tag:blogger.com,1999:blog-56808562800620776932024-03-14T06:15:29.420-07:00The Multi-Purpose Video Game Music BlogA look into what makes video game scores what they are today, including song samples and composer spotlights.Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-5680856280062077693.post-91049937468612977772012-12-24T13:23:00.002-08:002012-12-24T18:04:15.715-08:00What is a Leitmotiv, and Why Does It Matter?Welcome to Leitmotif December! This is going to be one of my many attempts to write multiple articles around the same theme in a single month. Given my track record for updates thus far, I figure it's a fairly lofty goal. But I have some pretty fun ideas, and I'd love to share them with you!<br />
<br />
This first article deals with exactly what a leitmotif is and how it works within the realm of video games. There have been many arguments within the academic community about what a leitmotif really is; it's a term that is most closely identified with German composer Richard Wagner (although it was used more by his critics than by the man himself), and many definitions of leitmotivs come from the analysis of Wagner's work. Since a strict definition of the term was never pinned down, scholars argue about the use of the term when describing movie soundtracks, game soundtracks, and other media music. This article will aim to provide a working definition of the term, the controversy that the term inspires, and a deeper look into the usage of the term when talking about game music.<br />
<br />
A leitmotif, in its simplest form, is defined as a short musical passage that often repeats and is associated with a person, place, thing, or idea. On the surface, it's pretty easy to see how this idea applies to video game music.<br />
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvoxjgYxWTb2DpIukGlNhsRY2KCfHznQgkTnPZiJBrrxN5oeTTOYPbQG69cSQjrPWOEToCPb-MVvhyphenhyphendJtqrmZh6gb-9YLQkhcamUi0e0abRZl6kCi_b4DLyaXwpIYHDujdr8OpXlxk1NkC/s1600/mario-underground-end.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvoxjgYxWTb2DpIukGlNhsRY2KCfHznQgkTnPZiJBrrxN5oeTTOYPbQG69cSQjrPWOEToCPb-MVvhyphenhyphendJtqrmZh6gb-9YLQkhcamUi0e0abRZl6kCi_b4DLyaXwpIYHDujdr8OpXlxk1NkC/s400/mario-underground-end.gif" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
One look at this stage should be enough to tell you why.</div>
<div style="text-align: center;">
</div>
<a name='more'></a><br />
<br />
<div style="text-align: left;">
In movies and games, <i>leitmotiv</i> is used broadly to describe music that is associated with a particular character, location, or idea: a "theme song" of sorts. In early games, this pertained almost exclusively to level themes since very few games were focused on narrative. Certain songs came to be associated with particular areas. For instance, the song that plays in World 1-1 of the original Super Mario Bros. also plays for every above ground level, eventually associating itself with the style of level that the player will encounter. This also applies for the underground and underwater levels. </div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/NTa6Xbzfq1U?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"World 1-1" - <i>Super Mario Bros.</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Many classic characters and RPG characters have their own "theme song" as well. The above theme song is often referred to as the "Super Mario theme." In fact, the piece comes to represent Mario as a character in later games as opposed to the "above ground" levels in its original form. But a lot of RPGs use these leitmotivs to identify their characters. <a href="http://www.youtube.com/watch?v=fMzkUriqXvs">Frog's Theme from <i>Chrono Trigger</i></a> is one example; it comes to represent not only the character of Frog but also his chivalry and heroism. While character-associated leitmotivs are not limited to RPGs, they are usually only used for games that have a longer narrative. Adventure games such as <a href="http://www.youtube.com/watch?v=fw_sjlk1Gbw"><i>The Legend of Zelda: Ocarina of Time</i> </a>and <i>Ace Attorney</i> make use of many character based leitmotivs.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://1.gvt0.com/vi/_I34nshlOPk/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/_I34nshlOPk&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://www.youtube.com/v/_I34nshlOPk&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div style="text-align: center;">
"Objection!" - <i>Phoenix Wright: Ace Attorney</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Finally, a leitmotiv can be used to symbolize a recurring thought or idea. While these are the most fitting examples of what a leitmotiv is truly supposed to be, it is also the most difficult to describe. Many of the best examples of a thought-based leitmotiv require a longer explanation of the inner workings of the narrative. In its simplest form, however, it can represent something as simple as reaching the end of a level or achieving victory, as discussed in <a href="http://thevideogamemusicblog.blogspot.com/2012/09/love-is-over-concept-of-reward-and.html">my last article</a>. More about this particular type of leitmotiv later.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
This simple definition begs the question, "If <i>leitmotivs</i> are simply snippets of music that are associated with people, places, or things, then wouldn't everything in a game be a leitmotiv since the music is programmed to play during different situations?" Technically, this is correct; this is why we need to narrow the definition of a leitmotiv, which is also where much of the contention lies. Generally speaking, the piece needs a sense of thematic significance in order for it to be described as a leitmotiv. In addition, the musical passage must play multiple times throughout the work (almost always in different forms, and sometimes even intertwining with other leitmotivs to create something completely different).<br />
<br />
Let's take a look at two examples - one that is <i>not</i> a leitmotiv and one that is - that are both from the same game.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/xpPWNOhJtqs?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"Cerulean City" - <i>Pokémon Red/Blue</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Cerulean City's theme is very bubbly and upbeat, much like its resident gym leader. Although the music can also be heard in Fuchsia City, there aren't any similarities between the two locations. In other words, it repeats itself throughout the greater narrative, but it doesn't hold any thematic significance. (As a side note, the repetition of a piece within the same area generally lacks any symbolic implications. While this is not a hard and fast rule, I will be proceeding with the assumption that track repetition in the same locale/situation is insignificant unless stated otherwise.) Therefore, with the given information, this piece does not have the qualities of a leitmotiv.</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/KY6GsRjKP0k?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"Viridian City/Pewter City" - <i>Pokémon Red/Blue</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
This theme plays in many different cities throughout the Kanto region, but its weight is due to its use in Viridian City, the first town that the protagonist visits. It's a theme that you hear right at the beginning of the protagonist's journey away from home. Later, you must return to Viridian City to claim your final gym badge and thwart the evil schemes of Team Rocket. However, these events alone do not make the Viridian City theme a leitmotiv. At the end of the game, after the final battle, Professor Oak rushes into the room and a <a href="http://www.youtube.com/watch?v=1ztWiNSu1hE">certain theme begins to play</a>. It's the Viridian City theme, albeit at a slower tempo. The inclusion of this piece is not an accident. It represents the protagonist's entire journey, from the moment he stepped away with his new Pokémon to his quest to win every gym badge to his victory against the Elite Four. With this repetition and added meaning, this theme is reminiscent of a leitmotiv. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Film music theorist Theodor Adorno mentions in his book <i>Composing for the Films</i> that one needs an incredibly long piece of work (or "musical canvas") for a leitmotiv to take on any importance "beyond that of a signpost." This has been the cause for many a debate within the academia of film scoring, but there is certainly some merit to this point of view. The example of "World 1-1" above does just this. In the original game, it acts as a signpost for the above ground levels, and since then, it has become a signpost for almost any game in which Mario appears. It requires clever, thematic usage of a tune to truly make it a leitmotiv. And, unlike film, video games tend to have a lot more time to extend their "musical canvases."</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Next, we'll be taking a look at proper and improper uses of leitmotivs in modern video games. Stay tuned!</div>
</div>
</div>
<div style="text-align: left;">
<br /></div>
Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com4tag:blogger.com,1999:blog-5680856280062077693.post-22614770524524504312012-09-06T13:41:00.001-07:002012-09-06T14:17:00.233-07:00"Love is Over": The Concept of Reward and Punishment through MusicOne of the driving forces (and biggest points of contention) in video games is the fact that they're rooted in a reward-based system. If the player does well, the game ensures that the player feels good about himself or herself. These rewards differ from genre to genre: in role-playing games, the player may gain a tremendous amount of experience or find a rare, powerful item, while in adventure games the player may be treated to <a href="http://www.youtube.com/watch?v=q5kkwermfs4&feature=related">some new dialogue</a> to enhance their experience. This concept also applies to music. When the player <a href="http://www.youtube.com/watch?v=PsC0zIhWNww&feature=player_detailpage#t=74s">reaches the end of a level</a>, <a href="http://www.youtube.com/watch?v=WSBC4WWO3RY">solves a puzzle</a>, or <a href="http://www.youtube.com/watch?v=69AyYUJUBTg">discovers something new</a>, a victory tune often plays.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.vgmpf.com/Wiki/images/6/68/Final_Fantasy_3_-_SNES_-_Victory.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="http://www.vgmpf.com/Wiki/images/6/68/Final_Fantasy_3_-_SNES_-_Victory.png" width="320" /></a></div>
<div style="text-align: center;">
And sometimes, the characters raise the roof.</div>
<br />
Conversely, if the player does poorly, the game is sure to indicate his or her shortcomings through the use of music. These musical cues generally activate when the player dies, fails a mission, loses a race, etc., and the most extreme of these cases is the dreaded "<a href="http://www.youtube.com/watch?v=l-vdysPwtv8">Game Over</a>" screen, indicating the ultimate failure in the game. But how do these musical clips interact with the player? What purpose do they serve other than a reinforcement of the visual indication of gain or loss? <br />
<a name='more'></a><br />
One function of this music is positive reinforcement. As shown in the <i>Portal</i> example above, the music changes when the player gets closer to solving the puzzle. The addition of music indicates to the player that the actions that he or she is taking are correct and are to be continued. In <i>The Legend of Zelda: The Wind Waker</i>, this technique is used during battles, and it indicates that you are dealing damage to your enemies:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/sylgNXY6API?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
Red Wizzrobe Battle from <i>The Legend of Zelda: The Wind Waker</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Another function is the simple sense of accomplishment that comes along with completing a task or finishing a segment of the game. It inspires continued playing because they know that progress is being made. In more linear games especially, it is an important factor to signify this progress; this is why many platformers are divided into different levels and why each level is punctuated with a musical fanfare. Each stage is its own mini-narrative, complete with a soundtrack that ends when you finish that chapter of the story.</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/d3mY3PFvYoI?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
Green Hill Zone, Act 1 <i>- Sonic the Hedgehog</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Interestingly, this rewarding system can also be used with negative reinforcement (that is, the reinforcement of an action through removing something bad). In horror games, music is used to create suspense and terror, in the moments both leading up to and during frightening scenes. In <i>Amnesia: The Dark Descent</i>, the player learns to <a href="http://www.youtube.com/watch?feature=player_embedded&v=pwF9N5603nc">associate thumping rhythms and music with the approach of an enemy.</a> The louder or more intense the music becomes, the closer an enemy is; therefore, the player comes to understand that sustained music of any sort is to be avoided. In the same vein, when the player reaches the next safe area, the music fades out almost completely, as shown in the video below.</div>
<div style="text-align: center;">
<br />
<div style="text-align: left;">
Similarly, other games use music as a deterrent of particular behaviors: namely, death. There are several different ways to approach this music usage, the most common being music that plays when your character dies. One of the more powerful (and for me, somewhat scarring) pieces of "death music" occurs in <a href="http://www.youtube.com/watch?v=9rwe4pGJaXg"><i>Disney's The Lion King</i> for the Super NES</a>. This music, combined with the stark visuals of your dying lion in front of a barren, black background, makes for a deeply disturbing experience when you die. The music is a simple C-minor melody, but it's just enough to make a player do anything to prevent having to hear it again.<br />
<br />
<div class="separator" style="clear: both; text-align: left;">
A more recent example comes from <a href="http://thevideogamemusicblog.blogspot.com/2011/08/sams-sort-of-reviews-catherine-ps3xbox.html"><i>Catherine</i> for the PS3 and Xbox 360</a>. The gameplay has you climbing for your life to the top of a tower of blocks while it slowly disintegrates behind you. As if the monsters and traps weren't enough for this nightmarish Hellscape, it's a very long fall from the tower. If you're unlucky enough to fall from your place on the tower, you hear <b><a href="http://www.youtube.com/watch?v=nPGOVqshccw">this music</a> </b>play along with this rather horrifying scene:</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9QAcczCTqVxiND6Q6yVRIP9Luto6Z472v_0_70BRszc3507oy-XPYfERFxeGCWID2DRqmbxkj_IRkfOxUUhXX-KL-TTFPPlZh2jF54Qcfq4VJcOjw9iTgew_sX5mVKU1s6lA7wfHb8zf/s1600/Catherine+pic+03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9QAcczCTqVxiND6Q6yVRIP9Luto6Z472v_0_70BRszc3507oy-XPYfERFxeGCWID2DRqmbxkj_IRkfOxUUhXX-KL-TTFPPlZh2jF54Qcfq4VJcOjw9iTgew_sX5mVKU1s6lA7wfHb8zf/s1600/Catherine+pic+03.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
Love is over, indeed.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
In a previous article, I discussed how composer Shoji Meguro remixed pieces of classical music to use within the action stages, which adds to the sense of the main character being in a dream. This particular piece borrows the first several bars of <a href="http://www.youtube.com/watch?v=xir-5oAWxXE">Pablo de Sarasate's </a><i><a href="http://www.youtube.com/watch?v=xir-5oAWxXE">Zigeunerweisen</a>, </i>written in 1878. As if tailored to accompany a death, the dramatic opening passage is followed by a lugubrious solo violin, emphasizing your solitary death at the bottom of a broken heap.</div>
</div>
</div>
<div style="text-align: center;">
</div>
<div style="text-align: left;">
<i><br /></i>
Why is this music so effective as a punishment? Death music is potent in part because it adds another dimension to the player's failure. While the visual element plays a vital part in the construction of the player's perception of defeat, music is an active, audible part as well. A great example of music participating in the player's failure comes from <a href="http://thevideogamemusicblog.blogspot.com/2011/04/sonic-unleashed-or-hidden-treasure-in.html">SEGA's <i>Sonic Unleashed</i></a>, where the "Rank E" music has the same form and melody as the standard victory music but with a cacophonous and ear-shattering twist.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/yODLkaF8F-Y?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"Rank E" - <i>Sonic Unleashed</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Strangely enough, though, it doesn't always make you feel bad about yourself to hear this tune. In fact, it's pretty hilarious. This makes it particularly effective: while it's clearly indicative of a substandard outcome, it's a comedic reminder to succeed rather than a harsh punishment for failure, effectively encouraging the player to try again. This is what these forms of music ultimately aim to do. Whatever the methodology, they present audible cues to prod the player into continuing his or her journey. The music can't be bad enough that it discourages the player from picking up the controller again, but it can't be positive enough to rob the players of an incentive to proceed. Finding the balance between these extremes is a difficult task but one that is integral to player perseverance. </div>
</div>
Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com6tag:blogger.com,1999:blog-5680856280062077693.post-32310512213813056882012-03-06T21:38:00.000-08:002012-12-21T12:06:18.674-08:00A Brief History of Early Video Game MusicIn the beginning, mankind created video games. And it was good. But it wasn't <i>great</i>.<br />
<br />
Back in the early days of games, programmers were having enough trouble creating a working product, putting all of their work (and processing power) into gameplay and graphical output. From the earliest, <i><a href="http://en.wikipedia.org/wiki/Tennis_for_Two">Tennis for Two</a></i>, to more sophisticated early games like <a href="http://en.wikipedia.org/wiki/Galaga"><i>Galaga</i></a>, there was either very little music (usually in the form of title screen jingles) or no music at all. It makes sense; this was back when the limits of gaming technology mandated that designers carefully choose how each bit of data was consumed. They just didn't have the space to worry about music when they were having enough trouble getting the game to run.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmLM1xEunjEjFLJG6ThxzT4qrLNx1tLb3sTy8EfBTyxOBI3aSwxGAL0394xqyFvUJzNfOQNv5CeccoHQRMIuLJ4cIkSTXDeCLv279wvWt0zyDYvZ3SqLQBOD-BeK-ltt-y1PiLIFOZ0J_/s1600/Asteroids_game_screen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmLM1xEunjEjFLJG6ThxzT4qrLNx1tLb3sTy8EfBTyxOBI3aSwxGAL0394xqyFvUJzNfOQNv5CeccoHQRMIuLJ4cIkSTXDeCLv279wvWt0zyDYvZ3SqLQBOD-BeK-ltt-y1PiLIFOZ0J_/s320/Asteroids_game_screen.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
As shocking as that may seem now.</div>
<div style="text-align: center;">
</div>
<a name='more'></a><br />
<div style="text-align: left;">
In fact, early on, there wasn't even a proper way to store music within a game's memory. The only recorded music available was in the form of hard copies, such as cassette tapes or even phonograph records. The best example of a game using this technology is Midway's 1983 arcade classic, <a href="http://www.youtube.com/watch?v=gFksPf8amMs"><i>Journey</i></a>. In this oddity, you play as the band Journey as they travel through space in order to retrieve their instruments. Since music was deemed important for a game about a rock band, the arcade cabinet included a cassette of simplified versions of the band's greatest hits. However, since these tapes didn't have the wherewithal of a standard sound chip, very few of the arcade cabinets still contain their original cassettes.<br />
<br />
One of the first games to utilize a soundchip to provide background music is 1978's <i>Space Invaders</i>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/437Ld_rKM2s/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/437Ld_rKM2s&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/437Ld_rKM2s&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div>
<div style="text-align: center;">
<i>Space Invaders</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
The soundtrack (if you can call it that) is very simple. Each time the aliens move in unison, you hear a descending, chromatic four-note scale that repeats indefinitely. It's not very complicated, to be sure, but it certainly sets the mood for the game itself. According to an article on <a href="http://www.cracked.com/article_19262_6-glitches-that-accidentally-invented-modern-gaming.html">cracked.com,</a> the increasing speed of the invaders is due to a glitch that makes the program move more quickly when there are less enemies on the screen; likewise, the music speeds up proportionally until it becomes an unrecognizable blur of notes, distracting and distressing you just enough to let that last invader through your defenses to conquer Earth. It's a simple but powerful technique, one that has earned the Space Invader a place as the <a href="http://en.wikipedia.org/wiki/Video_Games_Live">mascot of the Video Games Live concert series</a>. Not only that, but the orchestra dedicates <a href="http://www.youtube.com/watch?v=92rogPhOuNs">a special segment</a> to the menacing music used in the game.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The first game credited to have uninterrupted, melodic background music is <i>Rally-X</i>, an arcade game released in 1980.</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/lrb6aiTEQho?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<i>Rally-X</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Again, this soundtrack is far from complicated, but it was effective enough to communicate the need for the player to hurry and collect yellow flags before their fuel supply ran out. Note how some of the music cuts out when the player collects a flag or creates a smokescreen. As I said before, the hardware used for these games was running at full capacity, and there were only so many channels through which to filter sound (for example, the Atari 2600 was only able to generate two tones at any one time due to its limited hardware capabilities). So, instead of completely sacrificing sound effects or acquiescing to having a less intricate soundtrack, the <i>Rally-X</i> -- and many, many other games in this time period -- was programmed so that certain musical tracks would be disabled briefly in order to play sound effects. The trend would remain prevalent throughout the 80's and into the early 90's while sound technology continued to evolve to allow simultaneous music and sound effects.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
One of the more influential games in terms of soundtrack evolution is <i>Frogger</i>, released in 1981 by Konami.</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/l9fO-YuWPSk?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<i>Frogger </i>(Fun Fact: The working title for this game was <a href="http://www.twoop.com/games/archives/2005/10/frogger.html">"Highway Crossing Frog"</a>)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
With the inclusion of at least 11 different compositions for various situations in the game (background music, title screen, game over, etc.), <i>Frogger</i> helped establish the idea that a) music didn't have to be exclusive to playable parts of the game and b) game music could be comprised of more than one major composition. As you can tell from the above video, more care was being taken into creating full songs to accompany the gameplay. While <i>Space Invaders</i> and <i>Rally-X</i> had significant contributions to the advancement of game music, one can only whistle the same few notes repeatedly before they become boring or, worse, incessant. Frogger was one of the first games to include a catchy little ditty to the game; something that could be hummed or whistled and could act as another way in which the experience is memorable for the player. Perhaps it could have acted as a marketing technique to get players to remember the game and come back for more, but that's merely idle speculation.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
One of the last influential arcade soundtracks before the release of the Nintendo Entertainment System was that of Namco's 1982 hit, <i>Dig Dug.</i></div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/7no4Kilk5BY?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<i>Dig Dug</i> (composed by Yuriko Keino)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i> </i></div>
<div style="text-align: left;">
Firstly, it's important to note the player's influence on the soundtrack. If you stand still, then the music stops, and when you start moving again, the music picks up where it left off. In a way, this gave the player control over what music he or she heard in the game. One could run around underground, ignoring the enemies for several minutes while listening happily to the joyful background music, or one could lie in wait at the end of a long tunnel, silence accompanying his or her ambition to catch the enemy by surprise. While a seemingly simple technique, this opened the floodgates for not only player-controlled music but also <a href="http://www.youtube.com/watch?v=Ql6LnRXadQk&NR=1">environmentally-controlled,</a> <a href="http://www.youtube.com/watch?v=2ZXBp3fRe_w">time-controlled</a>, and even <a href="http://www.youtube.com/watch?v=1Rr5lCfpAhk&feature=player_detailpage#t=157s">substance-controlled </a>music.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Secondly, it's significant because it is among the first games to list a composer. In the previously mentioned games, either the soundtracks were most likely created by a programmer (in the case of <i>Space Invaders</i>) or simply anonymous or unknown (in the case of <i>Rally-X</i> and, surprisingly, <i>Frogger</i>). While it's hard to imagine a contributor going unlisted on a project today, it wasn't all that uncommon in the early days of video games; the fact that <i>Dig Dug </i>broke the trend helped provide a basis for future game composers to have their work recognized. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Video games are part of a continually changing medium, and nothing showcases that fact more than the growth of early game music. From cassettes to digitally-produced sound, from four-note soundtracks to player controlled themes, video game music came a far way even in its first decade. The realm of game music was turned on its side with the introduction of the NES. But that's a story for a different time.</div>
</div>
Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com2tag:blogger.com,1999:blog-5680856280062077693.post-45041511475635430882012-02-19T23:08:00.000-08:002012-02-19T23:08:42.731-08:00Songs to Grow On: Birdfeather NebulaIt's been quite a while since we've seen the dynamic duo of Banjo the bear and Kazooie the breegull, but no one can forget the catchy tunes that accompanied them through Grunty's Tower and beyond. This is a really cool take on the styles of Grant Kirkhope in the <i>Banjo-Kazooie</i> games as envisioned by Soundcloud user jdmoser. Check it out!<br />
<a href="http://www.blogger.com/goog_1180328086"><br />
</a><br />
<a href="http://soundcloud.com/jdmoser/birdfeather-nebula">http://soundcloud.com/jdmoser/birdfeather-nebula</a>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-61576922664711433132012-02-12T11:40:00.000-08:002012-02-12T11:40:15.597-08:00Interview: "Video Game Music Choir" Founder Julia Seeholzer<i>As a Northwestern student, I know a thing or two about a cappella groups. With about seventeen different groups, the college is never at a shortage of entirely vocalized music. However, one thing about which Northwestern cannot boast is having a group that sings only video game music, unlike Berklee College of Music in Boston. There, a student by the name of Julia Seeholzer created a group in Sepetember of 2009 where members arrange, rehearse, and perform different video game tunes, usually with little to no instrumental accompaniment. In a school devoted entirely to music, this yields some very impressive results. The following is an interview I conducted with Julia about the choir, her musical background, and her gaming background.</i><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8f9oOw1xWUPKUi7Rl51vYz0KyrbCECd5USAJJNCcl6VM8vspgzxX5j9tZ7oK2FiSmYbkKxN-3nZGB2O4AAwdcpin77FOAN7fehcOfFegggQjkjs90R-70BvpxK3acg1pDioHlcKiMEsEo/s1600/JuliaConducting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8f9oOw1xWUPKUi7Rl51vYz0KyrbCECd5USAJJNCcl6VM8vspgzxX5j9tZ7oK2FiSmYbkKxN-3nZGB2O4AAwdcpin77FOAN7fehcOfFegggQjkjs90R-70BvpxK3acg1pDioHlcKiMEsEo/s400/JuliaConducting.jpg" width="400" /></a></div><div style="text-align: center;">Julia Seeholzer</div><br />
<a name='more'></a><b>Q: When and how did you first come up with the idea of starting the Berklee Video Game Music Choir? Was the idea related to what you're currently studying at Berklee? How did you get recognition as a college group from Berklee officials?</b><br />
<br />
Julia: I first got the idea for the choir during my freshman year of college. I’ve been heavily involved in various choirs since grade school, and I’ve always been an avid gamer. Additionally, there isn’t a big emphasis on choral activity at Berklee, so I decided to combine these two loves of mine and form my own group. The choir was started as part of an existing Berklee student organization, the Video Game Music Club. The club meets once a week to discuss music in the game industry from various angles. Meetings include student presentations, forums, and visiting composers. We have a great Faculty Advisor, Jeanine Cowen, who’s been wonderful in supporting our various ventures.<br />
<br />
<b>Q:What is it about video game music in particular that draws you to arrange and perform it?</b><br />
<br />
Julia: Music is such an essential part of video games, and being a musician, there’s an incredible level of nostalgia whenever I hear music from my favorite games. However, choir, specifically a cappella choir, and game music are not usually associated with one another, outside of the epic choral “aah’s” and Latin gibberish plugged into big-name titles like Halo and <a href="http://www.youtube.com/watch?v=1y8H2r4f7eo">World of Warcraft</a>. I wanted to set instrumental and electronic music for choir because of its unconventionality and potential ability to break new musical ground.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/AzVKSB-Qwc4?feature=player_embedded' frameborder='0'></iframe> </div><div class="separator" style="clear: both; text-align: center;">"Main Theme" - <i>Super Smash Bros. Brawl</i> (Arranged by Daniel Jimenez of Berklee's Video Game Music Choir)</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><b>Q: How did you first get interested in video games? Do you play very often, or is your interest mainly in video game music? What are some of your favorite games? Favorite game soundtracks/composers?</b><br />
<div style="text-align: center;"></div><br />
Julia: When I was 8, my younger brother got a Gameboy Color for Christmas, along with <a href="http://www.youtube.com/watch?v=dqLYOSBfRsc">Pokémon Red Version</a> and Tetris. I used to borrow it whenever I could- I was addicted to Tetris, and I’m pretty sure I woke up early one morning to beat the Elite Four, unbeknownst to my brother. The following year, I got my own Gameboy Color for Christmas, and peace was restored. Since then, I’ve been hooked on multiple platforms- PC, handhelds, and consoles alike. I don’t play as much as I used to (thank you, college workload), but I still play when I can. It’s hard to pick favorites, but The Sims, World of Warcraft, Phoenix Wright, Golden Sun, and Escape From Monkey Island are my top five. Golden Sun and Phoenix Wright have incredible soundtracks, as does Baten Kaitos. Motoi Sakuraba is my favorite game composer.<br />
<br />
<b>Q: Do you have certain criteria for which songs the group performs? Are the arrangements more individual efforts or collaborative efforts?</b><br />
<br />
Julia: It’s definitely tricky to choose songs that will work for choir arrangements. A lot of older 8-bit music is too fast and complicated to be sung, so we have to choose carefully, or simplify things in the arrangements. When the choir started, I chose and arranged our repertoire, but as the group has grown, choir members have contributed more and more arrangements. Anyone is welcome to arrange for the group. I simply check the arrangements to make sure they’re singable.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/23epglj8iOo?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Still Alive" - <i>Portal</i> (Arranged by Stephanie Barker of Berklee's Video Game Music Choir, my sister!)</div><br />
<b>Q: As time goes on and gaming technology increases, video game soundtracks are getting increasingly complicated, with fuller instrumentation and more authentic-sounding (or even authentic) instruments. Given this evolution, do you feel there is a marked difference in the VGM Choir between how classic video game songs are arranged and how modern video game songs are arranged? If so, how so? If not, why not?</b><br />
<br />
Julia: There’s definitely a huge difference in arrangement style depending on the genre and time era of each game. Many older game arrangements are very busy with fast tempos, due to the nature of the limited channels available on early systems. Newer game music is a lot more diverse because of technological advancements. The genres have expanded to everything from pop to rock to orchestral to jazz. Arranging an orchestral piece for choir is much different than something from Tetris, for example. There are a lot more sustained chords, and a lot more actual choir parts in newer music. Both eras have their challenges, but both are quite fun to arrange.<br />
<br />
<div style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/LVhZ8JoSBSU?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Escape from the City" - <i>Sonic Adventure 2</i> (As arranged by Julia Seeholzer of Berklee's Video Game Music Choir)</div><br />
<b>Q: One of your more famous arrangements is that of "Escape from the City" from Sonic Adventure 2. You arranged it, right? How did you get the idea to arrange this particular song? Does the choir typically perform lyrical video game music?</b><br />
<br />
Julia: Yes- as a matter of fact, Escape from the City was my first arrangement for the choir. I wanted to pick a song that had lyrics, because it would be easier to arrange in an a cappella style. It’s also such a catchy, well-known song to gamers that I thought it would be a hit. We try to sing as much lyrical music as possible because it’s easier to arrange and sing, and it’s more interesting and relatable for listeners. However, there’s not a huge amount of lyrical game music out there, so we try to mix it in when we can. We’ve done things like “Still Alive” from Portal, and “Baba Yetu” from Civilization IV, which sound great a cappella.<br />
<br />
<i>(Interviewer's note: There are also times when the choir puts lyrics to non-lyrical video game songs, such as <a href="http://www.youtube.com/watch?v=K0s0f1ooIes">Zero-Two's monologue at the end of Kirby 64</a>, producing some awesome results.)</i><br />
<br />
<b>Q: Do you have anything else to say to video game music enthusiasts?</b><br />
<br />
Julia: The gaming community is unlike any other. There’s such an incredible love for the culture, and the game industry is very connected to its fans. All I wanted to do with this choir was share my love of game music with others, and this choir has taken off in ways I never could have imagined. If you have something to say, and passion behind your message, I can guarantee that the gaming community will look to you with open arms.<br />
<br />
<i>To listen to more performances and to find out more about the Video Game Music Choir, check out their website at <a href="http://vgmchoir.com/">vgmchoir.com.</a></i>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-5400893248596133662012-01-07T12:46:00.000-08:002012-01-07T12:46:46.809-08:00Eternal Sonata, or, Chopin in WonderlandJapan is known for many interesting game ideas, with anything from <a href="http://en.wikipedia.org/wiki/Cho_Aniki">homoerotic shoot-'em-ups</a> to <a href="http://en.wikipedia.org/wiki/Sakura_Wars">all-female acting troupes who also defend the earth with giant robots.</a> Many of these games don't make it to foreign shores, but every so often, one finds its way to the U.S. <i>Eternal Sonata</i> (known in Japan as <i>Trusty Bell: Chopin's Dream</i>) is a Japanese RPG with an unconventional plot: as the Japanese title suggests, the game centers around a dream that Frédéric Chopin (yes, <a href="http://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin">THAT Frédéric Chopin</a>) has while in a comatose state on the evening of his death. It's a strange concept, to be sure; however, when you're running around the battle field with a top hat-wearing Chopin and bludgeoning enemies with a conductor's baton, you stop questioning these details.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://media.giantbomb.com/uploads/0/6228/227974-chopin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://media.giantbomb.com/uploads/0/6228/227974-chopin.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;">Chopin, as envisioned by Japan.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;">Although the game garnered predominantly positive reviews, some reviewers complained about its use of overdone JRPG cliches and simultaneously confusing and over-simplified plot. One thing that was universally agreed upon, though, was the fact that <i>Eternal Sonata</i>'s music was some of the best that the Xbox 360 and the Playstation 3 had to offer.</div><div class="separator" style="clear: both; text-align: left;"></div><a name='more'></a><br />
<div class="separator" style="clear: both; text-align: left;">The soundtrack for <i>Eternal Sonata </i>was composed by <a href="http://samsvgmb.blogspot.com/2011/09/composer-spotlight-motoi-sakuraba.html">Motoi Sakuraba</a>, who's no stranger to whimsical RPG compositions. However, his work truly outshines itself in this game, where music is the central focus. In fact, the first two names in the credits are Stanislav Stanislavovich Bunin (the man who performed the Chopin piano pieces in the game) and Sakuraba.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">First, a bit of background about the game itself: as stated above, the game's action takes place in the world within Chopin's dream, where every citizen and locale is named after a different musical term. For instance, the heroic couple in the game are a boy named Allegretto (an Italian musical term denoting a moderately quick tempo) and a girl named Polka (perhaps a nod to the rising popularity of Polka as a musical form at the time of Chopin's death). Towns are also labeled in this way; throughout the course of your journey, the party traverses cities such as Ritardando, Tenuto, and Baroque. The way that the world within Chopin's mind is inundated with these terms is a not-so-subtle nod to the immense importance music had in his life.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div style="text-align: left;">But the ties between this game and music don't end there. Every chapter of the game is named after a different one of Chopin's compositions, from his Nocturne to his Revolutionary Etude, that accurately describe the events of the plot. At specific points during the story, the action cuts away to a slideshow and a performance of the titular piece as performed by Stanislav Bunin, a pianist who won the 11th Annual Frédéric Chopin Piano Competition in Warsaw in 1985. During the slideshow, the game provides further information about the piece that Bunin is playing and the context in which Chopin composed the piece. For example, one slideshow explains that he wrote the piece <a href="http://www.youtube.com/watch?v=AFzRyTmL6w8">"Raindrops"</a> after he and his lover had been evicted from their lodgings due to complications in Chopin's tuberculosis; when he returned to his former lodgings, he was subjected to the constant pattering of rain on his roof. Bunin has lived part time in Japan since 1988, and because of his accolades, he was asked to record these piano pieces for <i>Eternal Sonata</i>. This video shows Bunin's award-winning performance of Chopin's "Polonaise Op. 53" (also known as the "Heroic Polonaise"), which just happens to be one of the pieces he later recorded for the game. His enthusiasm and technical prowess are evident from the very start, and you can almost see the pride and love with which Chopin wrote this for his homeland.</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/fUCFQlXeTuc?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;">"Polonaise Op. 52" -- Frédéric Chopin (as performed by Stanislav Stanislavovich Bunin)</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">At first, though, the original compositions in <i>Eternal Sonata</i> are nothing special. The first cut scenes are largely devoid of music, and when you first take control of Polka, she's placed in a tranquil, pastoral setting; the music is pretty, but also fairly simple. However, when you reach the first battle, the soundtrack shifts dramatically:</div><div class="separator" style="clear: both; text-align: center;"><br />
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/MdfzMblD7-Q?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;">"Leap the Precipice" (Battle Theme) -- <i>Eternal Sonata</i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">While the theme is still fairly simple, the orchestration expands to become something far greater than it was in the simple, pastoral area. One of the great things about this battle theme is its scope; with a full string section, full and heroic percussion, brilliant brass, and even a choir, it's clear that Sakuraba put a lot of time and effort into this piece. Other composers may have saved such a composition only for boss fights, and indeed, it seems like it would be difficult to surpass the epic qualities of "Leap the Precipice." But if there is any game composer who could do it, it's Sakuraba. More on that later. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This is not the only instance of incredible music being found in interesting situations. Take this piece, for example:</div><div class="separator" style="clear: both; text-align: center;"><br />
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/ve_2PR1AK1c/0.jpg"><param name="movie" value="http://www.youtube.com/v/ve_2PR1AK1c&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/ve_2PR1AK1c&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div class="separator" style="clear: both; text-align: center;">"Underground for Underhand" -- <i>Eternal Sonata</i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This piece starts softly and gradually crescendos with each section, gaining more and more instrumentation and culminating in a fantastic 6/4 section at about the 50 second mark. Although it sticks primarily to the same pattern, the way that "Underground for Underhand" plays three against four complicates it enough to make the descending dotted quarter notes in the A section really exciting. Some may expect this composition to play while storming a castle or perhaps while they are voyaging on the high seas. But not in <i>Eternal Sonata</i>.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">In <i>Eternal Sonata</i>, this piece plays in the sewer.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/8/89/Orfice.jpg/300px-Orfice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/89/Orfice.jpg/300px-Orfice.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">How grand.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Yes, two of the main characters are traversing the sewage waterways, killing rats and flipping switches with this music playing in the background all the while. Of course, the sewer looks a bit more grandiose than what is pictured above, although it remains a long waterway with rats scurrying about. This scenario by itself is about the furthest thing from daring. However, when it's juxtaposed with "Underground for Underhand," it changes the entire dynamic of the area. It truly feels like you're finally starting out on your great quest, reminding the player that all great acts of heroism burgeon from humble beginnings.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Sakuraba also proves that he doesn't require sweeping orchestration in order to provide excellent, moving compositions. At one point in the game, your party accidentally stumbles into a world behind an ancient mirror where they are forced to overcome the perils of a monotone, M. C. Escheresque landscape. </div><div class="separator" style="clear: both; text-align: center;"><br />
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/ZZ-sohHFFD0?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;">"Tranquility and Inhabitation" -- <i>Eternal Sonata</i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This piece shows how even peaceful compositions don't have to be simple. The instrumentation is primarily piano, which seems to justify the blatant symbolism that accompanies exploring a mirror: This all takes place within Chopin's consciousness, and this journey is giving him the opportunity to reflect on his life and his works. While this particular composition may not have been composed by Chopin himself, its freely flowing nature and intricate chord structure feel like something that you may have found floating around in his mind at a tranquil moment such as this. In fact, it sounds almost as if this was comprised of snippets of compositions that Chopin never got the opportunity to notate or play for himself.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Finally, there are the numerous boss battle compositions, but one of the most breathtaking is (not surprisingly) the final boss battle:</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"> <iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/pGuTEskGP8g?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;"> "Scrap and Rebuild Ourselves - from Revolution" -- <i>Eternal Sonata</i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">As the title suggests, this piece is based on Chopin's <a href="http://www.youtube.com/watch?v=JeLHF0jd4Y4&fmt=18">Revolutionary Etude</a>, which also appears by itself earlier in the game. Without spoiling too much, this final battle helps Chopin resolve his internal conflict between the verisimilitude of the land he has created and the reality that he and everything else in this realm is part of a dream. As the sky falls and the earth crumbles from beneath them, the party must face their final foe to save not only the world but also the very concept of their existence. What better way to punctuate that than with a composition about Poland's revolution accompanied by a choir, a fleet of violins, and a pianist who channels the fervor with which Chopin himself played?</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This is one of the great things about <i>Eternal Sonata</i>. Motoi Sakuraba has the musical creativity and enthusiasm to contend with one of the greatest musicians the world has ever known. From beginning to end, the music envelops the player and guides him or her throughout the journey through Chopin's mind. Despite any other failings that this game may have, its amazing soundtrack and information about the actual Chopin make it a joy to play.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"> </div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-48722187719215620562011-12-01T22:50:00.001-08:002011-12-01T22:52:21.160-08:00Songs to Grow On: World 3 Map (as performed by Aivi Tran)I just had to share this before I went to bed. This is Aivi Tran's rendition of the third world map theme in Super Mario Galaxy 2. She adds some very interesting flourish and really fleshes out the tune on the piano. I hope you enjoy!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/xL4uwO7KjWo?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"World 3 Map" - <i>Super Mario Galaxy 2</i> (as performed by Aivi Tran) </div>
<br />
<br />Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-56489006775388771712011-09-17T10:09:00.000-07:002011-09-17T10:09:50.115-07:00Songs to Grow On: Cutting Edge of Notion<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: left;">Getting to watch a video game music composer perform his own pieces live is a unique and wonderful experience. Nobuo Uematsu performs for an audience periodically, as does Koji Kondo. This is a video of <a href="http://samsvgmb.blogspot.com/2011/09/composer-spotlight-motoi-sakuraba.html">Motoi Sakuraba</a> performing the battle theme from <i>Star Ocean: Till the End of Time</i>. This performance shows how comfortable Sakuraba is when in front of a piano synthesizer (and how much he loves to include rock organ in his compositions). Enjoy!</div><div style="text-align: center;"><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/YpRrqeB4bCA?feature=player_embedded' frameborder='0'></iframe></div> "Cutting Edge of Notion" - <i>Star Ocean: Till the End of Time</i> (written and performed by Motoi Sakuraba)</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-62949297224651806872011-09-10T14:43:00.000-07:002011-09-10T14:43:07.180-07:00Composer Spotlight: Motoi SakurabaWith some of gaming's most famous RPG series under his belt, Motoi Sakuraba is one of the finest and most prolific video game composers in the field today. He's composed the music for the <i>Tales</i> series, the <i>Star Ocean</i> series, the <i>Baten Kaitos </i>games, the <i>Golden Sun</i> series, both <i>Mario Tennis</i> and <i>Mario Golf</i>, and a host of others. He transcends not only genre boundaries, mixing pastoral, orchestral sounds with a rock fusion sound, but also company boundaries, as he has worked for as many as ten different developers thus far. But what is it that makes his music so great?<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.htbackdrops.com/v2/albums/userpics/10187/Motoi_Sakuraba_500x500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.htbackdrops.com/v2/albums/userpics/10187/Motoi_Sakuraba_500x500.jpg" width="320" /></a></div><div style="text-align: center;">Motoi Sakuraba</div><div style="text-align: center;"></div><a name='more'></a><br />
<div style="text-align: left;">Motoi Sakuraba was born on August 5, 1965 in the Akita Prefecture in Japan. Very musical from a young age, Sakuraba started piano lessons when he was in preschool. He briefly quit practicing piano when he had to get a new teacher (who was considerably meaner and more strict than his previous instructor), but he eventually returned to the piano and developed a fascination with synthesized sound. By the time he graduated high school, he was a popular solo artist in his community. He entered the University of Meiji in 1983 and performed locally while he studied for his degree. Although he participated in many rock band projects after he graduated in 1985, he eventually found the need for stable employment. So, in 1989, he joined a subsidiary of Telenet Japan called "Wolfteam," the group responsible for the induction of the <i>Tales</i> series with their game, <i>Tales of Phantasia</i>.</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://1.gvt0.com/vi/bF_T1FplLCk/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/bF_T1FplLCk&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/bF_T1FplLCk&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;">"Fighting of the Spirit" - <i>Tales of Phantasia</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">This music is played when fighting a Summon Spirit, powerful spirits that can be tamed and used to fight alongside you. This piece accurately depicts Sakuraba's early mixing of both orchestral and synthesized music (although at this point the orchestral sound was, itself, synthesized). The polyphonic string line underneath the main synthesizer melody adds a more elegant and legato quality to the piece. However, the driving drums give the melody a frantic, determined character, fitting for such a battle.<br />
<br />
<div style="text-align: left;">During the massive exodus from Wolfteam that occured after the release of <i>Tales of Phantasia</i>, Sakuraba became a freelance composer. During this time, he worked mostly with three different developers: Namco Tales Studio (a subsidiary of Namco and Telenet), tri-Ace (a company resulting from the departure of Yoshiharu Gotanda, Masaki Norimoto, and Joe Asanuma from Telenet), and Camelot. It was with Camelot that Sakuraba started his freelance work in 1995 with the game, "Beyond the Beyond." However, his more famous work with Camelot occurred later in his career.<br />
<br />
At tri-Ace, Sakuraba began work on their first major project, <i>Star Ocean</i>. The game's setting broke from RPG convention at the time; instead of taking place in a pseudo-medieval time period, it was set in the far future on distant planets. Similarly, Sakuraba's composition reflected this modern period, focusing more heavily on the rock elements of his music. In 2004, the third title of the series, <i>Star Ocean: Till the End of Time</i>, contains some of Sakuraba's finest work. It is also notable that this is the first of Sakuraba's soundtracks to be recorded by a live orchestra and rock band.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/411--Pg9LjE?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Moody Goddess" - <i>Star Ocean: Till the End of Time</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">I chose this piece to illustrate Sakuraba's ability to break from convention. This plays during the final boss battle in the game, and the discordant, free form jazz style reflects the chaos that the main antagonist, Luther, represents. With as few spoilers as possible, the mere presence of the protagonists in his realm defies all logic, and it slowly drives Luther insane. When he decides that the annihilation of the protagonists will restore order, the battle begins. The music shows the irony of his plight; while he may think that this act of violence will reestablish lawfulness, his descent into madness is already complete. Although this piece is not typical of Sakuraba's style, it effectively displays the malleability of his compositions.<br />
<br />
In addition, Sakuraba provided the soundtrack for tri-Crescendo (a subsidiary of tri-Ace founded in 1999) games <i>Eternal Sonata</i> and <i>Baten Kaitos</i>. The battle theme for <i>Baten Kaitos</i> can be considered an the archetype of Sakuraba's style.<br />
<div style="text-align: center;"><br />
</div></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/O4FdfaRX8EM?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"The True Mirror" - <i>Baten Kaitos</i><br />
<br />
</div><div style="text-align: center;"></div></div><div style="text-align: left;"></div>On the <i>Tales</i> front, Sakuraba has composed the music for every title in the series thus far. One of his most significant productions was the work he did with Shinji Tamura on <i>Tales of Symphonia</i> (2003). The fifth mothership title in the series (and the third to be released in the states), <i>Tales of Symphonia</i> was the first game of the <i>Tales</i> series to be produced by the Namco Tales Studio, a subsidiary of both Namco and Telenet. The creation of this studio actually marked the end of the original Wolfteam, while the production of <i>Tales of Symphonia</i> proved that this new studio had the moxie to carry on where Wolfteam left off.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4qw3m94NZPQ?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Water Symphony" - <i>Tales of Symphonia</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">"Water Symphony" is composed entirely around four chords: Fmaj7, E7, D7, Cmaj7 (a chord structure that, surprisingly, many <a href="http://www.youtube.com/watch?v=SF9ZLNxHaBY"><span id="goog_1507009241"></span>Sonic</a><span id="goog_1507009242"></span> <a href="http://www.youtube.com/watch?v=8KgIppb5zDA">pieces</a> have. But I digress). This is a fairly simple progression, but it captures the feeling of the town of Luin. When Luin meets its demise at the hands of the enemy, the music evolves to reflect the <a href="http://www.youtube.com/watch?v=3Z2LRi7N5LM">despair</a> of the few townspeople who remain. Although not as technically astounding as <i>Star Ocean</i>'s soundtrack, it denotes an important shift in Sakuraba's compositions.</div><br />
