t that surprising? However, I presume they mean it either positively or neutrally rather than negatively. Usually, I respond with, “Well, you know, it’s somewhat a matter of personal perspective.” Yet, there are instances when I subtly incorporate hints and references in my work, which can be discovered if one looks closely. These nods are intentionally placed to suggest that there’s something deeper to grasp, usually because it relates to the task at hand.

A clear illustration is when I played the game named Aliens: Fireteam Elite, subtly incorporating references to Jerry Goldsmith’s score from Ridley Scott’s original Alien and James Horner’s score from James Cameron’s Aliens. This was intentional, as I feel it’s essential in such a franchise. However, it’s not about directly quoting them; instead, I aim to capture the essence of their work and subtly integrate it through my unique perspective, voice, or methodology.

Question: Have there been any games or franchises that you’ve longed to compose music for, but you have not gotten the opportunity to do so thus far?

A: It’s no secret that I’m a dedicated fan of Mass Effect, and I must say, I adore those games immensely. Every aspect of them appeals to me deeply. Therefore, it goes without saying that being given the chance to work in that universe would be an immense honor for me. Fortunately, I’ve been quite fortunate to have had numerous such opportunities. Previously, as a die-hard Assassin’s Creed enthusiast, I was offered the chance to compose the score for Assassin’s Creed Syndicate, and let me tell you, it was an unforgettable experience. It felt like stepping into their world and being encouraged to preserve the essence of Assassin’s Creed.

Simultaneously, I was strongly motivated to pursue my own creative ventures. Essentially, this situation offered me the delight of crafting something unique, which is typically my primary objective, while also being part of a beloved franchise. To be frank, my professional journey has been primarily shaped by contributing to fresh intellectual properties (IPs). My very first project was flOw, followed by others like Journey, Monaco, Abzu, The Pathless, and the The Banner Saga series – all of these are new IPs, and I derived immense pleasure from developing them as we got to create something fresh and exciting.

In many instances, the games I cherish so dearly often captivate me due to their music, and this discussion brings that point to mind. The reason I adore these games is because of their scores, and considering my current position, I wouldn’t want to be involved in their creation as it would involve removing something I deeply appreciate about them. It seems contradictory to assume I could improve upon what I already love so much. Isn’t it like destroying a part of the thing you cherish to prove your affection for it? It just doesn’t add up.

As a dedicated gamer, I can’t help but single out the extraordinary BioShock series as a shining beacon of storytelling excellence in the gaming world. The masterpiece creations, BioShock and BioShock Infinite, stand tall among the finest works of art within this genre. I hold Ken Levine in the highest regard for his exceptional writing abilities and profound thought processes that breathed such depth into these games.

The first time I delved into the world of BioShock, it was like no other gaming experience I had ever encountered. It stirred a whirlwind of complex emotions within me, as I found myself torn between my instinct to fight against the splicers and my empathy for what I perceived were victims of an appalling situation.

While BioShock may appear to be just another first-person shooter at first glance, it is enveloped in a narrative construct that is both emotionally taxing and intricately nuanced, making it one of the most thought-provoking games I’ve ever played.

I find equal pleasure in creating my own music as well as appreciating the works of my musical friends, and I wouldn’t dream of excluding their compositions from my listening repertoire. In essence, I don’t aspire to be the sole composer; rather, it’s more like a hypothetical scenario. Music is a significant part of my life, and that includes being surrounded by gifted peers who inspire me and push me to improve. There are several composers whose work has this invigorating effect on me, not merely because I admire them, but because they create an atmosphere of friendly competition that keeps me striving for betterment, and I wouldn’t want to lose that drive.

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2025-03-19 17:26