BERKLEE VALENCIA

JOURNEY
A DISTINGUISHED UNDERDOG OF GAME MUSIC
AND WHY PEOPLE NOTICED

BY
ANDRES RODRIGUEZ

VALENCIA, SPAIN
2014

INDEX

I.

Synopsis – page 1

II.

The Composer – page 4

III.

Sound Design – page 5

IV.

Instrumentation & The Recording Process – page 8

V.
VI.

The Theme – page 10
The Interactive Score – page 13

VII.

Conclusion – page 17

VIII.

References – page 18

I. Synopsis

JOURNEY is a Playstation 3 exclusive video game developed by
Thatgamecompany (TGC) and published by Sony Computer Entertainment. It was
released in 2012, and follows the story of an enigmatic red robed humanoid being who
awakens in the desert. You play the role of this being, and upon awakening, you are
immediately drawn to a huge mountain far off in the distance. It becomes your immediate
goal, and thus the story begins with your quest to reach this mountain. During your
adventure, you must traverse deserts, temples, ruins, and many more while encountering
various types of obstacles, including obstructed paths, missing bridges, and seemingly
out-of-reach locations. You are not rushed to complete levels, there is no timer, and there
is no feeling of imminent danger until the latter half of the game. This allows for a unique
gaming experience, which allows the user to simply enjoy their surroundings, the music,
and the charm of the artistic direction in the game, removing the focus from
competitiveness and urgency to enjoying each level’s beauty.
“For JOURNEY as a game, it’s a person’s birth, who is very young and he
doesn’t know anything and he starts to explore, and childhood is very safe and
everything is exciting. Then as he grows, he realizes more and more about why
he’s here and his purpose.”
-Jenova Chen
It is a third person adventure game, meaning you play from the perspective of a
free-floating camera that hovers far behind the character. JOURNEY features few
gameplay mechanics when compared to other AAA or high profile indie games. The
character can simply run freely in any direction and can jump. More advanced mechanics
include the ability to hover through the air upon jumping, which quickly depletes a meter


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represented by the player-character’s scarf. This meter can be filled by interacting with
red fabrics that resemble your robe, which are strewn about the world in a variety of
forms, like small animated shards, to large seaweed-like protrusions in the ground, to
even an epic woven whale which you must ride later in the game. You also have the
ability to shout or softly chirp, which is dependent on how long you hold the circle button
on your controller. Doing so will create a burst of sound that radiates around the
character, and will attract any pieces of fabric in close proximity to the player to fill your
meter or sometimes thrust you into the air.
Creator Jenova Chen describes the game as being about emotional, human,
connections, setting it apart from other mainstream games who’s focuses rely heavily on
empowerment and the feeling of achievement upon destroying your enemy or completing
a puzzle, etc. This mentality leads to a unique multiplayer aspect for the game, which
allows for cooperative play without the ability to communicate with the other player. The
idea of encountering random players with minimal communicative abilities is not new,
though. In fact, two years prior to the release of JOURNEY, the game Demons Soul’s
(also published by Sony Computer Entertainment) featured a system that allowed players
from all over the world to randomly invade your game with the objective to kill you.
JOURNEY takes that idea and reverses the violent elements, creating a unique
cooperative experience. As you traverse the vast deserts or explore the giant temples in
the game, often times you may find that there is another player in your map. The game
does not reveal the other player’s account name, and there is no way of messaging them
in the game, which is what sets JOURNEY’s cooperative elements apart from other
games. The player-player interaction becomes about an exchange of feelings, rather than


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exchanging bullets or uniting to become more powerful. You are fully capable of
advancing through each level alone, but sometimes you have company with which to
solve puzzles together or independently of each other to advance more quickly through
each level. Since other players wear the same robe you do, touching them will also
replenish your scarf meter, which will allow you to progress more quickly and reach
obstacles you may not have been able to without first searching for a way to fill your
meter.
These are only a few reasons why JOURNEY was met with such critical acclaim
and success upon its release. It was almost unanimously reviewed with a 9/10 score on
websites like GameSpot, Game Informer, IGN, and more. It won 8 awards at the D.I.C.E.
(Digital Illusions Creative Entertainment) Awards, including Game of the Year,
Outstanding Achievement in Musical Composition, Outstanding Achievement in Art
Design, Outstanding Achievement in Online Gameplay, Outstanding Achievement in
Sound Design, and more. It also won five BAFTA (British Academy of Film and
Television Arts) awards, including awards in Original Music, Artistic Achievement, and
Audio Achievement. There are many more from different awards organizations, but the
most notable is that JOURNEY was the first video game to ever be recognized and
nominated to the Grammy award for Best Score Soundtrack for Visual Media. Others
nominated that year were Howard Shore (Hugo), Hans Zimmer (The Dark Knight Rises),
John Williams (Tintin), and Trent Reznor & Atticus Ross (The Girl with the Dragon
Tattoo), who ultimately won the award.


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II. The Composer
We owe the incredible music and sound of JOURNEY to composer, Austin Wintory, and
sound designer, Steve Johnson.
Austin Wintory began composing at an incredibly young age. When he was just ten years
old, he discovered the music of Jerry Goldsmith, which led to his fascination with orchestral
music. Born and raised in Denver, Colorado, he is now a graduate of New York University and
the University of Southern California (USC) and is based in Los Angeles. His relationship with
Thatgamecompany began during his studies at USC, where he met the director Jenova Chen as a
student. When it came time to present his thesis project, Jenova Chen asked his colleagues if they
knew any composers, which is where Chen and Wintory met and first collaborated on what
would eventually become the hit Playstation 3 exclusive, flOw. It was in fact his work on the
game flOw that made him the youngest person to have ever received a British Academy Award
nomination.
Austin now has an enormous list of credits to his name that is not limited to video games.
His most notable works in the area of film being Sundance winners, Captain Abu Raed, and
Grace.


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III. Sound Design

It’s incredibly important to mention the sound designer Steve Johnson as well, for his
work played an integral role in maintaining the sonic landscape of the game. One thing that
becomes prevalent in the game early on is the sensation that your character is small and alone. I
believe Steve Johnson was aware of this when designing his sounds, which in fact allowed him
to be resourceful and record lots of foley in the game right from his studio. The sound of the
player’s footsteps, for example, was rarely recorded using feet. Normal footsteps on sand were
made simply by Steve Johnson tapping his fingers into a cardboard box filled with sand that he
had collected at the beach. Footsteps on stone were made using a hacky sack, and footsteps on
metal were recorded by merely tapping on the side of an old metal desktop computer. Giving
your character these small sounds makes the player feel fragile and delicate, which in turn
provides a more emotional relationship to the small red figure on the screen.
Contrary to the sounds of your character, the ambient sounds from JOURNEY seem vast
and hollow, reflecting the wide desert of your surroundings. The entire third level of the game, a
hot open desert, includes ambient sound created from recording the room tone of a large
warehouse and processing it to appear hissy like the sand dunes around you. More intricate
ambient inclusion can be heard once your character has finally reached the mountain and must
now trek it’s cold, windy terrain. There, the ambiences were highly adaptive to triggers in the
game. There were in fact 16 different sounds which varied depending on the intensity of the
wind in the game and the different locations on the mountain. This variety helps the sound to
reflect the world more precisely and enhance player immersion.


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Two more important game elements are the sounds of the cloth strands and cloth
creatures, and the giant stone monsters that eat them called “war machines”. As mentioned
before, these cloth strands and creatures help to guide the character on his or her journey, while
also replenishing the amount of energy in your scarf on contact. The general theme found, sound
design-wise, across these cloths is to process the sound of high-pitched animals, like birds or
whales (for larger cloths). According to Steve Johnson, the original sound design for these
creatures simply included a large pool of randomized, similar, sounds. This however was not
good enough, as the beautiful cloth fish floated about but sounded random and unorganized.
Through painstaking hours spent with one of the programmers, he was able to recreate the
sounds and tie them to events in the game, making it sound like the fish were actually trying to
communicate with the character. Now, there are sixteen different categories of sounds for each
fish, including sounds for things like, “come here”, “uh-oh”, “found something!”, “help!”, “I’ll
pick you up”, etc. Suddenly, upon giving these creatures a voice, you empathize with them,
making it much more horrific when you encounter the war machines, who consume cloth. These
enormous, menacing stone sentinels appear towards the latter half of the game, and will scan
your surrounding area looking for you, or any bits of cloth they could eat up. They have different
sounds for the different game mechanics and parts of their body. Firstly, they have a “moan”
sound, which was comprised of humpback whale noises and leopards, heavily processed, and run
through a Kaoss Pad (a MIDI control surface and signal processor manufactured by Korg). They
have an attack sound that emits from their heads which was made by combining different animal
roars and processing them through a vocoder, and Johnson included near and far variations of the
sound to differentiate between situations where you are being attacked and when you are
watching your companion be attacked. They also have three sound-emitting points on their