Finally, Sakuraba has also worked closely with Camelot Software Planning, starting with the Sega Saturn game, <i>Shining Force III</i>. His contributions also include the <i>Mario Golf </i>and <i>Mario Tennis</i> series...<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/806KyO4lzcU?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Toad Highlands" - <i>Mario Golf</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;"><i>... </i>and the <i>Golden Sun </i>series for the Gameboy Advance and DS<i>.</i><br />
<br />
</div><div style="text-align: left;"><i> </i></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/q5d1rrbNo3o?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Venus Lighthouse" - <i>Golden Sun</i></div><br />
<i>Mario Golf</i>'s soundtrack is bouncy, sweet, and melodic, but it's also unobtrusive; the MIDI tracks used to flesh out this example are all softer instruments, and while there is a sense of percussive timing, cymbal clashes are few and far between, and a majority of the driving rhythm comes not from drums but from jingle bells and the bass line. Sakuraba had the right idea to keep it mellow with the soundtrack for a golfing game. His normal brand of rock and orchestra fusion might have made players lose concentration.<br />
<div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://golfconfidence.org/wp-content/uploads/2010/12/angry_golfer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://golfconfidence.org/wp-content/uploads/2010/12/angry_golfer.jpg" width="214" /></a></div><div style="text-align: center;">Subsequently leading to swings that look like this.</div></div></div><div style="text-align: left;"><br />
</div><div style="text-align: left;">All jokes aside, to commemorate the releases of <i>Mario Golf: Toadstool Tour </i>and <i>Mario Power Tennis</i> for the Gamecube, they also released a CD compilation of the best songs from both titles, named <i>Mario Sports CD: The Best.</i></div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><i>Golden Sun</i> is a terrific example of Sakuraba's handheld work. While the hardware capabilities are severely hindered by the minimal technology of the Gameboy Advance (at least when compared to its console equivalent at the time, the Gamecube), Sakuraba found a way to make the music as epic as what would be found in console RPGs. The Venus Lighthouse, for example, is the final dungeon in the game. While the chorus in the background exemplify the grandeur and mysticism of the construction, the persistent drum beat embodies the protagonists' drive to protect the lighthouse at all costs.<br />
<br />
Motoi Sakuraba is known as one of the best video game composers of all time, and he certainly lives up to this title. With four major publishing companies and several successful series to work with, hopefully Sakuraba will continue composing for years to come.</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com3tag:blogger.com,1999:blog-5680856280062077693.post-77044348724581493002011-08-15T10:47:00.000-07:002011-08-15T17:57:21.362-07:00Songs to Grow On: Sulyya SpringsI can't think of much to write at the moment. I have a few Composer Spotlights running through my head, but those always take so much research and dedication, neither of which I have at the moment. I didn't just want to give a Song to Grow On though; so, I thought I'd share a song that's incredibly special to me. This is "Sulyya Springs" from <i>Final Fantasy XIII</i>:<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/lJ9cPxUXbuk?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Sulyya Springs" - <i>Final Fantasy XIII</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">For those curious as to why this is my favorite song (and are braced for some personal emotionality), click below.<i> </i></div><div style="text-align: center;"><br />
<a name='more'></a><br />
</div><div style="text-align: left;">As you may have guessed, my iTunes library is jammed full with video game songs. However, this particular song is far and above the most played in my collection (with 1832 plays and rising, as I write this). It relies heavily on piano and ambient synthesized sounds. There's a steady drum beat that grows and fades, like the ebb and flow of the water in the spring. Despite the drum beat, though, the melody is played legato and is accompanied by many sustained, complicated chords. Sulyya Springs is a sort of resting place for the characters of the game before they continue their search for the city of Oerba. Almost everything about the song is ambient, from the melody to the harmony to the lyrics (which are in English, but processed to make the sound seem more nebulous. Of course, it's also sung by a Japanese lady who may or may not have the most reliable English skills). It's a sound that embraces your hearing, filling your mind to the brim with what it has to offer.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">I feel like one of the most important reasons why video game music is so powerful is that it can be deeply rooted in memory; this applies not only to the memory of the game you're playing but also to the events going on in your life at the time of playing the game. All of the music in <i>Final Fantasy XIII</i> is beautiful, but this particular song really stuck with me. I remember that it made me cry the first time I heard it, and I still listen to it whenever I'm feeling down to remind myself of the beauty in the world. In addition, <i>Final Fantasy XIII</i> was the last game that my father tried to follow the storyline for as I played it. It had been quite a while since he'd shown such an interest in a game's story, and it made me really happy that he was so intrigued by what was happening. He'd miss bits and pieces of the story while he was at work, and when he came home he asked to be filled in on what was going on. The game has a lot of technical language and a pretty twisty plot, so my sister and I had fun explaining why the main characters were running from the law or what those lumbering, zombie-like monsters were. It was the first thing we had shared for a very long time. </div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Recently, life has been a little harder than usual. Things at home are stressful, things with relationships are even more so and oftentimes morale-crushing, work is difficult, and the plans for my future are still an inchoate mess. It's at times like these when I'm thankful for the beauty of music and the escape that it creates from reality. Here, in this score, is where I pour my fears, doubts, and sorrows about what I may be dealing with at the time. This song is a friend of mine, and I'll always appreciate its company.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">If you have any video game songs that are important to you, I'd love to hear them. Just comment below.</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-55084006118257257782011-08-10T13:24:00.000-07:002012-09-04T08:19:52.740-07:00Sam's Sort-of Reviews: Catherine (PS3/Xbox 360)I've been having trouble thinking of which games I'd like to write about. I was anxiously awaiting word back from Killscreen Daily, a video game publication, about whether or not they would accept my pitches for articles for their next issue, but I recently received word that my pitches were rejected. Better luck next time, I suppose? In the meantime, my sister and I just finished our first playthrough of Atlus's new game, <i>Catherine</i>, and I thought I'd add even more support to the critical acclaim that it has already gotten. I'll mostly be talking about the music and the choices made by composer Shoji Meguro, but first, some background information.<br />
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5p9u1lST2i85Ak9jHzHIKDrsA1XVGL_PLJrhwhkq_NbBkAlyeJ-2-aAqwNrFVMCU7x0imbVuQfKxh6xY-sJpLaAraMi05YDt6sYep-M8vPeur9wV0J479_nVjLz9hS5eR0OoMK1OvPcIG/s1600/catherine-video-game.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5p9u1lST2i85Ak9jHzHIKDrsA1XVGL_PLJrhwhkq_NbBkAlyeJ-2-aAqwNrFVMCU7x0imbVuQfKxh6xY-sJpLaAraMi05YDt6sYep-M8vPeur9wV0J479_nVjLz9hS5eR0OoMK1OvPcIG/s400/catherine-video-game.jpeg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
Those expecting a hentai game when they bought <i>Catherine</i> were sorely mistaken.</div>
<div style="text-align: center;">
</div>
<a name='more'></a><br />
<div style="text-align: left;">
<i>Catherine</i> is a game about love, or, more accurately, a game about the struggle between freedom and commitment. Vincent Brooks has been in a serious relationship with his girlfriend, Katherine McBride, for five years (and yes, that's with a "K." More to come on this). If her last name didn't make it painfully obvious, she wants to finally marry Vincent so they can settle down together; Vincent, however, is apprehensive about this change and wishes for things to stay the same between the two of them. In the midst of this conflict, Vincent meets Catherine, a young, bubbly blond who believes that a life that isn't lived to its fullest is not worth living. After they fool around a bit, Vincent's begins to have terrible nightmares where he has to climb up a tower before it crumbles beneath him. The thing is, if he dies in the dream, then he'll die in real life. Many men have reported having strange dreams, and mysterious deaths keep cropping up, but each man forgets about the dream when he awakens.</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.downloadatoz.com/resources/201107/pic/1310719587.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.downloadatoz.com/resources/201107/pic/1310719587.jpg" /></a></div>
<div style="text-align: center;">
Also, you're a sheep. Surrounded by other sheep.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Atlus lays the symbolism on thick in this game. Besides one love interest's absurdly obvious last name, there is quite a bit of religious symbolism: every night, Vincent frequents a bar called The Stray Sheep; the nightmare world uses church bells to signal safe landings; and on each landing is a sign pointing upwards to "freedom" and a confessional that you use to get to the next level. The gameplay is action/puzzle-based, consisting of Vincent pushing and pulling blocks in order to climb this crumbling tower, and this can, once again, be used as a metaphor for Vincent overcoming his challenges to come to a decision (or, rather, one of the characters blatantly pontificates on this explanation at the end of the game). The effort toward deeper meaning is fantastic, but Atlus should have a little more faith in their fans' intelligence instead of suffocating them with their interpretation of each symbol.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
That said, the story is incredibly mature and very well-told. This struggle isn't about saving the world or finding the princess; it's about an everyman's inability to let his life stagnate and the conflict that arises when he tries to stand still. Each character that you meet, even the nameless NPCs on the landings, has a distinct personality and set of emotions. There are several patrons at The Stray Sheep whom you can help with their problems, and an arcade game, a seemingly innocuous sidequest, actually reveals more about the plot. Each piece fits together perfectly. The best thing about <i>Catherine</i> is that every character displays his or her own imperfect humanity.</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://i56.tinypic.com/2gv0qc3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://i56.tinypic.com/2gv0qc3.jpg" /></a></div>
<div style="text-align: center;">
Katherine can have her fierce moments, but mostly she's just reeeeeeally naggy.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
As for the music, Shoji Meguro shows off his composing prowess yet again with his unique fusion style. For instance, this is the music that plays during the title screen:</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/2WuQWVekKX8?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"It's a Golden Show" - <i>Catherine</i></div>
<div style="text-align: center;">
</div>
<div style="text-align: left;">
The title screen shows Katherine sitting atop a pile of blocks to which boxer-clad Vincent is bound. He turns to the screen and desperately yells, "C/Katherine!" Other than that, there's not much to it. It's a little creepy, and those who proceed straight through won't hear much more than the first eerie minute of the song. It certainly fits the atmosphere created by the scenery, so it would be a reasonable assumption to think that the music in this instance is used only to set the tone for the rest of the game. However, when the slow chording eventually evolves into a disco-esque tune with heavy funk guitar, rock organ, and a driving drum beat. Why such a 70's feel to a game set squarely in the present day?</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
There is a framing narrative to <i>Catherine</i> consisting of a lady named Trisha (also known as "Midnight Venus") hosting a television show called "The Golden Playhouse." It is within this show that the main plot of <i>Catherine </i>takes place (which just adds another layer of intrigue: who is this mysterious lady? Are the events in Vincent's life less significant because of the added narrative layer?), and given <a href="http://www.alafista.com/wordpress/wp-content/uploads/images/february11/054.jpg">Trisha's eclectic sense of style</a>, it explains why the game (or, rather, the TV show) would have such a funky theme song. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
One of Meguro's greatest talents is combining drums and electronic DJ rhythms with piano and strings to create a blend of contemporary and orchestral music. A large portion of Meguro's music relies heavily on piano, but he builds onto the piano basis with strings, guitar, drums, etc. This creates a fullness to the sound, and it gives the music more energy than it would with his piano lines alone. One example, called "Stray Sheep," is played during several of the cutscenes (but not at the bar, oddly enough):</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/BDyWX1mWXzQ?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"Stray Sheep" - <i>Catherine</i></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
It opens with a piano melody with only soft percussion behind it. Around the 30-second mark, the drumming picks up a bit, and soft string underscoring begins. At about 1-minute, the violin adds occasional stings while the full string section provides a stronger underscoring in the B section. At around 1:35, the track reverts to its original instrumentation of soft drums and piano before evolving further into something much more menacing, dark, and discordant than the previous melody. The transition to this melody takes place over a mere few measures, but it's enough to drastically alter one's interpretation of the scene. <i>This </i>is the kind of brilliance that Meguro is known for in his other works.<br />
<br />
Even more impressive, though, is Meguro's arranging prowess for <i>Catherine</i>. The music during the action sequences consists of pieces by Baroque, Classical, Romantic, and similar era composers. As Meguro states in the <i>Catherine </i><a href="http://en.wikipedia.org/wiki/Catherine_%28video_game%29#Pre-order_bonuses">art book included in pre-orders of the game</a>, he chose these orchestral pieces "for their unexpectedness." To have an original composition would take away the unexpectedness of this type of music in such a situation, and if the composition were too famous, it would have drawn attention away from the rest of the game. Therefore, he decided to use "songs that were only 'kind of familiar.'" He did a fantastic job at this; a few of the songs are at least somewhat recognizable, but none of them have permeated mass media to the point that they would be <i>instantly</i> recognizable to many people. One of the most recognizable of these pieces is a combination of the second and third movements of "The William Tell Overture": "The Storm" and "The Ranz Des Vaches."<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/EsuJth9FXec?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"The William Tell Overture: Part 2 (The Storm) and Part 3 (The Ranz Des Vaches)" - Gioachino Antonio Rossini (as arranged by Shoji Meguro)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Meguro adds his signature rock feel to this re-imagining of this classic. The fact that this theme is more recognizable than many of the others he included boosts the "unexpectedness" factor, as does the inclusion of a short clip of "The Ranz Des Vaches" (you're dodging death on a crumbling tower to the accompaniment of a joyful flute?). My favorite of these arrangements, though, is of Chopin's "Revolutionary Etude":</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/IbV1awjnNm8?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
"Revolutionary Etude" - Frederic Chopin (as arranged by Shoji Meguro)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
This piece, originally written by Chopin at the start of the <a href="http://en.wikipedia.org/wiki/November_Uprising">November Uprising in Poland</a>, is only used on the very last stage against the final boss. Not only does the piece itself convey the urgency of climbing the tower, but the historical context behind the piece also adds another layer of significance to Vincent's struggle. Of course, the addition of a rapidly pulsing drumbeat only adds to the anxiety of the final boss shooting giant lasers from his eyes. I believe it's fitting that the music heard in Vincent's dream is both familiar and unfamiliar; it draws a parallel between our world and the game world, and it makes sense that these songs could lodge themselves in Vincent's unconscious mind, only to be heard (but not quite recognized) in his dreams. Even this act of soundtrack selection opens the game up to further interpretation: is this supposed to indicate something about Vincent's character? He's never seen listening to orchestral music during the game, so where did these songs come from? If the music is supposed to parallel the events of the day before each nightmare, how did these pieces come to mind?</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
All in all, <i>Catherine</i> is one of the most interesting games I've played in a very long while. The soundtrack is unique (although not entirely unfamiliar), the story is relatable and mature, the art is gorgeous, and the characterization is fantastic. The game is not for the feint of heart-- it can get frustratingly difficult very quickly, especially in Hard mode-- and those who don't even remotely enjoy puzzles may want to find their kicks somewhere else. But if you don't fall into either of categories, I suggest picking up this game as soon as you can and giving it a shot. You won't be disappointed... to steal a saying from a certain someone.</div>
</div>
Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-66843332098117723592011-07-27T21:14:00.000-07:002011-07-28T22:53:01.928-07:00Interview: Composer and Pianist Aivi Tran<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">A couple years ago, I was surfing the Internet when I came across a Youtube channel created by a lady named Aivi Tran (also known as "waltzforluma"). Judging by the name, I figured it would have plenty of videos related to video games. Little did I know that almost all of her videos were performances of her own arrangements of video game music. Aivi is an accomplished pianist, arranger, and composer with a passion for video game music. Given her many beautiful arrangements, I recently contacted her to ask for an interview. I soon learned that she also has quite a way with words! </span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://profile.ak.fbcdn.net/hprofile-ak-snc4/188155_181201948599804_3422195_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://profile.ak.fbcdn.net/hprofile-ak-snc4/188155_181201948599804_3422195_n.jpg" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Aivi Tran</span></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a name='more'></a></span><br />
<span class="Apple-style-span" style="font-size: large;"></span><br />
<div style="font: normal normal normal 13px/normal Arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Q: How did you first get interested in music?</span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: I come from a musical family where everyone likes to gather around and sing, so my interest in it came pretty naturally. I asked my parents if I could play the piano when I was 5 and took lessons from my aunt.</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Most musical pieces tell a story. Now I can attribute it to narrative structure, but as a kid, I heard it like this: here comes the hero (exposition/A section). Here comes the bad guy (B section/development). The hero comes back and defeats the bad guy (recapitulation/A' section). I narrated things in my head like this whenever I played piano or listened to music and loved getting lost in those imaginary worlds.</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: normal normal normal 13px/normal Arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Q: How did you first get interested in video games? Do you play very often, or is your interest mainly in video game music? What are some of your favorite (games and/or soundtracks)?</span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: My first console was the Nintendo 64. I was pretty "hardcore" at that age and gave the boys a run for their money in Mario Kart and Star Fox! Truthfully though, I haven't loved any console as much since. I'm much more familiar with soundtracks than I am with actual games, since videgame music as a medium really resonates with me. I believe that what's being said is often more valuable than </span></span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">how</span></span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"> it's being said, and game music embodies that sentiment for me: it's ingenious art created through the overcoming of technical limitations. Game soundtracks from the 90's tend to be my favorites, since they're a blend of technology that's modern enough for you to hear a semblance of orchestration, but classic enough that they're reminders that beautiful melodies can come from anywhere if you listen with care.</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">I absolutely adore Bomberman 64 and the Legend of Zelda: Ocarina of Time, both as favorite games and soundtracks. I spent ages playing and running around exploring, even long after I beat both games. The Bomberman 64 soundtrack by Akifumi Tada is really cool, and it has an addictive upbeat energy. Ocarina of Time's soundtrack by Koji Kondo taught me about articulation, elegance, and crafting melodies with clarity. These days, I find myself getting into Masashi Hamauzu's work, especially the SaGa Frontier II soundtrack and Final Fantasy X Piano Collections. They exhibit a lot of my favorite characteristics in music - striking harmonies, fleeting sounds, and a degree of unpredictability.</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: normal normal normal 13px/normal Arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Q: Very few of your arrangements are straight covers, and you seem to have the ability to breathe new life and meaning into some compositions. Do you chart your musical progressions, or do you improv? Tell about your arranging process.</span></span></b></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: My passion lies more in composition than performance, so that's probably why my arrangements usually aren't "straight." Even though I'm quite faithful to the original pieces, the element of surprise is something that I strive for. I'd love for someone who admires the original theme to feel satisfied, but for someone with a keen musical ear to still feel stimulated. Especially in my more recent arrangements, I've tried to avoid repeating details; for example, if the main melody returns in the right hand of the piano, I'll re-harmonize the left hand the second time, or move everything to a different register, or something subtle that keeps it fresh while sounding familiar. I always end up throwing in non-chord tones and unresolved suspensions (7ths especially) - I love that tension, and it makes regular major/minor chords so much more effective when they do appear. I don't know if most people notice those little details, since I'm pretty subtle in my writing, and when everything is played on the same instrument it's hard to hear the difference. But I get excited whenever someone calls me out on them!</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">In general, my covers probably reflect my current musical interests. Hearing things and playing them directly back on the piano is pretty easy for me, so I've always tried to come up with my own personal touches to challenge myself. I'm not brave enough to record myself improvising yet, but eventually that's something I'd love to do. I usually plan what I'm going to play and compose my solos beforehand, but hopefully it's only a matter of time before I start tearing my keys up!</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">(An example of one of her more recent interpretations is her take on </span><a href="http://www.youtube.com/watch?v=h-0G_FI61a8"><span class="Apple-style-span" style="color: white;">"To Zanarkand"</span></a><span class="Apple-style-span" style="color: white;"> from </span><i><span class="Apple-style-span" style="color: white;">Final Fantasy X</span></i><span class="Apple-style-span" style="color: white;">. It's quite a different sound, but it's also positively thrilling):</span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black;"><br />
</span></span></span><br />
<div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://0.gvt0.com/vi/2NlOCoh_vuQ/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/2NlOCoh_vuQ&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/2NlOCoh_vuQ&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">"Zanarkand Sunrise" - arranged and performed by Aivi Tran (originally by Nobuo Uematsu)</span></span></span></div></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
</div><div style="font: normal normal normal 13px/normal Arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Q: Your website showcases quite a few of your original compositions. Do you feel that your work is any way influenced by any video game music composers? If so, which ones? Who are your non-video game related musical influences?</span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: Videogame music is definitely a big influence on my own work. Apart from the tonal sensibilities that I've picked up on, the structure of classic videogame songs is pretty compressed. For example, you might have an in-your-face A section, a guns-blazing B section, and that's a loop. No time for meandering, no development. I'm usually in that mindset that every note needs to count, and my pieces tend to be concise, with each note put into a specific place for a specific purpose. The bulk of that probably came from listening to Koji Kondo's music in the Mario and Zelda games - even now, with more expansive orchestral works for the newer games, Mr. Kondo's music gets to the point, and I think that's what makes his themes so universal.</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">I'm inspired by many composers outside of video game music, too. I love listening to earlier 20th century composers like Ravel, Debussy, Stravinsky, Faure, Ginastera, etc. I really enjoy some minimalist pieces as well, like "Electric Counterpoint" by Steve Reich and much of what John Adams writes. My biggest role models are probably outside of the classical world, though: I'm sure everything I've written can be traced back to Joe Hisaishi, or jazz pianist Hiromi Uehara, or Astor Piazzolla.</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
</div><div style="font: normal normal normal 13px/normal Arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Q: Where did you go to college? Did you know when you first started college that you wanted a job in the music profession? Would you ever consider a professional career in video game music composition?</span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: I studied music theory and composition at the University of California, Davis. I didn't think that pursuing music was a real possibility and I took all these chemistry classes during my first term, thinking I'd major in something science-related. I signed up for a few music classes for fun, and soon felt that it was the right thing for me. I'm lucky to have supportive parents who let me pursue the arts - though they're quite pragmatic and made it clear that I had to find a way to support myself off of it when I graduated! I took my studies very seriously and was determined to do music full-time.</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">I've aspired to compose music for videogames since I was young, and would love to do it more professionally. I've had a few opportunities to work on some independent projects, so hopefully someday one of those projects will see the light! For now though, I'm content with where I am and grateful for it.</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
</div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/A3BIp4xWqzc?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">"The Enchanted Rose" - Aivi Tran </span></span></span></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: normal normal normal 13px/normal Arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Q: Your piece "The Enchanted Rose" is unique in that it was composed as a response to the music used in </span></span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Kingdom Hearts II </span></span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">for Beast's Castle. You phrased it quite eloquently in the Youtube video description when you said "</span></span></b><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">the original theme didn't capture the haunting enchantment of the Beauty and the Beast soundtrack by Alan Menken." Are there other compositions in other games that you feel don't fit with the areas in which they're placed? Have you thought of composing any other alternate themes?</span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: I can't think of anyone would could've fused Disney with Square-Enix more elegantly than Yoko Shimomura. I just happen to be a big Disney fan and the Beauty and the Beast soundtrack is sentimental to me, so I had a preconceived notion of how the Beast's Castle world in Kingdom Hearts II should sound, prompting me to compose my own. Other than that, it's never crossed my mind to compose any alternate themes for any games. Even if I don't particularly like a song, it's how that composer envisioned that world and I totally respect that.</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span><br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/6TR8leLczPM?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">"Cavern Tango" - Aivi Tran</span></span></span></div></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
</div><div style="color: #333333; font: 13.0px Arial; line-height: 14.0px; margin: 0.0px 0.0px 0.0px 0.0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">Q: I'd love to learn a little more about "Cavern Tango." You said that it was a homework assignment that was then tailored for a non-existent RPG. Could you tell me a little about the concept of that game, if there is one? What atmosphere were you trying to convey with the piece? Is your piano rendition an accurate representation of what you call the "original theme"?</span></span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; line-height: 14.0px; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: The non-existent RPG was a personal project between me and a good friend. I composed some faux-chip music for an imaginary RPG starring him as the main hero, and we got such a kick out of it that we decided to collaborate on an entire soundtrack based around classic RPG archetypes. We had everything from a "Hometown" to an "Airship" theme, and ordered the pieces according to what we imagined our heroes' journey to be like. At the very end, the characters wound up in the "Mystical Plane" where the most insane, over-the-top "Final Battle" took place (split into parts 1 and 2, naturally, for what self-respecting villain doesn't have more than one final form?) There was never an actual game, but we drew some accompanying artwork and finished nearly 30 tracks, not including the fake "piano collections" that I was working on. </span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Cavern Tango was one of those "piano collections" arrangements. (In case you're curious, the imaginary RPG Cave theme sounds like </span></span><a href="http://www.aivitran.com/sketches/LOX_Cave.mp3"><span style="color: #0000d5; text-decoration: underline;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">this</span></span></span></a><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">!) I learned a lot from arranging our music for piano, since I wasn't worried about "disrespecting" the composers and was in a comfortable environment where I could try unusual things. Cavern Tango was really just a chance for me to stretch out and explore, and that was my main objective with it. I played around with trills, messed with the structure of the piece... and I really, reaaaaally just wanted an excuse to smash the piano. I have trouble identifying what exactly constitutes the "original theme" in the same way that a person might have trouble choosing an ideal realization of a jazz piece. It's a 3-dimensional piece with many sides to its face, and you can only see it from one angle in a single performance.</span></span></div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
</div><div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="color: #333333; font: 13.0px Arial; line-height: 14.0px; margin: 0.0px 0.0px 0.0px 0.0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">Q: What are you currently working on professionally? Do you have any other video game arrangements lined up?</span></span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; line-height: 14.0px; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: I teach piano full-time during my days, mostly working with kids. They are so much fun! I've taught a few game tunes to some of my students, like the Song of Healing from Majora's Mask and the Super Smash Brothers Brawl theme. Like I hinted at before, I've been composing for a couple of indie games being developed for Facebook and the iPhone, so hopefully one of these days we'll have a chance to see them come to fruition. As far as game arrangements go, I always have tons of ideas in the works! I'm in the final recording stages of "Humoresque of a Little Dog" from Earthbound, a duet that I'm doing with a college friend, and I've been in talks with several amazing musicians that I admire about other collaborations. I also have solo ideas jotted down on manuscript paper and impromptu recordings of game tunes scattered all over the place.</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Last but not least, I should mention that I'm contributing a track to the </span></span><a href="http://minkcarcover.com/"><span style="color: #0000d5; text-decoration: underline;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">Mink Car Cover</span></span></span></a><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"> project, a charity album benefiting the NYFD Foundation based on They Might Be Giants' original Mink Car album. I'm arranging the actual song "Mink Car" as a piano solo. I'm very excited about the project!</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif; font-size: 13px;"></span></span></span></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><span class="Apple-style-span" style="color: white;">Q: What is it about video game music that compels you to arrange and perform it?</span></b></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: white;"><br />
</span> </span></span><br />
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">A big part of arranging game music for me is the community of game music fans. It's so nice to interact with friends who have the same hobbies, and who likely have similar childhoods and values as me. I personally am deeply affected by game music and being able to connect with someone on that level is really rewarding. It probably has to do with nostalgia, too (although I haven't actually played most of the games that I cover).</span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span></span><br />
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I also think it's a solid source of instrumental music these days. Lyrics depict specific ideas that can enhance or diminish your listening experience, but there are endless possibilities for how you can interpret the meanings of notes. Instrumental pieces touch me in a way that lyrical music usually can't, even though I enjoy plenty of the latter. Games are prevalent in a lot of households these days so people are more exposed to game music than before, and the aesthetics of it are just more relevant to our time than, say, classical works. I can see young people hitting the symphony halls more often if orchestras would play music that's more relevant to them, like the music from movies and games. Not that I mean to disrespect academic music (I go to the symphony a few times a year!) but let's face it - it's just really old music, and typically requires specialized knowledge to get into, which isolates a big chunk of audience.</span></span><br />
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></span><br />
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As for performance, I think that performing a song that I love, whether from a game or anywhere else, is the ultimate way to express my affection for it. I get to learn it inside-out, how it works, and I make it my own.</span></span></span><br />
