That was the year it was: 2011

So this will be my last post for 2011 - Because the festive season is here and there are people who I should spend some time with. And besides, this past week has been rather barren with things to say.
So to wrap this year up, some quick thoughts about the games I played this year. Sure not all of them were released this year but still:

Bioshock
Intimidating at first but this won me over with it's compelling plot, great use of ideas and it's well-realised setting and imagination behind it. The praise lauded on it may have left me reluctant to play it but, much to my surprise, it turned out great.

Dragon Age 2
Why didn't Bioware keep the pattern established with Origins and Awakening and give this game a subtitle? This game had some good ideas true but they were bogged down with dull environments, stupid combat and no proper goal. Still it would be interesting to see what Bioware will do now with Dragon Age 3....

Green Day Rock Band
Dookie was a welcome addition to My Rock Band Library - not sure about the other two albums though.....

Iron Brigade
I became aware of this game through a positive review on Good Game. I've enjoyed playing Mechwarrior 2 in the past so the idea of stomping around in a huge mech had some appeal. Can't say I'm a big fan of Tower Defense games but this was good fun.

Lego Rock Band
Something of a surprise: I originally got for the games for the songs but somehow, it won me over. Juvenile yes but with some a charm of it's own.

Oblivion
Another long time coming but I enjoyed this game purely for wandering around and checking the well-realised world out. But as this game is an action RPG, one would think I'd missed the point...

Portal
Somehow the memes based around this game made actually playing the damn thing redundant. Oh well...

Red Dead Redemption
I've heard some less than praising comments for this game. Can't imagine why....

Rock band 3
Well what can i say that hasn't been said before? Some changes were nice others weren't. Music Library good, stupid difficulty not.

And that's the end of Game Tumour for 2011. Thank you for reading and I'll see you on the other side of 2012
So what will the new year bring? That's a very good question...

Cursed Gate

Baldur's Gate 2 and I have something of a history. I love it, regard it as one of the finest games ever made Bioware's finest moment and the best representation of Dungeons and Dragons made in the history of gaming. It however doesn't seem to appreciate me as the player.

Now I've spoken about games that seem to resent me as the player but this is a different case. It would seem that everytime I want to play this game something happens that gets in the way. Could be it some kind of curse? I'm not so sure but no other game I've played has had so much bad luck attached to it.

Firstly, I purchased BG2 as part of the Baldurs Gate collection - the one that had both games and the two expansions (Tales of Sword Coast and Throne of Bhaal). At the time I was really excited to play these as I'd heard a lot about them and wanted to see an update to the D&D system I was familiar with through Pool of Radiance. But I foolishly purchased it online - thus when I finally got the collection itself, it turned out the main games were on DVD. A drive I sorely lacked.

Secondly, I finally got my claws on a DVD drive and burned up many, many hours in both Baldurs Gate and Baldur's Gate 2. Alas, the extensive use of the latter led to the disc getting damaged: A crack appeared along the side of the disc and only got bigger. So, however reluctantly, I had to throw it into the rubbish bin.

Thirdly there was that moment in BG1 where the game crashed at a particular moment but, as game's crashing is nothing new, there isn't much there to dwell upon...

And finally, I did eventually get a replacement disc for Baldur's Gate 2. Again it was a DVD but this time it didn't work: The entire game may be on a DVD but it still keeps demanding another CD-Rom!

So what now? I suppose I could get another disc of BG2 (making it my third) but considering the string of misfortune I've had, one would wonder why I'd bother...

Game of the Year

Around this time of the year most gamers are looking back over the past twelve months and selecting their pick for Game of the Year. Not me though: As this blog is discovering games in my own time, the question is more: What games from this year did I actually play?

Well I liked Skyrim.
And Iron Brigade was pretty cool too.

Well that was easy.

Tainted Love

Whew, writing that serial about my favorite game music took a lot outta me. But no matter, I still have things to say and as long as there is a creative bone in my body, the typing shall resume.

On the weekend, I decided to give Dragon Age 2 another go - Not sure why though. Yes all the talk about it being more a side-story than a legitimate sequel has indeed some weight behind it, but I don't know: Maybe it's the hope of finding a diamond in the rough. Or maybe there's some XBLA achievements worth scooping up. Maybe....

But no matter, I've progressed into Act 2 and I've found some enjoyment - but I feel dirty for saying so because, to say you enjoy Dragon Age 2 is all very well but one can't ignore the flaws: namely the repetitive environments, the dull combat system and a lack of definable goal. But then again, I've seen similar arguments and passionate defending for both the games in the Final Fantasy series and Skies of Arcadia so I'm not really that bothered.

But I have to admit that this game has made something of an impression on me because I played through the The Long Road companion quest - and came away somewhat disappointed.
Far be it from me to give away spoilers but what this quest entails is that Aveline wants to get the attention of Donnic, a soldier she fancies and enlists the help of Hawke to allow it to happen. Throughout the quest, Hawke is allowed to act flirtatious towards Aveline but, ultimately, for little good.

Now a lot has been said that the cast of DA2 has been rather dull but I must admit I've had something of a liking for Aveline. There's something compelling about her, with her being forced into the role of the knight by her father, her dealing with the loss of her husband Wesley and her assistance to Hawke in being Captain of the Guards. And in spite of her no-nonsense approach, there is still some vulnerabilities about Aveline with her duties as captain and the awkwardness with Donnic. The latter deserves particular attention: She tries to get his attention but, frustratingly, remains oblivious towards any advances Hawke can make. But in the end this is, insofar, the most vulnerable Aveline has come across.
So it begs the question: Why couldn't I romance her? Merrill bores me, Isabella has.... been around and the gay romance doesn't really interest me. Aveline however seems a far more compelling option: In that she is a widower, awkward in romance and actually seems alone. With The Long Road quest, I did choose the flirtatious options as I was really interested in seeing this play out and whether or not Aveline would open her eyes.
But no, whatever romantic potential is reduced to her acting in an oblivious manner (maybe the widower romance was done with Jahiera in Baldur's Gate 2?). And you know what? I feel hurt by this: My Hawke is breaking his balls to help her in the romance stakes and she doesn't seem to care. And all he gets is what? A quick peck on the check?! Well screw you bitch! Have fun struggling to get Donnic's attention with the ghost of Wesley hanging over you! Hope you enjoy being a captain because that's all you're ever going to do! And hope you appreciate the company of thoughts of what could've been!!!!

Actually now that I think about it, when it comes to (hetero) romances, male Hawke gets a raw deal whilst female Hawke can hit on Fenris and Sebastian.
Hmmm, maybe next time I'll take a female Hawke....

Curse of the Burnout 3

I've spoken a lot about the brutal, unforgiving nature of the AI in Burnout 3 before. No other game has such a nasty AI and no other game has left me screaming insults at the TV screen.
So today, I present, a list of things I have uttered upon crashing in Burnout 3:

"BULLSHIT!" (most frequented)
"Where did that come from?!"
".......................................HOW?!?!?"
"Are you shitting me?!?!"
"Come on come on! You can make the Afte.....OH COME ON!!!"
"HELLLOOOO?! Steering?!?!? Where are YOOUUUUUUU?!?!?!!?"
"Is this for me getting a Perfect on that last lap?!?"
"These cars can't be made of metal! They must be made of cheap Taiwanese plastics!!!"
"That was miles away!!!!!!"
"Where's the Time reverse mechanic from Sands of Time when you need it?!?"
"You know sometimes I wonder why I bother with Aftertouch"
"Well there goes the first place"
"Well looks like I won't be catching him now"
"Somehow I bet the physics programmer is jacking off to this..."
"Well excuse me for trying to keep up!!!!"
"Well excuse me for playing!!!!"
"What the hell is a rage quit?!"

31 Songs (addendum)

And so the month that was the Planet of Sound series, comes to an end. And I can tell you: Choosing the thirty one songs that made up the serial was not an easy task - let alone writing a paragraph each to go with them! There were so many other great video game tunes I wanted to include but to cut the selection down to thirty one was a tough call - as such many other tunes I liked had to be discarded.
But having said, there's no reason why the one's that didn't make the cut shouldn't get their moment in the sun. So, to wrap this serial up, I present some of the tunes that didn't make the list. Some of them were victims of my self-imposed restrictions and others had to be cut out for slack of room.
So, for the final part of the serial, may I present the rank outsiders:

Xenon 2: Megablast

For the unfamiliar, Xenon 2: Megablast was a game that, for it's day, was a big hit on the Amiga. It was put together by the legendary Bitmap Brothers who, at the time, pushing the idea of software developers into the public eye and incorporating well-known musicians into their works. Of course, this sounds old hat now but it was unique at the time (late eighties). And thus the theme for Xenon 2 was an accurate recreation of the song Megablast done by Bomb the Bass - which is in itself a remix of the theme to Assault on Precinct 13.
Of course, it seems quite unfair to have commercially available tracks in my list so thus it didn't make the cut. But damn, what a rockin' theme this - somehow perfect for gunning down enemies by the hundreds.


Shadow of the Beast - Title theme

Another lost treasure from the Commodore Amiga. I must admit I never played this game (thus automatically preventing it from making the cut) and it's only in recent years, through the magic of youtube, that I came across this theme. But what a stunning theme it is: It's a freaky theme that sounds genuinely scary with it's odd percussion and shrilling flutes. It's truly the sound of an evil forest wherein beasts lie and evil acts are being committed.
And it would seem that if you go to down the woods today you're in for a BIG surprise.....


Truxton - Far Away

Another theme I remember fondly from my childhood. It's a rocking theme and somehow fitting for flying through space and gunning down anything dumb enough to stand in your way.
I know I've been critical of the musical capabilities of the Megadrive before but you know what? I think this is actually much better then it's original arcade counterpart. Somehow, the original comes across as being a bit stiff whilst this seems much more energetic.
So why didn't this make the cut then? That's a very good question. Either space was limited or I didn't think of it at the time. Oh well, it get's it's own place here then!