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bodies that emit low throbbing “power throb sounds”, made by gating bass drones with a square
wave. These help give the war machines an ominous sense of direction as they hover above you,
especially when combined with a Doppler effect.
The most interesting thing about the sound design from JOURNEY, however, is the
emphasis on collaboration between Austin Wintory and Steve Johnson during the development
process. Many sound mechanics in the game seem to fit as musical components of the score, the
reason being that Wintory played a major role in creating several of the sounds in the game. One
game mechanic in particular is the “singing” system, which was briefly mentioned earlier. By
holding the Circle button on the game pad for different lengths of time, the player can sing at an
intensity directly proportional to how long you hold down the button. Johnson divided them as
so, a light quick button creates a “coo”, a hard quick button creates a “chirp”, holding the button
longer creates a “call”, and holding the button down for a long amount of time will generate a
“shout”. Each of these has a unique sound of varying length, and there is yet another level of
variation as well. When playing the game cooperatively with another player, the pitch of your
singing will drop down, and your companion’s will rise slightly in response, creating a type of
conversation between you and the stranger playing beside you. Another pitched sound asset from
the game can be found when climbing the snow-capped, windy mountain. There you can find
stone pillars, which the player must use to hide from war machines or take cover from the
treacherous wind. Originally, they were slated not to have any sound, but Johnson noticed their
resemblance to giant resonators. Ultimately, he wound up creating the sound for these pillars by
blowing on bottles, and filling them with water for different notes. He tuned them to the key of
the music using a guitar tuner app on his phone.


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IV. Instrumentation & The Recording Process

Choosing the instrumentation for the game JOURNEY was a very difficult and intricate
process for Austin Wintory. The level design and different locations in the game all have very
established notions of what their music should sound like from film and other medias. One could
typically assume that vast deserts with sandstorms and buried ruins would imply an Arabian
theme, or that the great empty temples could imply a far east Asian influence on the music.
Wintory, however, decided that it would be an even better idea to throw away these
preconceived notions of what the music would sound like, and create a brand new, more
universal, musical texture for the game. Wintory explains:
“… I gradually eliminated localizing concepts from the score to make it as universal and
culture-less as possible. Inevitably there are fragments but by and large, I just wanted to
make something that felt right, without needing to justify any choices based on references
to cultures, etc.”
This was a very important concept to maintain throughout the scoring process, which led
to a very atypical instrumental layout. The first piece of music Austin sent to Jenova was quickly
recorded at his studio for solo cello (played by Tina Guo). Interestingly enough, it was written
within days of being brought on to the project, and this cello recording laid the foundation for the
entire score to the game. It is also this same cello recording that can be heard on the original
trailer for the game. The second most prominent instrument in the score is the bass flute, which
is sometimes replaced with a regular C flute. (Played by Amy Tatum). As the game progresses,
more live instruments are brought in, such as the harp (Charissa Barger), viola (Rodney Wirtz),
and one very bizarre instrument called the serpent (Noah Gladstone). The serpent is an unusual
brass instrument because it is actually made from wood, but has a similar mouthpiece to brass


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instruments and a similar timbre as well, but with holes similar to those found on a woodwind
instrument. It is referred to as a predecessor to the tuba.
Surprisingly, most of these instruments were recorded directly at Austin Wintory’s studio
using nothing more than a Rode NT-2 microphone. A large portion of the game’s music is also
electronic, mostly in the implementation of low pads that serve to underscore the soloists and add
to the mood of the environment. The final element to the score was the inclusion of a full
orchestra. The orchestra used was the Macedonia orchestra, which led to Austin depicting one of
the greatest realities of modern day orchestral recording:
“(This recording) was actually probably the most 21st Century recording I could imagine.
The orchestra was thousands of miles away (8 hours ahead), but listening in via Skype
was Thatgamecompany up in Los Angeles, producer Kellee Santiago in Virginia, and
producer Robin Hunicke with Jenova Chen, who were in China speaking at GDC”
To recapitulate, the full instrumentation for JOURNEY included subtle electronic
synthesizers, the Macedonia orchestra, and four soloists, each playing the cello, viola, harp, and
bass/C flute respectively.