<div style="color: #4d0053; font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span><br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/LLwZ7YUkAUs?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">"Rainbow Castle" - Mario Party (composed by Yasunori Mitsuda, arranged by Aivi Tran)</span></span></span></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="color: #333333; font: 13.0px Arial; line-height: 14.0px; margin: 0.0px 0.0px 0.0px 0.0px;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">Q: Is there anything else you would like to say to video game music enthusiasts?</span></span></span></b></div><div style="color: #4d0053; font: 13.0px Arial; line-height: 14.0px; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">A: I think it's great to see that so many people appreciate game music these days! It's nice that a previously esoteric genre is being acknowledged as something pretty cool, and probably a natural result of the gamer generation growing up. I'm always excited to meet someone who I can talk to about game music - someone who doesn't necessarily love it for its nostalgic value, but who like me just appreciates a good melody, wherever it comes from.</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 15.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;"><br />
</span></span></div><div style="font: 13.0px Arial; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">To anyone who eagerly awaits composers' names in the end credits, and to anyone who's spent hours in the option menu solely for the jukebox: my heart goes out to you, and I'd probably be sitting right there with you if I were present.</span></span></div><div><br />
****<br />
<br />
To learn more about Aivi and her musical projects, check out her website (<a href="http://aivitran.com/">aivitran.com</a>) or check out her Youtube channel <a href="http://www.youtube.com/user/waltzforluma">here</a>. Aivi is one of my personal favorite arrangers in the gaming world today; her technical prowess and creative ability know no bounds, and I can't wait to see her name in the credits of a game very soon!</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com1tag:blogger.com,1999:blog-5680856280062077693.post-50923309053434863232011-07-23T23:53:00.000-07:002011-07-23T23:53:30.709-07:00Songs to Grow On: Planet WispThis week, I rented <i>Sonic Colors </i>just to try it out. I'd read <a href="http://www.destructoid.com/review-sonic-colors-187691.phtml">drastically</a> <a href="http://uk.wii.ign.com/articles/113/1132902p1.html">contrasting</a> reviews (although I've since realized to never listen to anything Jim Sterling has to say), and I hadn't really touched any Sonic games since <i>Sonic and The Secret Rings</i> (which was terrible). I thought I'd give it a shot and see for myself. In my humble opinion, it's pretty fantastic. Gameplay-wise, it's what <i>Sonic Adventure 2</i> should have been, and the music was composed by five of the six people who worked on <i><a href="http://samsvgmb.blogspot.com/2011/04/sonic-unleashed-or-hidden-treasure-in.html">Sonic Unleashed</a></i>, so you <i>know</i> it's good. In fact, a detailed review is to come.<br />
<br />
In the meantime, however, I thought I'd share this incredibly relevant piece from <i>Sonic Colors, </i>originally composed by Kenichi Tokoi and performed by the always amazing Aivi Tran. I just received her responses to my questions, so my interview with her will be posted within the next couple days. This arrangement was a collaboration between Aivi and Dave Harris, with Aivi providing the piano and Dave providing the synthesized accompaniment. This rendition is what finally convinced me to rent <i>Sonic Colors</i> in the first place, as a matter of fact. I hope you enjoy it as much as I do. (Also, keep a watchful ear and eye out for a small clip of Green Hill Zone and some Sonic pixel art!)<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Q1uh9dW5yFw?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">Planet Wisp (Act 1) - <i>Sonic Colors</i> (as arranged by Dave Harris and performed by Aivi Tran)</div><br />
<div style="text-align: center;"><br />
</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-88951919413620644482011-07-13T12:07:00.000-07:002011-07-13T12:07:58.691-07:00Interview: William Reyes of The OneUpsSince this blog is about all things video game music related, I thought that I would try to get some inside info from people actually in the thick of the business. The OneUps are one of the more famous video game music cover bands in the nation, and I was lucky enough to get an interview with them for the blog!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.primaryignition.com/wp-content/uploads/2011/02/The-OneUps-Group-Shot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.primaryignition.com/wp-content/uploads/2011/02/The-OneUps-Group-Shot.jpg" width="396" /></a></div><div style="text-align: center;">The OneUps, from left to right: Jared Dunn (drums, keyboard), Mustin (bass, keyboard), Tim Yarbrough (electric guitar), and William Reyes (guitar, guitar synth)</div><div style="text-align: center;"><br />
<a name='more'></a><br />
</div><div style="text-align: left;">Although The OneUps have fluctuated in number since their beginnings in 2000, they have always been dedicated to creative interpretations of video game music, ranging from <a href="http://www.youtube.com/watch?v=pjqcrhJg7As">jazzy tunes from Toejam & Earl </a>to <a href="http://www.youtube.com/watch?v=RKMgleUxD9w">Christmas songs from the Mushroom Kingdom.</a> Originating out of Fayetteville, Arkansas, the band first formed when "<span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">Mustin, Nathan Mcleod (the OneUps' former saxophonist) and [I] sat in a room one day and talked about how much fun it would be to play video game music together," says William Reyes, The OneUps' original and current guitarist. They started out as a neighborhood band, playing local functions. A few of these original performances can be found on Youtube, including the following song that was my introduction into The OneUps, "Koopa Beach" from <i>Super Mario Kart</i>.</span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span><br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/sJ6PmvwbJMY?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"Koopa Beach" - <i>Super Mario Kart</i> (as performed by The OneUps-- the album version can be found <a href="http://www.youtube.com/watch?v=7u_ygtx1nt4">here</a>, but although this video doesn't contain many of the band's original members, this performance/arrangement was the one that first captivated me, and it also shows the scale of the venues that The OneUps played during its first few years)</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">This song holds a particular significance for the band: "</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">One of the first ideas was to play Koopa Beach as a Bossa Nova jazz tune," Reyes explains. "</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">Jazz/funk seemed to be the most common ground for all the musicians that came in and out of The OneUps over the next 10 years, and it also seemed to be the most suitable for the venues in the area." The jazz/funk style fits very well with a lot of the band's repertoire, "Koopa Beach" included. This song is a perfect example of how The Oneups can take a simple, 16-bit song and turn it into a fun, creative explosion, taking its original potential and pushing it to its outer limits.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">Regarding the often-alternating members of The OneUps, Reyes says, "</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">Since we are all musicians, we all have friends that are musicians. When we felt like we needed another voice in the group, we would think about our friends first and try playing together." From saxophonist Anthony Lofton (who recently had to take a hiatus from the band) to violinist Greg Kennedy to pianist/arranger Dale North (who is currently a writer for the gaming news site <a href="http://www.destructoid.com/">Destructoid</a>), the members of The OneUps changes fluidly, depending on the desired sound. For instance, compare the following song, "Mario Circuit," with "Koopa Beach":</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/jAHx13Lk6wo?feature=player_embedded' frameborder='0'></iframe></div><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"Mario Circuit" - <i>Super Mario Kart</i> (a OneUps music video, featuring Anthony Lofton on the keyboard) </span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">This arrangement doesn't have saxophone and is a lot more reliant on synth and piano accompaniment. While the band's overall flavor is still the same, the musical presentation is radically different (and equally as fantastic). In addition, this is The OneUps' only music video, and it really shows off the band members' quirky personalities.</span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse;">The band's love for the music of <i>Super Mario Kart</i> is pretty apparent (and, if you'd like to learn a little more about the soundtrack, you can check out my last article <a href="http://samsvgmb.blogspot.com/2011/07/super-mario-kart-or-kart-racer-that.html">here</a>). In fact, the band released an entire album of <i>Super Mario Kart</i> music in 2009. Reyes mentions that, "...A</span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"> few of the songs (from <i>Super Mario Kart</i>) influenced the inception of the band. Mustin came up with the idea to devote an entire album to this wonderful music. We tried to make the album have the same musical variety that the game has." Indeed, despite the vast difference in musical technology, The OneUps did an excellent job staying true to the game's bouncy, light feel while adding their own style of rock/jazz to the original compositions. Their rendition of "Rainbow Road" is one of the best examples of this fusion:</span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span><br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/geAr0k6FlpY?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"Rainbow Road" - <i>Super Mario Kart</i> (as performed by The OneUps)</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">The OneUps' latest album, <i>Intergalactic Redux</i>, has a drastically different sound from their other albums. With a harder, more synthesized core and a more funk-oriented drive, this album is yet another departure from a previously established style. When asked about this new sound, Reyes responded, "</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">We love playing with new sounds and trying new styles when we can. When our saxophone player (Dr. Lofton) left, we decided to go a different direction with a more modern funk style." Although it certainly a different flavor, it is no less technically impressive or astounding. Here's a track from <i>Intergalactic Redux</i> from the (already funky) <i>Toejam & Earl in Panic on Funkotron</i>:</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/dJ_N0Qjsg-s/0.jpg"><param name="movie" value="http://www.youtube.com/v/dJ_N0Qjsg-s&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/dJ_N0Qjsg-s&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"Ain't No Love Like Lewanda's" - The OneUps</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">It's hard to describe this song with any word other than "funky." It also emulates the <a href="http://www.youtube.com/watch?v=tE5pFe_QuQk">electronic style</a> of the <i>Toejam & Earl</i> soundtrack while, once again, fusing the original music with an intense jazz/funk feel. </span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">The OneUps' infinite adaptability and pure creative talent are what make it such a leading force in video game music today. They've persevered through thick and thin, including a brief disbanding before their reunion at PAX in 2007. In <a href="http://www.msnbc.msn.com/id/21227805/ns/technology_and_science-games/t/making-music-out-super-mario-bros/">an interview with MSNBC</a> following that performance, Reyes mentioned that he would get strange looks from people whenever he mentioned that he was in a video game cover band. I mentioned getting similar looks when I tell people that I write a video game music blog, and asked him what he and the other band members felt was especially appealing about video game music. This is what he had to say:</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">"</span></span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;">We love video game music because we love music. There is no genre called: "video game music." The number of musical styles one can find when listening to the soundtracks of so many games is fascinating. Arranging these tunes and inserting your own musical ideas is so much fun that it almost becomes addictive. We may still get the same reactions, but we don't notice anymore because we realize all that matters is that we're doing what we love."</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;">I couldn't have said it better myself. </span></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;">***</span></div><div style="text-align: left;"><span class="Apple-style-span" style="border-collapse: collapse;">If you'd like to listen to more of The OneUps, you can check them out on <a href="http://www.youtube.com/user/TheOneUps">Youtube</a> or head over to their website, <a href="http://www.theoneups.com/">www.theoneups.com</a>. Help support them by buying some of their albums or seeing them in person, if you're in the area (you can find a tour schedule on their <a href="http://www.facebook.com/theoneups?sk=wall">Facebook page</a>).</span></div></div></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com5tag:blogger.com,1999:blog-5680856280062077693.post-64274944146863390222011-07-08T20:31:00.000-07:002011-07-08T20:31:02.466-07:00Songs to Grow On: Zozo (by The OneUps)This post kind of acts like preparation for my next post (if all goes as planned). In Final Fantasy VI, Zozo is a town filled with liars. The concept is an interesting one; although it's used to solve puzzles, it also transfers to the atmosphere of the town itself. While not inherently evil, it is certainly seedy, and the constant rain and enemy encounters in the area only reinforce this idea. This rendition of the town theme by The OneUps captures this lightly malevolent nature with the use of jazzy saxophone and fiddle. I hope you enjoy it!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://1.gvt0.com/vi/Js6xnPZ_OJE/0.jpg"><param name="movie" value="http://www.youtube.com/v/Js6xnPZ_OJE&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/Js6xnPZ_OJE&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;">"Zozo" - <i>Final Fantasy VI </i>(arranged by The OneUps)</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-36930961886925945922011-07-04T22:13:00.000-07:002012-02-01T19:00:30.580-08:00Super Mario Kart, or, The Kart Racer that CouldWhen I was just a wee lad, I had a very gradual introduction to video games. Our family started with Gameboys (complete with Tetris), and when I was around four years old, Dad got a Super Nintendo Entertainment System, which my sister and I promptly usurped from him. At that point of childhood, I wasn't privy to recent technological advancements in the gaming industry. Therefore, when I saw a Mario Kart 64 demo at Walmart, I thought that this magnificent game was available for the SNES.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://i.imgur.com/INMRu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://i.imgur.com/INMRu.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: center;">Complete with Mario, Wario, and narcoleptic Peach.</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">So, when I went to McVan's Video Game Store and got what I <i>thought</i> was the same game for the Super NES, I was somewhat shocked at what I saw.</div><div style="text-align: left;"><br />
<a name='more'></a><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.ryanstubbe.com/img/smkcharacters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.ryanstubbe.com/img/smkcharacters.jpg" /></a></div><div style="text-align: center;">lolwut</div><div style="text-align: center;"><br />
</div><div style="text-align: left;"><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Being the child that I was, I was very upset at this game was different from what I was expecting. The graphics weren't polygonal, the controls were totally different, and there weren't any of the cool tracks that I saw in the demo of 64. For these reasons, I harbored quite a bit of resentment towards <i>Super Mario Kart</i>. I even traded it temporarily to my cousin's husband for <i>Super Mario All-Stars</i> (which, actually, was a fairly good investment at the time, but I'm glad that I eventually got this racer back).</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The truth is that, although the game could be frustratingly difficult at times, it was still revolutionary for its time. The graphics were really quite good for the SNES, utilizing Mode 7 technology to simulate depth, and although textures were somewhat limited, there was quite a bit of variety in the tracks. But the music is one of the main reasons that I remember the game to this day.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The music for <i>Super Mario Kart</i> (1992) was composed by <a href="http://en.wikipedia.org/wiki/Soyo_Oka">Soyo Oka</a>, who also wrote the music for the NES game <i>Wario's Woods</i> and did the arrangements of soundtracks for classic Mario games in the SNES game, <i>Super Mario All-Stars</i>. With credits such as these, Oka's music bears a striking similarity to that of Koji Kondo, the main composer of the Super Mario series. Not only does it make sense that she would try to emulate the style of Mario's platformers, but there may have been even more pressure to do so, as this was one of the first attempts to move him outside of the realm of a standard platformer; that is to say, if the music did not reflect the Mario that people had come to know and love, it may have thrown the rest of the game out of harmony and sever the parallel that gamers made between this game and the rest of the Mario series. Oka did not disappoint.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">This first example comes from the first track of the game, "Mario Circuit" (of course, there are a total of four Mario Circuits in the game, each with the same elements used in conjunction with different track layouts).</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/hlo_2NOPS7o/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/hlo_2NOPS7o&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/hlo_2NOPS7o&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">"Mario Circuit" - <i>Super Mario Kart</i></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><i><br />
