Alternative Music Jobs – Video Game Music in Edmonton with interview by composer Benimaru

   There are a lot of places that you would think of first when someone brings up video game music. Tokyo, LA and even Toronto seem the places you would go for that community. However like a lot of the music scene in a whole, video game sound designers and composers call YEG home and thrive in a supportive and ever growing scene. Everyone’s music journey takes a different path and sometimes intersects with other interests in amazing ways.

   Long and hard winters make the idea of getting lost in fantastical worlds appealing. Sounds design is a HUGE part of that experience and is critical for any good piece of art. Whether it’s the sound of V.A.T.S locking on, realistic weapon sounds for COD or the hypnotic Sweden by C418, these burn into our brains in the best way. For me personally I have almost always had a copy of the Skyrim OST on all my devices, just in case. The people who make these unique soundscapes and effects are able to take the emersion experience to another level and some of those people come from our very own YEG. In fact some of your favorite titles may have been created by Edmonton’s own Bioware, creators of Mass Effect, Dragon Age and Knight of the Old Republic.

   Benimaru, One of these artists hails from Edmonton and is a former student of the Mcwean Music Program (a great friggin program). He took his love of piano and jrpgs and made it a career with international recognition. His credits include Dragon Age: The Veilguard, Two Strikes and more. He also gave us a moment of his time for a quick interview.

1. How did you start your music journey? What got you into VG composing?

   My musical foundation was casually built on piano lessons as a kid, metal guitar in high school, and jRPG game soundtracks.

Fast forward to adulthood, I came to the realization that life's too short to spend my days working on things I don't care about.  So, I decided to give music a serious try and enrolled in the MacEwan music program.  Thereafter, I taught myself music production and composition, and have continued learning more about music every day.As for how I got into video game composing -- I was contemplating ways to make a sustainable living off my music and thought: I love music. I love video games. Why not build something off of these two passions? Now here I am, grateful to be working full-time as a sound designer and composer for video games.

2. How has the city’s cultural or musical landscape shaped your approach to composing for video games?

   My experiences as a life-long Edmontonian inevitably makes their way into the music.

When I'm scoring a for a frigid, snowy scene, it's the city's dry and biting winter that I think of.  Writing a track to accompany an evening joyride? My memories of Jasper Ave's flashing streetlights would inform the tempo.  The imposing sight of Refinery Row, seen from East Henday at night; that'S inspiration for an electronic-industrial piece.

   Beyond the locales, the people: The Edmontonian teachers, mentors, and peers who I've had the pleasure of studying under and experiencing music with. Their individual approaches to the craft have undoubtedly shaped my own musical vocabulary and perspective.  The local developers and the many beautiful and innovative projects we've collaborated on.  I cut my teeth by working with YEG's indies, learning gamedev software and adapting my music to meet a director's vision.  All these lessons and encounters, I continue to carry with me in my work.

3.What unique qualities or signature sounds do you strive to bring into your compositions that distinguish your work from other game composers?

   Having learned composition on my own, my theory/background isn't grounded in strict Western music traditions...and for that matter, is far from comprehensive.  As a result, I'm fairly open-minded when it comes to my arrangements and tonal palette.  I'm not shy about letting the viola play outside of its intended register; hell, let's add distortion, pitch shift it, and see how far we can push it!  Adding a rompler patch in the middle of a classic baroque piece? Why not, as long as it sounds good and fits the context!

Overall though, I don't really think about distinguishing my work from other game composers.  I just write what I'd enjoy listening to, and otherwise, focus on creating what's needed to elevate the scene.

4. What advice would you give someone with interest in the industry?

   There's no better way to learn about the industry than hitting up one of the local meetups.  GameCamp Edmonton hosts monthly talks at the Stanley Milner Library - I'd say that's a good starting point for anyone interested in gamedev.  Attendees include all kinds; from students to seasoned pros working as developers, artists, project managers, marketers, etc.  YEG boasts a bustling gamedev scene across the full range of the games industry, from AAA to indies.  Our city's game audio talent is especially amazing, with folks who've contributed their sound and music to blockbuster titles like God of War Ragnarök, Doom: the Dark Ages, and Bungie's upcoming game: Marathon; not to mention the plethora of legendary titles from Bioware.  What better way to learn about game development than talking to folks who are already doing it. That said, it's a very competitive industry, but there's no shortage of opportunities.  Put in the work. Hone your craft and build your portfolio.  Regardless of projects big or small, famous or unknown, do your best and make the most of every opportunity you get.  Most importantly, be kind.

   Unsurprisingly (for me anyways) Edmonton offers TONS of accredited sound design curriculums. While a popular one being Grant Macs Music Program, both NAIT and the UofA have sound design and music composing courses and full on diploma and degree programs. In addition schools such as Pixel Blue offer diploma programs in animation, audio engineering and music production.

   Edmonton may not always be the first name dropped in global conversations about game audio, but the stories coming out of this city make it impossible to overlook. What’s happening here is more than a bunch of programs or a handful of talented composers it’s an overlooked gem of a community, quietly shaping the sound of modern gaming. From long winters that inspire atmospheric scores to institutions that nurture new talent, YEG has become a place where creativity, opportunities, and niche communities intersect in genuinely exciting ways. As local artists continue to carve out their place in the industry whether through indie collaborations, AAA titles, or experimental sound design they’re proving that world‑class game audio doesn’t need to come from Vancouver or Toronto. Sometimes it comes from right here at home, built by people who grew up with the same snowstorms, the same city lights, and the same love for getting lost in other worlds.

Alternativejustin