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V. The Theme

The game JOURNEY revolves entirely around the player and their quest to reach the
glowing peak of a distant mountain. Other elements play important roles as the game unfolds,
like large white deities you confront at the end of each level, the ribbons sprawled across the
world and their many different embodiments, and of course the menacing war machines who
would rip the ribbons from you and terrorize the would-be peaceful environments. Jenova Chen
was smart, however, in focusing solely on the character himself/herself. One thing that helps
reinforce this personal aspect of the game is the fact that Austin Wintory decided to include only
one theme in his score. He does not emphasize the arrival of new creatures or mechanics with a
new theme as you often do in film, television, and games with a larger scope. Instead, he keeps
one theme and wrote many variations of it, which play at different points in the game; changing
and evolving much in the way that a person on an adventure would.
(See “Nascence” transcription page for main theme)
The theme lays an enormous groundwork for the game, establishing the tone and
something incredibly unique for a video game, a key signature. It is in B minor, which is very
apparent because of the B which begins and closes the theme, and the ascended F and C notes,
playing F# and C#.
The first iteration of the theme plays during the opening sequence of the game. Here, the
camera drifts around revealing your surroundings and a burst of light rushes out across the desert
until finally, you find your character sitting alone. The music lets out a faint iteration of the
theme using only the cello in the mid-high register, before starting an enormous crescendo of
electronic synths and the orchestra that follows this burst of light that traverses the desert. Austin


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Wintory has said that the purpose of this crescendo is to wipe the slate, and completely refresh
your mind before beginning your journey. However, it does more than simply this. From having
completed the game, I know that once you reach the peak of the mountain, you become an
enormous burst of light and energy that shoots out from the mountain and crosses into the desert.
For someone who is experiencing the game for the first time, you would not realize the
implication of the theme playing at the start of the game, besides perhaps establishing the theme
for later iterations. In fact, it also implies that you are that burst of light, right from the first
moment of the game. This is just one of the powerful uses of using only one theme throughout
the game.
Variations on the theme occur throughout the entirety of the game, but the most
prominent iteration can be found, actually, in the official launch trailer of the game. This is the
track that Austin Wintory based the theme and melodies from himself, so I will use it here as
well to identify the main theme. The reason why it is in the trailer, rather than directly opened
with in the game, is because it was in fact the first thing Wintory wrote for Jenova Chen the day
they discussed JOURNEY. The music was actually first used in an animated trailer that
Thatgamecompany used to pitch the game and have it greenlit from Sony. This track is also the
opening song to the game’s soundtrack, and is called Nascence.
One of the enormous benefits of having one theme is, of course, having a solid key
signature. This comes into play very heavily not only because of how the music is being
implemented in JOURNEY, but because of the enormous effort taken to keep the sound design
from clashing with the music. I had mentioned the “singing” game mechanic before, in which a
player can sing, or coo, or chirp by pressing the circle button on the gamepad. These all fit within
the key of the game, and they had to since they all have musical aspects in their sound design. In


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total there are 17 different singing sounds if you are playing alone, each falling under the
categories discussed earlier, separated by how hard the circle button was pressed and for how
long. The quickest, softest ones, for example, are all based around an A, B, or C#. These fall well
within the scale of B minor, so the player can run around the map all he wants tapping circle
without ever interrupting the music.
One could argue that the reason this method of having one theme only works because the
game is, in fact, quite short. A casual gamer could beat it within two hours, and someone who
has already played the game could beat in one. However, I have found that Austin Wintory did
enough of a good job distinguishing the variations of the theme from each other that it instead
plays out much like a play, or a symphony. It also reinforces one golden rule of the game, which
is that it is only about the player and his/her journey. So much like someone who is growing, or
changing through his or her adventures, the music does as well. Wintory does an excellent job by
starting the game with a massive crescendo and leaving you blank, only to hear a cello and a bass
flute until you progress further in the game. Then, slowly as you progress, new instruments are
introduced, and new time signatures, and all sorts of things to make every level feel new, yet
within the same realm. The full orchestra does not even return after the opening crescendo until
the second half of the game.


