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I love video game music. Deeply. I can reminisce my childhood whenever I hear the soundtrack of great games like Streets of Rage 1 and 2, Rocket Knight Adventures, E-Swat, Battle Toads, Thunder Force IV…the list goes on. There was something SPECIAL about game music created in the era of Chiptune, it encapsulated the times perfectly. Sadly, as everything in life, things progress pat a point and the previous constructs wither away and perish. This was the sad fate of chiptune music in video games once we moved into the CD era of gaming and anything could be placed in a game but this was not a completely solemn situation.

The invention of CD gaming did allow for some of the most epic gaming experiences to date. Full orchestral pieces could be included in video games, enabling a richer listening experience. There are some amazing examples of perfect soud and music use in games such as Silent Hill, the Final Fantasy games, the Metal Gear Solid series and obviously We Love Katamari to just name a few.

In this episode of Around The Bonfire, we discuss the different aspects of video game music and what we think of it now. As we try and achieve in every episode, we want to look a little deeper than just the argument of ‘Chiptune vs CD’ but into the way the gaming industry approaches the aspect of music in video games. We look at how a successful series can…detour away from it’s original musical feel into the realm of homogenisation. We discuss the trends of video game developers hiring well known composer who take the sound in different directions than the original, not so well known composers.

Listen to the conversation, have your say and take a seat, Around The Bonfire!

Nate

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