iDevGames

I have to admit that this book confused me from page one. While I expected a calm, straightforward book on game audio (an area in which I am an unaccomplished newbie), the foreword had me completely overthrown in a hailstorm of downright “funny text”. The first page ends with a recommendation to “also read a good ‘normal book’” on game audio, so my expectations were somewhat dented, and my interest at max.

I don’t know how I managed to miss the Fat Man (George Sanger), but I had no idea who he was, so delving into this book was like reading the introduction pamphlet to the personal cult around this Texan. Now, two weeks after first opening the book, I’m struggling to write something funny here, just to catch his attention.

This book is like no other computer book you’ve ever read—you may quote me on that. Sometimes touching the style of Mark Danielewski’s novel ‘House of Leaves’, the postmodern layout is enough to disturb the eye, but as a reader I was thrown into total darkness. My eyes were frantically scratching at the pages to find some kind of practical advice, anything that mentioned equipment or software, techniques or methodology. And yes, eventually I found them, there but not obvious, and not written in any sort of academic manner (take, for instance, the chapter where the difference between song, arrangement, and recording is explained drill sergeant-style). As if that wasn’t enough, almost every page sports a photo from the Fat Man’s personal collection, with witty captions. All in all, the book somewhat resembles a good comic book: lighthearted and hard to put away.

But that’s when the book starts to make sense, the overall point making its way through. This isn’t a textbook on game audio—it’s a textbook on the game audio industry. In fact, it extends to a book on the entire game industry, and a book on life, with metaphors taken to the extreme. ‘Game Audio’ gives great insight into what it takes to be a part of this industry, how connections are made, what groups are out there and how they were formed, how equipment is developed, and a more view-from-below investigation of the industry than you would find in other books.

See, this is the closest thing to an autobiography of The Fat Man you can get, and if you know him from before, you know that you want to read it. The quotes about him on the back of the book include, “The Fat Man is cooler than God!” I don’t want to upset anyone by agreeing in public, but saying that “God is cooler than The Fat Man” is at least a valid comparison.

Still, the audio content in this book is debatable. There is wisdom, and there is advice. The Fat Man knows his business, and he knows how to teach it. But, for the beginner (like me), his book doesn’t cut it as a tutor (which was never the intention, I’m sure). If you’re looking for tips, hands-on practice, and tool discussions, this isn’t your book. However, if you’re looking to improve your audio skills, understand the industry, and orient yourself in this development branch, there is no better guide. So, in a way it can be a beginner’s book. I, for one, haven’t been able to put it down in a long while, and I feel that I’ve gotten a grasp on the basic principles thanks to the Fat Man, so that I now can take the next step (if I had the time). The intermediate sound guy might find this book invaluable as a tool for knowing where to go next, and those more advanced will probably be intrigued by The Fat Man’s ideas.

Ideas, yes. There is some grassroots radical thinking in this book—not the high-flying, abstract avant-garde kind of thought, but that which pays minute attention to the details that make or break stuff. My favourite gem is a discussion on how repetitive music in children’s games effectively damages sales for the whole genre: it’s not the children who play the game that are annoyed, but the parents that are forced to listen to a 30-second clip for hours on end, and are the ones with the money. Guess who’s not going to buy any more children’s games for their home computer after hearing that loop for a two-digit number of hours?

So, in short, this is a book that I can deeply recommend to anyone in this business, since it encompasses so very much about the game industry: history, marketing, production, experience, focus, team building (as well as homemade equipment building, believe it or not), personal contact managing…

Actually, the only reason not to buy it would be if you need a more technically oriented book, and can’t afford both. Otherwise, ‘Game Audio’ is well-written enough to justify the price, just for the sheer fun and joy within. Buy it, keep it with you, and may it bring you Fat Joy.

Related Books:

• ‘The Complete Guide to Game Audio’ by by Aaron Marks

• ‘Sound Design’ by by David Sonnenschein

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