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VI. The Interactive Score

One of the benefits of video games as an interactive medium is the ability to present
music and create storytelling devices by non-linear methods. This is as true in storytelling as it is
with music. JOURNEY features a linear storyline, with a non-linear score. This is evidenced by
the fact that, although your character is not on rails and is free to roam each level to your
pleasure, there is ultimately one destination at the end of each level, guiding you to the end up
until you reach the game’s finale. Your progression is predetermined, and the game has
mechanics that will force you back on track should you try to explore in a direction outside of
your objective.
The music, however, is non-linear. It’s easy to think of music as being on a horizontal
plane. Most digital audio workstations and audio sequencers portray audio in this way, since
sound is a combination of frequency over time. This is a perfect way to work when it comes to
scoring for film or songwriting, but it is not sufficient for video games. The reason is that unlike
in films, a video has no preset duration. Yes, JOURNEY is a linear game, but how long it takes
each person to complete a level cannot be known. Austin Wintory had to work around this when
designing the music for the game, and for that we get a combination of two techniques that are
commonly used in the video game scoring industry. The first is “horizontal resequencing”, also
known as “branching”. This is a method of audio implementation wherein segments of music are
lined up one after another and are cued to play sequentially, typically in a random order to avoid
repetition. What you get is a song that never seems to end, because as soon as an audio file
finishes, another one will start playing. This method can provide a lot of variety to keep people
from thinking the music is looping, but falls behind when it comes time to syncing with game


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events. The second form of audio implementation, and the most commonly used in JOURNEY,
is called “vertical re-orchestration”. With this method, it’s best to think of the music not as one
audio file like the mp3’s on your computer, but as a song that has had all of it’s component
ripped out and spread on a table in front of you. In a pop song situation, you can think of it as
having one audio file for the vocals, another for the guitar, another for the bass, and a last audio
file for the drums, then having them all play at exactly the same time so that together, they form
the full song. All of these audio files would be called “stems”, and using this method creatively,
you realize that you are not limited to simply separating parts of a song.
JOURNEY takes from these methods, and creates a beautiful score that seems to adapt to
its surroundings and never gets old, or feels like it is repeating. A good example of the music’s
interactivity in JOURNEY is shortly after the first level begins. You are alone in a vast desert
graveyard, and all that is playing is a quiet synth pad that loops repeatedly and arrhythmically.
After collecting your first strand of cloth, however (the first in the game), a cello begins
humming the beginning of the main theme. Beyond this point, for the duration of the level, as
you explore not only do you hear the pad, which continues to loop, but you hear occasional lines
from the cello or bass flute. These play at seemingly random intervals, yet never collide with
each other, still without sounding scripted to play after a certain duration of time. This implies
that the cello and bass flute lines have been recorded, and are vertically mounted above the synth
pad, yet only play after a certain duration of time (horizontally).
Another great example of interactive music in the game involves solving a puzzle to
create a large cloth bridge. Upon completion of the puzzle, the player must cross this bridge of
cloth to get somewhere that was previously out of reach. Now remember, touching cloth makes
your character capable of using your scarf to glide through the air, making this a very magical


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moment in the game as you float far above the ground. Here, the music that had previously been
playing does not stop, but rather a horizontally sequenced rhythm section comes in, combining
loads of percussion and cymbals. They play only as you glide across the bridge, and once you
reach the other, the percussion stops without the need of a fade out. This means that the
percussion has been branched and laid out one after the other, until the player reaches the end of
the bridge, when the samples discontinue looping.
At one point during the beginning of the second half of the game, you are introduced to
the war machines. Here, the music has a strikingly different tone. It is much more minimal, as
you creep through a very large dark abandoned temple. This is one situation in the game where
the music is prepared and synced to specific events. As you explore, you see ancient stone
statues that resemble the war machines, but occasionally real machines will burst from the sand,
letting out a terrifying shriek. These points also have music play precisely when the machines
come out of the sand, which is easy to do since the background music has no rhythm.
However, implementing an interactive and adaptive musical score did have unforeseen
consequences. Everyone from Thatgamecompany was aware of how beautiful the music was,
and just like in film, there had to be a time when the soundtrack came up in conversation. This
presented a very interesting challenge, since one couldn’t simply capture the audio from a
playthrough of the game and put it on a CD. In the context of an album, the score really didn’t
make any sense. So Austin Wintory had to collect all the different musical cues present in the
game and piece them together in a way that did.
In all honesty, he did an excellent job. The album plays completely like a big symphonic
show, and never feels inappropriate or awkward. In fact, piecing the music together in this way
allowed for almost an omnipotent perspective on the music of the whole, like laying it all out in


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front of you to see. It still manages to progress in the same way the game does, and when
listening to the soundtrack, you remember each level and all of your adventures without the need
of any visual cues. This just goes to show how powerful and impactful the music in JOURNEY
really was, and reinforces how great of a job Wintory did in creating a sonic landscape that
evolves and grows with you as you push forward in the game. Pieces at the end of the soundtrack
sound and feel as though they should be there, more mature and texturally more dense, while the
early tracks feature more solo instruments by themselves and sometimes cheery moments.
One exciting thing about preparing the soundtrack was having the opportunity to play
back cues that were never meant to overlap in the game, but fit perfectly well together. With
regards to the track named “Threshold”, Austin writes,
“This is a track that you may have not heard in the game like this. For example, you may
not have heard all five soloists playing at once, rather each one coming in as a reaction to
events in the game. The duet (in Threshold) between Amy on C flute and Charissa on the
harp occurs only on this album, and is impossible to reproduce in-game. The
performances are in-game, but this duet had to be put together specifically for the
album.”
The novelty of moments like these in the soundtrack makes it a brand new way to listen
the game’s score. It’s refreshing, but also perfectly depicts the game and it’s objective. I also
think that it makes JOURNEY, apart from a game with a beautiful score, a benchmark for how
interactive video game soundtracks should be. For despite the musical content of the game being
segmented and branched out into many stems that respond to the game’s events, it is also capable
of working on a linear timeline if given a bit of musical editorial skills and patience.


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VII. Conclusion

JOURNEY is a complex and emotionally driven game. It starts you off mystified
and searching for answers, and slowly answers them without a single line of dialogue ever
spoken. It makes you attached to your small robed figure, and has you flying through deserts,
ruins, caves, and mountains. It implements multiplayer in a way that makes you feel for the other
player on the screen and try to collaborate with them, even though they may not need your help
at all. Overall I believe that all of these sensations and feelings would have been enormously
diminished had it not been for the quality of the music in this game.
JOURNEY was in production for three years, and Austin Wintory began working
on it from before Sony had even given it the green light. It is thought that having plenty of time
to work on music can be very good for a composer, but in fact it was a great challenge for
Austin, and I believe would have been for any composer. In an interview with IndieGames
Podcast, he explains,
“When you actually live through a sizeable chunk of your life, side by side with
someone (TGC employees), you actually grow as people. So, your collaboration
will grow as a side effect of that… I would write a piece for an area of the game,
we made (JOURNEY) somewhat sequentially, so the music that is in the early
parts of the game I wrote the longest ago… I would be tempted to go back a year
and a half later, I would listen to a piece and go, ‘I have changed a lot as a
composer in a year and a half, I feel like that’s not representative of who I even
am anymore’… I would feel self-conscious about music that there would
technically be no problem with... (But), this game is about that process. This game
is a metaphor of the hero’s journey.”
This brings me to one of the most beautiful things about this game, and one of the reasons
why I believe it won so many accolades and is so influential. It is absolutely authentic. Not only
was so much effort invested in bringing this game together, not only was it a group of talented
people working together, it was a literal journey in the lives of the developers and artists.


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VIII. References

Journey. Dir. Jenova Chen. By Austin Wintory and Steven Johnson. Thatgamecompany,
2012. Video Game.
Chen, Jenova. "Emotion Oriented Interactive Entertainment - Inspirations And Theories
Behind Journey." YouTube. Proc. of D.I.C.E. Conference, Las Vegas, Nevada. YouTube,
8 Feb. 2013. Web.
https://www.youtube.com/watch?v=S684RQHzmGA
JOURNEY - Complete Score with Text Commentary. By Austin Wintory. YouTube.
YouTube, n.d. 3 March 2013 Web.
http://youtu.be/qGcXI_BaR2Y
Wintory, Austin. "Austin Wintory - IndieGames Podcast." Interview by Andy Schatz.
Vimeo. IndieGames Podcast, 23 Dec. 2011. Web.
https://vimeo.com/album/1785511/video/34101276
Wintory, Austin. "Interview: Composer Austin Wintory On Journey." Interview.
Interview: Composer Austin Wintory On Journey. The Sixth Axis, 2012. Web.
http://www.thesixthaxis.com/2012/03/15/interview-journey-composer-austin-wintory/
Johnson, Steven. "The Sound Design of Journey." Gamasutra Article. Gamasutra, 10
Oct. 2012. Web.
http://www.gamasutra.com/view/feature/179039/the_sound_design_of_journey.php
"Journey | Behind the Scenes (2012) Sony." YouTube. Sony Computer Entertainment,
2012. Web.
https://www.youtube.com/watch?v=EUw-T1GcOc8
"Journey (2012 Video Game)." Wikipedia. Wikimedia Foundation, 6 June 2014. Web.
 
http://en.wikipedia.org/wiki/Journey_(2012_video_game


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