Taylor Nayon Kang is a beacon of creativity and innovation in the sphere of video game music composition. Her journey, a harmonious blend of classical training and a pioneering spirit, has led her to become a formidable force in both the gaming and classical music industries. Her evocative soundscapes are not merely aural backdrops but the soulful essence that brings virtual environments to life.
As the Music & Sound Director at SKYWALK in South Korea, Taylor has contributed her talents to “Cut the Rope: Blast,” instilling personality and emotion through its background scores and sound effects. Similarly, her musical prowess has elevated the player’s experience in “My Home,” where her role extended beyond mere composition to include Music Director and Sound Designer. Moreover, the Winter Collection Album and the Annual Anniversary Albums for “My Home” have reached audiences globally, touching hearts and igniting imaginations.
Her educational odyssey from The Juilliard School to Berklee College of Music reflects her dedication to honing her craft. Around the world, Taylor’s virtuosity has been celebrated, earning awards and scholarships that underscore her artistic caliber. With a future as bright as the scores she composes, Taylor Nayon Kang’s influence on the video game industry continues to ascend.
In this exclusive interview, we delve into the rhythmic heart of gaming to uncover how Taylor Nayon Kang’s innovative sound design is sculpting the auditory landscapes of today’s most popular games.
It’s great to have you here, Taylor! Let’s dive right in. How do you view the role of sound design in enhancing the overall gaming experience, and what unique challenges does it present compared to other forms of media?
I remember playing “The Last of Us” alone around midnight. To ease the game’s intensity and mood and prevent excessive fear, I would turn the volume down so low I could barely hear it. However, during the daytime, I’d crank up the volume to fully immerse myself in the game’s characteristics and enjoy the complete experience of “The Last of Us.” Despite these measures, I still found myself with stomach aches from the scares. This experience reinforces my belief that sound design is crucial in gaming experiences, serving as a vital link between the player and the game.
I believe sound design and background music play pivotal roles in defining a game. They become essential elements that users associate with the game, even hearing the music in their minds when thinking about it. This principle extends beyond gaming to other forms of media. In my opinion, music and sound serve as the face of media, delivering mood and identity to the audience.
Can you describe your creative process when developing the sound design for a game? How do you start, and what steps do you take to ensure the sound complements the game’s atmosphere?
The optimal approach to developing music and sound involves receiving video clips, actual gaming scenes, or at least images of the game. This allows me to discern the most suitable sound for the project. Crucially, effective communication with a game designer or project manager is key. It’s through this communication that we align our ideas about the type of sound, music, and mood that should be crafted for a particular game.
After receiving the necessary materials, I spend time alone envisioning the most fitting music for the game or scene. I typically generate a few ideas, sketch them out, and then engage in further discussions with managers and designers to ensure our opinions align. Continuous dialogue is essential for refining the creative direction.
Moreover, I find that taking breaks from listening to my composition aids the creative process. Constant exposure can desensitize my ears, making it challenging to identify flaws. By revisiting my work at intervals, such as every 2–3 hours, I can refresh my perspective and offer more objective self-assessment.
In games like “Cut the Rope: Blast,” how do you ensure that the sound design interacts seamlessly with gameplay elements to create an immersive experience?
When uncertain about whether the sound design fits the moment, I typically create multiple versions to explore and determine which one aligns best with the intended atmosphere.
When working on a game like “My Home,” how do you balance the musical score with sound effects to create a cohesive audio experience without overwhelming the player?
The sound effects in “My Home” generally remain constant. It’s advisable to assess whether the background music might make the sound effects overwhelming before finalizing and releasing the background music. Additionally, it’s crucial to be mindful that the background music should not interfere with frequencies similar to those of the sound effects during the composition process. This consideration helps maintain clarity and distinctiveness between the two elements in the overall auditory experience.
How has your approach to sound design evolved throughout your career, especially with advancements in gaming technology?
With advancements in gaming technology, it is always beneficial to test sound effects and background music before the launch. This practice allows me to hear how my work sounds in context, helping me understand how the sound design and the game complement each other.
Could you share a particularly memorable experience or challenge you faced while creating the sound design for a popular game?
Surprisingly, the sound design project I initially assumed would be easiest presented unexpected challenges. It was for the mobile healing game “WITH” or “Whale in the High.” Given the game’s nature, I thought the sound design process would be swift and straightforward, as it involved caring for creatures on the whale. However, aligning the sound design with the vision shared by both the art director and I turned out to be more demanding. My inclination toward delivering an abundant sound that complemented the game clashed with the director’s preference for simplicity, aiming to ensure that users wouldn’t find the audio fatiguing. This experience taught me valuable lessons in effectively communicating with both the director and the game’s players, striking a balance between creative ambition and user preferences.
Who or what are your biggest influences when it comes to sound design in gaming, and how have they shaped your work?
When it comes to sound design in gaming, I always engage with project managers and directors before starting the process. We discuss potential game references, their ideas for music or sound design, and the types of games they might use as mood references. These conversations constantly provide fresh influences and ideas that contribute to my creative process.
In composing for games, I diversify my musical palette deliberately. Instead of limiting myself to one or two genres, I expose myself to a variety of musical ideas. This approach enables me to suggest music that is well-suited for a particular game with well-founded reasons. When searching for music for games, I don’t confine myself to game music alone, recognizing that every genre can contribute valuable elements to the overall media experience.
My primary musical influences are wide-ranging and include composers like Bach, Beethoven, Chopin, Liszt, Rachmaninoff, Prokofiev, Nikolai Kapustin, Ennio Morricone, John Williams, Hisaishi Joe, Dario Marianelli, and many others. The list of influential figures in my musical journey is extensive.
Lastly, with the rapid evolution of gaming technology, where do you see the future of sound design in gaming heading, and how do you plan to adapt to or influence these changes?
As gaming technology rapidly progresses, I firmly believe in the importance of creating unique and intricate sound designs and compositions, not only for games but for various media forms. Music should have a distinct voice that enhances the media’s qualities. My focus is on refining my artistic voice while integrating it seamlessly with the media’s essence. I am concerned that without a distinct musical identity, the advancing technology might overshadow the true essence of the music.
Taylor Nayon Kang’s pursuit of auditory perfection continues to leave an indelible mark on the gaming world. By intertwining her compositional genius with cutting-edge technology, she invites players into worlds where sound is not merely heard but deeply felt. As the gaming industry marches toward increasingly immersive experiences, let Nayon Kang’s sounds be your guide into these new realms of digital storytelling. Stay tuned to her latest projects and continue to listen closely – for the music of Nayon Kang is an adventure in itself.