</i></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This acts as a prime example of the parallels between <i>Super Mario Kart</i> and the rest of the Mario series up to this point. This song is bouncy and has MIDI instrumentation similar to that of <i>Super Mario World,</i> which was released two years prior. For example, the hand drum, bongo-esque drums in the background mimic the drums heard in <i>Super Mario World</i> <a href="http://www.youtube.com/watch?v=aHDJFgfb7-Q">when riding atop Yoshi.</a> In addition, the now-traditional tempo increase for the final lap is also reminiscent of the original Mario games: when nearing the end of the time limit in the original game and SMB3, the tempo became about twice as fast, and while there is no strict time limit in this game per se, this change takes place in the final lap to signify the urgency of getting past the finish line, just as in the other Mario games. All of these musical aspects can also be found in the <a href="http://www.youtube.com/watch?v=js1S3Z-4RBw">Choco Island theme</a> and the <a href="http://www.youtube.com/watch?v=BMLqoXqSaHY">Donut Plains theme.</a><br />
<br />
Another aspect that strengthened <i>Super Mario Kart</i>'s ties to the other games in the series is the addition of the Ghost Valley tracks:<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/UkcmMtVZ6cI?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Ghost Valley" - <i>Super Mario Kart</i></div><div style="text-align: center;"><i><br />
</i></div><div style="text-align: left;">It's easy to see what influenced this music. Just as the course was based on the ghost houses that appear in <i>Super Mario World</i>, the music is <a href="http://www.youtube.com/watch?v=wpaNrJjUUxA">almost exactly the same</a> as the ghost house music. The <i>Kart</i> version is a bit faster, and it doesn't have the leitmotiv of the <i>World</i> version, but the alternating three-note stings and the constant crescendo and decrescendo of the theme is straight from the original Kondo version. With tunes such as these, it's no wonder that Oka's music was often mistaken as Kondo's work.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">However, Oka also proves that she can create intricate, beautiful music with limited hardware capabilities that does NOT sound overtly like Kondo's compositions.</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Vtz-40AjwOM?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Rainbow Road" - <i>Super Mario Kart</i></div><div style="text-align: center;"><i><br />
</i></div><div style="text-align: left;">Oka's work on the Rainbow Road theme set the precedent for intricate, beautiful music for every Rainbow Road hereafter. Having arranged this for a cappella, I know first hand how odd the repeating chords during the beginning section are. Even though they're dissonant, they work really well, and it provides a stark contrast to the ascending whole-note chords that accompany the melody in the second part. Not to mention the bass part frequently spans octaves and provides the entire funky rhythm to the piece. It's clearly the p<span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: inherit;">ièce de résistance</span></span> in <i>Super Mario Kart</i>, and rightfully so. It's the most unique and difficult music in the game, custom-built to fit with the most unique and difficult track in the game.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Another testament to the quality of this game's music is the number of remixes it's garnered from the general public. One such video, an <a href="http://www.youtube.com/watch?v=Nlszl2mUt50">a cappella rendition of the "Mario Circuit" theme,</a> exemplifies the gigantic range required to effectively sing/play the song. Most impressive, though, is an album of <i>Super Mario Kart</i> remixes performed by the band, <a href="http://theoneups.bandcamp.com/album/super-mario-kart-album">The OneUps</a>. In a stellar display of creativity and true dedication, The OneUps prove not only how complicated the music is but also how infinitely versatile it is to many people's interpretations. I highly suggest checking out the album; it's worth your ten bucks and then some. </div><div style="text-align: left;"><br />
</div><div style="text-align: left;">At first glance, <i>Super Mario Kart</i> just seems like an ordinary racing game with Mario characters and a few new items thrown into the mix. However, it is due to several intricacies, including the ever-changing course route and its amazing music, <i>Super Mario Kart</i> will go down in history as one of the most revolutionary games of all time.</div></div></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-22022550638436319302011-06-23T21:16:00.000-07:002011-06-23T21:16:38.896-07:00Songs to Grow On: NautilusI don't know why I haven't posted more songs from Final Fantasy in this blog yet. It seems like the obvious choice when speaking of video game music. But I digress. This song from Final Fantasy XIII is played in Nautilus, an entertainment city for the residents of the game's world. As fantastic and sweeping as much of the song is, it still has a few sweeter, sadder moments, implying that not everything is as bright and innocuous as it seems. This song, written by the amazing Masashi Hamauzu, has really touched me recently, so I thought I would share it with you as well.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/f_a2kuPk7a8/0.jpg"><param name="movie" value="http://www.youtube.com/v/f_a2kuPk7a8&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/f_a2kuPk7a8&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;">"Nautilus" - <i>Final Fantasy XIII</i></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-3228688796126844002011-06-18T15:07:00.000-07:002011-06-18T15:28:24.234-07:00Composer Spotlight: Yasunori MitsudaYasunori Mitsuda was probably the first video game composer I became interested in (after Nobuo Uematsu), and he is most likely the reason I've become so interested in game composers at all. When I was in high school and was working at an independent bookstore, my boss's brother lent me the Yasunori Mitsuda tribute album, "Time and Space," along with a copy of <i>Chrono Trigger</i> (which, up to that point, I had not played). Hearing not only <i>Chrono Trigger</i>'s original, infectious music, but also the brilliant orchestrations of that music on the tribute album, I knew that I had to learn more about the man behind this score. Mitsuda's been through quite a bit to deliver on these albums that we know and love today, and he certainly deserves these accolades.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.originalsoundversion.com/wp-content/uploads/2009/12/mitsuda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.originalsoundversion.com/wp-content/uploads/2009/12/mitsuda.jpg" width="320" /></a></div><div style="text-align: center;">Mitsuda, as he appears on his album "Colours of Light"</div><div style="text-align: center;"><br />
<a name='more'></a><br />
</div><div style="text-align: left;">Yasunori Mitsuda was born on January 21, 1972, in Japan's Yamaguchi Prefecture, and he was raised in Kumage. He started taking piano lessons at age five and quit only a year afterwards, favoring athletic activities more than music. When he was in high school, he discovered a passion for music once again and, with the intention of becoming a film scorer, attended Tokyo Junior College of Music. Mitsuda started his career in 1992 as a sound designer for Square, working on sound effects for games such as <i>Secret of Mana</i> and <i>Final Fantasy V</i>. Although he was skilled at sound effect production, the pay that he was receiving for the job was not enough for him to pay his rent, and he wasn't able to compose music. He finally told his supervisor at Square, Hironobu Sakaguchi, that he would quit if he were not allowed to compose for the next game they produced. Sakaguchi agreed, saying that Mitsuda should compose the music for their upcoming project: <i>Chrono Trigger</i>.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Mitsuda poured his heart and soul into <i>Chrono Trigger.</i> He was assigned as the sole composer for the soundtrack, and he would frequently work late into the night in order to finish his compositions. Greatly influenced by jazz even from a young age, Mitsuda incorporated both jazz and Celtic elements into the music. In total, Mitsuda composed fifty-four tracks for the game before he had to be hospitalized due to stress-related ulcers. Composer Nobuo Uematsu helped by completing the final ten tracks needed for the game. Mitsuda was able to return to Square before the game was released, and he was incredibly proud of the finished product. As he should have been; <i>Chrono Trigger</i> has some of the most widely acclaimed music in role-playing games. Our first example is the main theme from <i>Chrono Trigger. </i>As you play it, try to listen to examples of syncopation in the song, characteristic of Mitsuda's jazz influences:</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/wU-Z1Jyr9j8?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;">"Main Theme" - <i>Chrono Trigger</i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">The main theme is truly adventurous, with a focus on both snare drum and timpani effects and a staccato orchestral backbeat that accentuates the dominantly legato horn melody. It gives the sense that you're riding off into battle, ready to face whatever the world throws at you, where the B section explodes into a panorama of legato lines, when you burst out from the darkness of travel into the light of the beautiful landscape and endless world before you. It feels as though Mitsuda is trying to convey how expansive the game is by presenting a grandiose, triumphant main theme.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This next example, "The Brink of Time," plays in the area that acts as the interstice between time periods:</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/AIhfs7Fw-vE?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: left;"><div style="text-align: center;">"The Brink of Time" - <i>Chrono Trigger</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">This song begins as a simple chord progression, with each iteration adding more instruments to the mix. It's also characterized by a slower, 3/4 time signature and an "oom-pah-pah" backbeat. The initial building of the song and the indefinite mode help portray this as a place of uncertainty; the End of Time, as explained by the <a href="http://chrono.wikia.com/wiki/End_of_Time">Chrono Wiki</a>, "exists at both ends of the timeline, existing in a place outside the traditional flow of time in the keystone eras." It is both beginning and end, both old and new, and it is only fitting that its music portray that ambiguity.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Mitsuda worked for Square for a few years more, working on a few Japan-only releases and another of his most famous games, <i><a href="http://www.youtube.com/watch?v=FhGLbYe-oDU">Xenogears</a> </i>in 1998. With more technology at his disposal, Mitsuda was able to incorporate a lot more into his compositions, such as a full orchestra, which would eventually influence his work on the later games in the <i>Xeno</i> series. After his work on this game, he left Square to pursue a career as a freelance composer. One of his first projects was Hudson's <i>Mario Party</i>:</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/pjQ19sT6NAY?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Eternal Star" - <i>Mario Party</i></div><div style="text-align: left;"><br />
</div><div style="text-align: left;">And, the following year, he was the head composer for <i>Mario Party 2</i>:</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/mzzidWuETv8?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Western Land" - <i>Mario Party 2</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">These two songs are among my favorite <i>Mario Party </i>compositions; both perfectly fit the board for which they were composed, and they both have a certain musical complexity that makes them fun to listen to. For example, in "Eternal Star," near the 48 second mark, the time signature seamlessly shifts to 5/4, adding even more power to the already driving drumbeats and forceful tune. "Western Land," on the other hand, utilizes MIDI fiddle and banjo to give the board a down home, country feel, and the shift in the B section (starting around the 0:35 mark) provides an excellent resolution to the rest of the melody. Not only that, but it so far differs from anything that Mitsuda worked on for Square Enix that it acts as an example of his mastery of genre.</div></div><div style="text-align: left;"><br />
Also in 1999, Mitsuda composed for the spiritual sequel to <i>Chrono Trigger</i>, <i>Chrono Cross</i>. As such, the music in <i>Chrono Cross</i> held some stylistic (and even <span id="goog_1060781319"></span>leitmotiv<span id="goog_1060781320"></span>) <a href="http://www.youtube.com/watch?v=8zHiCOxv6Yo">ties</a> to <i>Trigger</i>; one of the nicer things about it is the wider freedom Mitsuda had when it came to instrumentation. Although the music is not fully orchestrated, MIDI technology had greatly evolved in the four years between the two games, leading to grander arrangements of his compositions.<br />
<br />
Three years later, in 2002, he composed the music for the next game in the <i>Xeno</i> series, <i>Xenosaga Episode I: Der Wille zur Macht</i>. This marks one of Mitsuda's first fully orchestral undertakings; according to <a href="http://palgn.com.au/5478/yasunori-mitsuda-interview/">an interview with PALGN</a>, Mitsuda notes that in this process, he "achieved and lost many things." Certainly, making the transition from predominantly technological recordings to an orchestral soundtrack would be jarring, but it's clear that Mitsda's compositions only grew and flourished with the introduction of live instrumentation.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/x1R-UrpUzHA?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Nephilim" - <i>Xenosaga Episode I</i></div><div style="text-align: center;"><i><br />
</i></div><div style="text-align: left;">I find this particular piece interesting for several reasons: firstly, it's beautiful; secondly, the first half is a solo piano piece, and considering Mitsuda's original abhorrence of piano as a child, I think it's neat that his later work would rely so heavily on classical piano underpinnings; thirdly, this song wonderfully portrays the innocence and sadness of the enigmatic <a href="http://xenosaga.wikia.com/wiki/Nephilim">Nephilim</a> herself. The beautifully atmospheric compositions in <i>Xenosaga Episode I</i> are integral part of the game.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">I was unable to find much information on Mitsuda's current projects. He recently finished composing the music for the (currently) Japan-only release, <i>Xenoblade</i>, along with the help of <a href="http://samsvgmb.blogspot.com/2011/04/composer-spotlight-yoko-shimomura.html">Yoko Shimomura.</a> He is also working on a once-forgotten <a href="http://www.blogger.com/goog_367718548">album of arrangements of </a><i><a href="http://www.blogger.com/goog_367718548">Chrono Cross</a></i><a href="http://www.squareenixmusic.com/musicnews2.php?subaction=showfull&id=1307955857&archive=&start_from=&ucat=2&"> music.</a> At a young thirty-nine years old, he still has quite a bit of time to continue creating these masterpieces for generations of gamers to come.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Please let me know if I've overlooked any of Mitsuda's major works. Do you have any suggestions for the next Composer Spotlight? Let me know in the comments!</div></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com5tag:blogger.com,1999:blog-5680856280062077693.post-34574357348547765562011-06-17T21:25:00.000-07:002011-06-17T21:25:16.214-07:00Songs to Grow On: Koholint Ballad of Life (Overworld Theme)This summer, I'm going to do things that are productive. I'm going to better myself. I'm going to not waste the time that I have. One of my loftier goals is to arrange enough music to be able to start a video game music a cappella choir when I return in the fall. Of course, that'll be difficult, but I really hope I'm up for the challenge (and, well, although Northwestern already has an abundance of a cappella groups, none of them have this same schtick). I want to do more obscure songs, but it is familiar tunes that really draw a crowd. This song takes a bit from both columns and is one of my favorite renditions of the Legend of Zelda theme; as such, it will be one of the first songs I will try to arrange for this new choir. Presented below are the original Gameboy version and the Super Smash Bros. Brawl version of the Overworld theme in <i>The Legend of Zelda: Link's Awakening</i>, originally composed by Minako Hamano.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/nmR6APNpZKU?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Koholint Ballad of Life" - <i>The Legend of Zelda: Link's Awakening DX</i></div><div style="text-align: center;"><i><br />
</i></div><div style="text-align: center;"><i><br />
</i></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/SEkj4riuQEk?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;"><i>"</i>Overworld/Tal Tal Heights Mix" - <i>Super Smash Bros. Brawl</i></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com1tag:blogger.com,1999:blog-5680856280062077693.post-8979645380537989562011-06-11T07:45:00.000-07:002011-06-11T07:45:30.703-07:00Songs to Grow On: WarThis weekend, I'm performing in an anniversary show for my high school's theatre program. The program has been around for 45 years now, and hundreds of people who had participated in our high school's theatre come back to our hometown to perform in this fantastic musical revue. In honor of this musical theatre setting in which I've been placed, I thought I would share one of the more theatrical songs in video games. Although I've not played the <i>Sam and Max</i> series (with music composed by Jared Emerson-Johnson), I'm acquainted with their fantastic and (mostly) witty sense of humor. This is performed after Max (the crazed-looking bunny) becomes president due to... extenuating circumstances. It's fun to note that this song seems to parody itself by copying the same initial lyrical structure of the Edwin Starr song of the same name and saying the exact opposite (that war is good for you and for me, and not good for absolutely nothing). The campy style and over-the-top performance of this song covers up the tragedies of war for its practical and glorious applications; given that the entire series is dripping with sarcastic humor, this song does an excellent job of exposing a truth by stating its opposite.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/5L2Gve7oh_4/0.jpg"><param name="movie" value="http://www.youtube.com/v/5L2Gve7oh_4&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/5L2Gve7oh_4&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;"><i>"</i>War" - <i>Sam & Max Save the World</i></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-89744922093641455972011-06-09T12:21:00.000-07:002011-06-09T12:25:14.520-07:00Bridging the Gap: When Video Game Music and Popular Music CollideSometimes it's hard to explain what appeal video game music has. Part of it is its versatility: video game music can come from any genre, and it often creates its own genre to enhance the experience. In this way, it emulates popular music and its continuous evolution. Sometimes, though, both of them overlap; composers for video games use pieces of popular music to add a deeper significance to the moment, or songs originally composed for video games become so popular that they permeate our culture.<br />
<div><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.threadyourself.com/live/images/thumbs/portal-aperture-logo.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.threadyourself.com/live/images/thumbs/portal-aperture-logo.gif" width="320" /></a></div><div style="text-align: center;"><br />
<a name='more'></a><br />
<br />
Oh, hush. We'll get to you.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">This first example comes from one of my favorite games, <i>Mother 3</i>. Although this game was never released in the states, a group of dedicated fans took the original Japanese ROM and translated the entire game into English so American gamers could enjoy it. It has an incredibly powerful storyline, and its characterization is a strong point as well. People who are not fans of <b><i style="text-decoration: underline;">SPOILERS</i><span class="Apple-style-span" style="font-weight: normal;"> might want to skip straight to the video.</span></b></div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Near the end of the game, a man by the name of Leder, who had remained a silent bell ringer in the main character's home town, explains that the entire world had been destroyed when a dragon sleeping inside the earth rose up and wrought destruction. He was one of the few that survived, and when the survivors sailed to the Nowhere Islands, everyone's memories were erased except for his. Leder remained knowledgeable of the world's devastation so that he could pass the story on if the world were threatened once again. While he imparts this knowledge on the main character, this song plays in the background:</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/NcfV4HvPE5Q?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Leder's Gymnopedie" - <i>Mother 3</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">This song, although arranged with the technology of the Game Boy Advance, is actually an excerpt from Eric Satie's <a href="http://www.youtube.com/watch?v=LBhZAQlOtwg">"Gymnopédie No. 1."</a> Satie composed a total of three gymnopédies, each as an attempt to break away from the music popular in early nineteenth century France. With the almost constant undertone of alternating major 7th chords and a simple, flowing 3/4 time signature, this song evokes a strong sense of ambience; it is calm, yet pervasive. </div><div style="text-align: left;"><br />
</div><div style="text-align: left;">The choice to use this song was, I believe, well informed. The relatively simple melody and mostly major mode (completely major in Leder's version) convey a sense of wistful longing for the world as it used to be. However, by using Satie's "Gymnopédie No. 1," composer Shogo Sakai evokes an even more powerful message. Leder's song, in fact, is one of the only surviving vestiges of the old world, the world that only he remembers. It is an indication that there truly was a world that was destroyed before the main character was even born. Most importantly, it draws a parallel between the themes found in the game and the current state of our own society. Whether or not you agree with all of the messages of <i>Mother 3</i>, small moments like this, that make you think about your own life and what you're doing for the world, make this game stand out.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">This second example comes from the Gamecube game <i>Pikmin</i>. However, it requires some qualification. This song is not actually <i>in</i> the game, but it was composed as part of the marketing campaign for the game. It was eventually so popular that the band that composed it released it as a single, and the song sold more copies than the game it advertised. It was even one of the most recognizable songs in Japan for a few months. It's entitled "Ai no Uta," or "Love Song" by the band Strawberry Flower:<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/esYm9q-bi4w?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Ai no Uta" (with English subtitles) - <i>Pikmin</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">(As a side note, one of the great things about studying Japanese is actually being able to understand good chunks of songs like this without English subtitles. I was proud when I was able to decipher what they were singing. But I digress.)</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">As you can probably tell, this song is pretty touching. The simple melody and instrumentation seem to represent the Pikmin's silent, seemingly mindless obedience to the whims of Captain Olimar. However, the lyrics reveal that, although the Pikmin dearly love their leader and would gladly give up their lives for his well being, they refuse to demand anything from him, not even his love. Anyone who has played the game can attest to the fact that many, many Pikmin die over the course of the game; it's not desirable, but it's almost inevitable. For a band to finally give a voice to the previously silent denizens of the Distant Planet was an incredible concept, which is why the marketing campaign worked so well. In fact, the song was so popular, that the developers included an Easter Egg where the Pikmin start singing a clip from it from time to time (which just adds a whole other layer of meaning, so I'll leave it at that).<br />
<br />
There have been other instances in which popular music has been used in video games, such as the <a href="http://www.blogger.com/goog_843464968">credits theme for </a><i><a href="http://www.youtube.com/watch?v=NcrDWAuyqtc">Mass Effect</a> </i>and the <a href="http://www.blogger.com/goog_843464963">final battle theme for </a><i><a href="http://www.youtube.com/watch?v=7FjNMvJUkIg">Loom</a>. </i>However, I feel like I'm not qualified to speak on the effects these songs have on the games due to the fact that I haven't actually played either of them. If anyone who has played either game would like to weigh in, please leave a comment in the comments section. I'd love to learn more!<br />
<br />
Then, of course, there are the songs that become a phenomenon across the country because of how absurdly catchy they are. It has very simple melody, and it is not incredibly difficult to sing, which add to its catchiness. The delightful sarcasm within the song (as well as the somewhat macabre lyrics contrasting with the cheery tune) have only added to this song's popularity. It's been performed by choirs across the nation, including my sister's arrangement for Berklee College of Music's Video Game Choir. Here, in its original form, is Jonathan Coulton's "Still Alive."<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Y6ljFaKRTrI?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Still Alive" - <i>Portal</i></div><div style="text-align: center;"><br />
</div><div style="text-align: left;">The melody is simple, although there are several complexities hidden within the rest of the music; the cynical lyrics of the scorned GLaDOS contrast with the major melody, changing the entire intent of what would normally be a pretty standard ending theme. On an even simpler level, though, it's very attractive that the developers would take the time to compose an entire song for the credits, especially when the song so closely fits the mood of the rest of the game. It's a fantastic cap stone for a fantastic game, and its popularity has spread like wildfire, inspiring renditions from children, instrumentalists, and even a cappella choirs.<br />
<br />
It's certainly an interesting phenomenon, but this blurred boundary between popular music and video game music has the added significance of slowly integrating video games into the world of mainstream media. Do you have any other examples? If you do, just comment on the article; I definitely want to hear them.</div></div></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-80655034660053105382011-05-26T23:41:00.000-07:002011-05-26T23:41:12.516-07:00Songs to Grow On: Rosalina and the Lumas (aka I'M STILL HERE)I know it's been a while. I'm ashamed of myself too. But life has been kind of pulling me in many directions, and I haven't had time to put my best effort into my next article (which is currently a work in progress). In the meantime, I thought I would share with you a song that has been helping me get through some nerve-wracking moments I've had these past few days. Somehow, listening to this always seems to calm my nerves. I also adore Mahito Yokota (lead composer for both Super Mario Galaxy and Super Mario Galaxy 2). I hope you enjoy it as much as I do.<div><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PMY3yEZQFvA?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Rosalina and the Lumas" - <i>Super Mario Galaxy 2</i></div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-74586745546820729552011-05-13T11:40:00.000-07:002011-05-13T11:41:43.815-07:00Songs to Grow On: Super Mario World - Ending ThemeI haven't really paid homage to any classic games in this blog yet, so I figured it was about time. This song plays during the credit sequence of Super Mario World, composed by the prodigious Koji Kondo. It's characterized by a simple, straightforward tune that, halfway through, is colored in a "stage show extravaganza"sort of way.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/gNcIAC30mWI?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">Credit Sequence - Super Mario World</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">I also happened across this rendition of the ending theme today. It's played by a band of six cousins, all on different instruments. It's not a professional recording by any means, but it's exciting to hear the song played live (especially by a family band).</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/lNL7AdQ5xoU?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">RobinLSL - Super Mario World Ending Theme</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">Have a wonderful weekend! I hope to have my next full post up by next week, so stay tuned!</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com1tag:blogger.com,1999:blog-5680856280062077693.post-53261553780786756272011-05-10T17:36:00.000-07:002011-05-13T11:40:58.190-07:00Final Fantasy: The 4 Heroes of Light - Something Old and Something New<i>Final Fantasy: The 4 Heroes of Light</i> came out for the Nintendo DS in America in fall of last year. While the game garnered generally good reviews, it hasn't gotten very much attention in the states. It's not a perfect game, to be sure, and perhaps the older style of early Final Fantasy games was not something that a younger generation of gamers had any interest in returning to. Or maybe the game was just too gosh darn cute.<br />
<br />
<a name='more'></a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.rpgfan.com/news/pictures2010/4hol_le_poster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="http://www.rpgfan.com/news/pictures2010/4hol_le_poster.jpg" width="400" /></a><br />
Aw, lookit how adorable they are.</td></tr>
</tbody></table>The idea was a novel one: take the current technology and make a graphically and technically enhanced version of a classic RPG. The gameplay is innovative, but simple, and a class system based on various hats called "crowns" allows a large amount of flexibility in party creation. It's a great little game that channels the spirit of its predecessors without being too frustratingly archaic.<br />
<br />
The very first thing that struck me about this game when I started playing it was the music. When you start the game, this is the music that you're treated to in the title screen:<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/fdfkd0H_m-M/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/fdfkd0H_m-M&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/fdfkd0H_m-M&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;">"The Four Warriors of Light" </div><div><br />
</div><div>Just like every other aspect of this game, the music is a blend of the old sounds of the 8-bit era and the newer, more sophisticated MIDI available today. This sort of combination really does a number on the senses. While purely 8-bit compositions would have solidified the retro feel of the game, even the most pleasing 8-bit melodies become grating after a while; and while purely new MIDI would have provided a cleaner sound on the whole, it's not at all unique or keeping with the themes of this game. In short, this combination is the best fit for the game. Not only that, but it's pretty fantastic.<br />
<br />
The soundtrack was composed by Naoshi Mizuda, a fairly young composer working at Square Enix. He started work with them in 1995, contributing to the soundtrack for <i>Street Fighter Alpha</i>. Since then, he has worked on the soundtracks for <i>Parasite Eve II </i>and <i>Final Fantasy XI </i>(including all expansions). Although he collaborated with both Nobuo Uematsu and Kumi Tanioka for the <i>Final Fantasy XI</i> soundtrack, it's still a fairly lofty honor to compose for the illustrious RPG series. At the same time, though, this installment in the Final Fantasy series is one of the lesser known, lesser beloved entries. I'm embarrassed to say that I myself have never played the game, nor am I acquainted with its music.<br />
<br />
That said, though, this was Mizuda's first time working on a Final Fantasy project as the lead composer. It's not just the blending of old and new sounds that makes the soundtrack what it is. Mizuda also has a way of balancing simple theme songs with more elaborate themes that tell a story in and of themselves. This is one example of a song with a simpler feel:<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/eTZpzeuBA3E?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Liberte, Capital of Art (Day & Night)"</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">While this is a pleasant song that accurately depicts the small, seaside town of Liberte, the driving "oom-pah-pah" and the tendency for the melody use notes of quarter-note duration or longer conveys a simplicity in thinking. This hearkens back to the structure of early Final Fantasy games, especially the original Final Fantasy: go to a town, save the town, go to the next town. This was a staple of many early RPGs that were released for systems that didn't have the power to support lengthy, in depth storylines.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">Compare this to a theme that seems to go through different evolutions as it progresses, each telling its own view of the situation. A bit of background (with as few spoilers as possible): as in most Final Fantasy games, you eventually gain access to travel by air in <i>The 4 Heroes of Light</i>. This is accomplished by riding atop a dragon that you summon via a sacred harp. Shortly after you obtain the harp, you gain access to the sacred town of Spelvia, where something happens to plunge the world into darkness and woe. This is the theme that is played as you traverse this new world atop the dragon, your party's only companion in this strange yet familiar world.</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/4lh1feOzf_o/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/4lh1feOzf_o&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/4lh1feOzf_o&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;">"Riding on the Dragon"</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">The song begins with only two musical lines: the melody, consisting of a light flute-like sound, and an arpeggio, composed of what seems to be an 8-bit harp. The minor mode projects a sadness that pervades the beginning of the piece, especially when it opens up to include the otherwise heroic trumpet line and the polyphonic, harmonious horn line underneath. As the piece progresses, the flute line reappears, soaring above the other instruments, and the mode becomes major. The sense of hope created by this section may be represented by the four heroes, soaring above the world on their dragon in order to set things right once again.</div></div><div><br />
</div><div>While this sort of musicological interpretation can be done for the Liberte theme, it would certainly be a lot more difficult. This song paints a picture in the player's mind, and its complexities are like nothing seen in 8-bit era. With grand ritardandos and timbre shifts, this song illustrates the expertise of its composer. And it's beautiful, to boot. I admit that I would fly around aimlessly just to listen to this song play.<br />
<br />
<i>Final Fantasy: The 4 Heroes of Light</i> is simple in its complexities and complex in its simplicities, which is a step beyond the intended goal of pure nostalgia. The music reflects this as well, but for those of you who don't believe the music can stand up on its own, I share with you a fuller version of the original theme song, including actual instrumental accompaniment. I beamed the first time I heard this rendition.<br />
<br />
<div style="text-align: center;"><br />
</div></div><div><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://0.gvt0.com/vi/_nlFrNnOK2g/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/_nlFrNnOK2g&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/_nlFrNnOK2g&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: center;">"Four Heroes of Light"</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">There's also a <a href="http://www.youtube.com/watch?v=OdA5iUjlqmo">nifty clarinet octet rendition of the theme</a> that shows off its musicality as well. If you have a DS and are in any way attracted to RPGs, check out this game. The music alone is worth the purchase, in my opinion. What do you think? Let me know in the comments section!</div></div><div><br />
</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0tag:blogger.com,1999:blog-5680856280062077693.post-37611087346432143582011-05-06T13:37:00.000-07:002011-05-06T13:37:07.868-07:00Songs to Grow On: Basic StepI apologize for not having a full-length post in a while. A deluge of work in school on top of recovering from this illness has left me without much time. I did want to share a neat song shaped by a fantastic arranger, though. This song is from the Basic Step aerobics portion of Wii Fit. This tune, originally composed by Toru Minegishi, is catchy in and of itself, but expert arranger Aivi Tran took this piece and jazzed it up with her own unique flavor. I absolutely adore her music, and I plan to write a post about her eventually. More people need to hear her stuff!<br />
<br />
Happy Friday! Go out and play!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/xv5tiWfd9i0?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: center;">"Basic Step" - <i>Wii Fit</i> (as arranged by Aivi Tran)</div>Samhttp://www.blogger.com/profile/10251553305875893025noreply@blogger.com0