Tones, tones, tones. On the first, and hopefully last for a while, Tuesday edition of the CTRL+D podcast, we considered either talking about music or video games, so in an oh so ingenious move we decided to talk about music in video games and its importance to the overall experience one is left with when enjoying the most interactive entertainment medium of them all.
In the interest of transparency, we recorded an episode this last Sunday (2018-09-03), however due to some previous Audacity shenanigans only Colin and Pedro were actually recording their microphones, so we had to record something on the fly yesterday, and this is the result. One might say that’s as good a reminder as any. to not record the day before you publish. 😀 Well… live and learn… me in particular. We did talk about video game music, but also went on our patented digressions, this time into general bad video game industry practices territory. We hope you enjoy this improvised episode, and promise to resume normal operations on September 18.
Liftoff of HMS Bad Taste.
Literally next week’s episode, as you’ll find out later on in the conversation.
Tetris in Concert.
Over the next one hour and seven minutes, we dropped so many titles and names, that I decided to just make a YouTube playlist (found at the bottom), lest this post’s page be literal meters long.
The role of cinema in the evolution of video game music, during the formative years of the genre.
1999’s Silent Hill. One of the harbingers of the beginning process of amalgamation of soundtrack and sound design in video games.
No Man’s Soundrack.
Kerbal Space Program and the cursed gift of our Lord and Saviour Kevin McLeod and His Holy Royalty Free Music (that’s an official title).
Colin’s Kerbal Space Program Re-Score on Soundcloud.
Colin’s thoughts on The Legend of Zelda: Ocarina of Time’s score.
Not that anyone’s asking or interested, but as the youngest of the trio, I missed out the console era by a few years and jumped straight into pc gaming, at the ripe age of 7, all the way back in 2002. As a result, I still cherish some vivid memories of playing Quake 3 on a second hand 1.7GHz single core Pentium 4 machine, that was equipped with a massive 40GB hard drive (of which all of 5 were allotted to me), 512MB of RAM and a GeForce FX5200 GPU.
The inside of the case had attained a deep brown tan, as the machine had come from the Bulgarian alternative of an internet cafe- a gaming club. I was stuck with that machine for an entire decade, near the end of which I was contemplating drop-kicking that crap-box out of the window, roughly once every 12 hours, due to its abysmally bad performance.
Ah, I listen to this and all I can think of are those long elevator rides from Mass Effect 1. Good ol’ awkward conversation time.
Casually skipping over Oblivion, like a form of subconscious commentary on its quality as a game.
Here’s a massive YouTube playlist, with some of Jeremy Soule’s most notable works.
And here’s a slightly less massive YouTube playlist, with some of Jesper Kyd’s most notable works.
How is this still a thing? – Pre-order culture
We must be living in the future, because soundtrack pre-order bonuses are already a thing.
Bethesda’s Corrup… Creation Club.
Mass Effect… Alien-Pork Space Opera.
Some notable indie titles with impressive scores.
Pedro’s tale of Anno-yance and redemption.
Almost had it! It’s actually the Eifel Tower, but they do share a common author so… yeah, I’m going nowhere with this sentence. Carry on.
And as promised, here’s CTRL+D’s playlist, containing most of the tunes we mentioned in the episode: