Manu delgado
It is not easy to discern what is an indie video game and what is not, sometimes it is not necessary either. However, knowing the contextual ins and outs of this label is truly useful to become more aware of the interests behind its use. Being able to draw lines of relationship that contextualize this term with its own history and with that of the medium itself, with the spaces it has occupied over the years, becomes a necessary task to understand where it is and where it is going. independent creation of interactive works
Invited keynote: What is an indie video game? Brief contextual review of a complicated label
It is not easy to distinguish what is an indie video game and what is not, sometimes it is not necessary either. However, knowing the contextual secrets of this label is truly useful to be more aware of the interests that exist after its use. Being able to draw lines of relationship that contextualize this term with its own history and with that of the medium itself, with the spaces it has occupied over the years, becomes a necessary task to understand where independent creation is and where it is going. of interactive works.
Eulàlia Febrer
Eulàlia Febrer Coll has a PhD in Popular Music from Cardiff University and a Master in Music as an interdisciplinary art from the University of Barcelona. Currently, she is a professor at the International University of La Rioja (UNIR), where she coordinates the Master in Musicology, and a collaborator at the Center for Image and Multimedia Technology. Eulàlia is co-founder of various research groups such as FOR MUSIC (UNIR) or the Musicological Research Group of Menorca (Menorcan Institute of Studies) and Project Director at Electronic Dojo SL, a company dedicated to training through video games. Her main line of research is around the role of music within electronic sports, as well as around the pedagogical applications of video games at various educational levels.
Invited keynote: Music in indie video games: What elements influence its composition?
The musical and sound composition for any video game is linked to factors that are articulated, to a large extent, according to the available resources and the functioning of the music industry itself. This means that independent developers often have to approach musical production based on innovative or experimental ideas, which involve reduced economic, technological and human expenditure — which does not mean that they are left behind in their quality or social impact. This talk consists of two parts: a first in which the main elements behind the composition of the soundtrack of a video game will be pointed out and aspects related to the influence of the music industry on the production of each title will be discussed; and a second in which three case studies with different approaches to the musicalization of their titles will be briefly presented: Limbo (2010), Amnesia (2010) and Journey (2012).