Videogame music is always a hot topic, and with a fewer and fewer legends having big releases these days (Where’s Uematsu gone?!) it’s a pleasure to see Grant Kirkhope back with Kingdom's Of Amalur.

And with a new game comes new spotlight, and with spotlight comes interviews!

I was lucky enough to exchange a few words with Mr Kirkope and, instead of advertising Reckoning, we talked about the gaming industry and the changes it’s gone through recently.

MP (Mr Pham): What do you think of the videogame music industry today compared to when you started out, and are there any particular composers you like?

GK (Grant Kirkhope): It's very different in terms of what we can actually do with sound now but the basics are still the same really. You either write a piece of music with some kind of sequencer and sample player, or manipulate a sample in a sample editor until you like the sound of it to make a sound effect. I do think that perhaps the industry has got a bit overblown, if you're a one game studio and independent there really is no room for error, if you make a mistake and the game tanks you're done. To make a AAA game now costs millions of dollars and if you happen to stumble upon a winning formula is it a wonder that there are so many sequels? The composers I like are mainly movie people, you know the usual bunch, Williams, Elfman etc, I don't really have any video games composers that I really like although I will say I do like Mr. Danny Baranowski and of course the brilliant Robin Beanland.

MP:  Reckoning  was a new kind of soundtrack for you. Being compared to Williams and Elfman, do you now feel complete or is there still somewhere else you want to try?

GK: I feel as far from "complete" as ever I'm afraid, it's amazing to even get mentioned in the same sentence as those two, I always say if I had 1% of their talent I'd be a happy man. I still have so much to learn and lots more I'd like to achieve, I hope I get the chance to try to do it.

MP:  If you were to see a sequel to any of the games you’ve done, what would you like to see done?

GK: That's easy! A Proper Banjo-Threeie!!

MP: Banjo-Kazooie was a very unique soundtrack and a successful game, tell us about getting hired by Rare and how it all came about.

GK: Getting hired at Rare was just pure luck. I already knew Robin Beanland from playing in local rock bands together. He knew I was unemployed and scraping a living in covers bands, he'd been at Rare about a year and a half and suggested I have a go at what he was doing, he recommended some bits and pieces for me to buy like a synth and a copy of Cubase and I had a go. I sent five cassette tapes to Rare over the course of a year and never got a reply, then out of the blue I got a letter asking me to attend an interview and to my surprise ended up being offered a job!

MP: The world is slowly getting torn between internet musician sensations getting recognized and a world of companies needing degrees. What are the best steps for an aspiring composer wanting to get in to the industry?

GK: That's a tough one, I do get asked that a lot. I really don't have a very good answer since it's a long time since I got employed. I haven't seen a video games company advertise for just a composer in a long time, it's usually sound designers that they look for. All I can advise is to have a look at the indie scene, there's lots of start-up people out there that need audio but can't afford to pay you. Offer to do it for free, it's a great way to get into games and to start to build up a portfolio of work.

MP:  And finally, seeing that Reckoning has topped UK charts, what can we expect from Big Huge Games next?

GK: Well, it's still early days for Reckoning, we're hoping it goes on to sell well. I can't really talk about what's next, you know how it is...heh!!

So there you have it. Amalur is out now (Steam (with demo)) and, depending on where you live, the soundtrack is out too and I say you should definitely give it a listen.

Have you played the game yet, and if so what do you guys think of it?

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