ActRaiser - Filmore

This should've made the cut but alas, space was limited. Nevertheless, here it is in all it's sword-swinging, demon-smiting glory.
It's a rockin' theme driven entirely by the bass line. Indeed the latter deserves particular theme as it really grabs the attention of the listener and really delivers a sound that one wouldn't think possible on the SNES. The bass makes the tune rumble and drives it forward in a manner that would've made Cliff Burton proud.
Other than that, this is a grandiose theme perfectly fitting for a god. And for smiting demons with a huge sword.


Oh No More Lemmings - Ingame 4

This too should've made the cut: Oh No More Lemmings is loaded to the gills with maddeningly catchy tunes (again all sounding much better on the Amiga than anywhere else) so it was difficult to choose one. That and it was hard to find on youtube. But no matter: It's for the reason of making these tunes heard that this addendum was created.
As mentioned above, the music in Oh No More Lemmings have to be amazingly catchy. It sounds goofy but even now I see such a simple catchy melody - not unlike a children's nursery rhyme - and a load of colours laid on top of it. It may sound simple but really there is a lot of complexity being put to work. Indeed, I think that years later I can still recall these tunes and catch myself unwittingly humming them.
Thus it is hard for me to choose one because they're all so damn memorable. But I think this is the I like the best. Not sure why but I fear that if I try to explain it, it may lose significance. So lets move on shall we?


Daytona USA

Sure nowadays we may laugh at the bad Engrish and the unrelenting refrain of "Daytooooooonnnnnnnaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa!!!!" but I think that's the key to the theme's success. The refrain commands attention - which is exactly what an arcade game must do in order to reap the change from any passerby's. As a selling point it works a treat as people can remember the theme years later. It also doesn't that the theme is a fantastically energetic and rockin' theme - perfect for a racing game.
Again, I'm not sure why this made the cut. Maybe the fact that the refrain is the only part people remembering held it back. Maybe, again, I didn't think of it at the time - cut no matter. With this post, I now provide an excuse to shout out "Daytooooooonnnnnnnaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa!!!!"


Panzer Dragoon - Flight

Another tune from a game I never played. True I've played Zwei (however briefly) but the first Panzer Dragoon game eluded me. Thus, it didn't make the cut. Sure there were some tunes from games I've never played that did make the cut (ie Chrono Cross and Shining Force 3) but for me they work just as well outside the game - which is rarer than one would think.
Still, this addendum was written to give those that didn't make the cut some attention so, lets talk Flight:
As time marches on, the series that is Panzer Dragoon will keep descending into a legendary status. It had some great ideas and wonderful art direction but sadly, it wasn't played by enough people. Sure there have been attempts to remake it but Team Andromeda has since folded and scattered - thus ensuring that there will never be another quite like it. Sure Panzer Dragoon Saga may endure as gaming's Holy Grail with the passing of time, it;s looking increasingly clear that the Panzer Dragoon series will never reappear to satisfy the longing of those who want to play it (like me!).
Yet scraps of information on the series remain on youtube: not least this wonderful theme. I love the orchestral arrangement in this theme and it fits perfectly the mood of flying across deserts on the back of a majestic dragon. Not much else I can say bar I love this theme - even if I never have (and probably never will) played the game it's from.


And with that, this serial comes to a conclusion. I hope you enjoyed reading this and you've come away from it having discovered something new. Until next time, may the music last forever. Cheers!

Forty Thousand and Two

Last weekend I finally got my computer upgraded (thanks Stephen!) so I finally got the chance to play some games that have been on my shelf due to them being beyond the capabilities of my last computer. So the lucky first would be the Warhammer 40,000: Dawn of War series.

Now I've had a long standing interest in Warhammer (both FB and 40k) stretching back to my high school days so this, for me, is the closest thing to a 'real-life' representation (for lack of better choice of words): Finally after years of text and artwork, we have actual voices, buildings, and movement. Okay sure hearing all Eldar speak in monotone voices was a big surprise to say the least but, for a long-term fan, this was pretty good to see the universe actual brought to life - and, whilst not the first game to be based on the Warhammer universe, it was the first to actually treat it seriously.

Whilst this is not the first time I've played Dawn of War it is however the longest I've spent on it. The Space Marines are great (although the lack of Space Wolves is annoying), the Eldar are great (even if I find their monotone voices far too hilarious), Chaos is hilarious and the Imperial Guard aren't too bad either.
But as a RTS game, I will admit that Dawn of War is compelling: Having grown accustomed to the formula that gave rise to Warcraft, Starcraft and the Command and Conquer series, it's interesting to see things done differently. No resource gathering (which honestly was something I found quite tedious with the Blizzard/Westwood Studios trinity) but in it's place is claiming objectives. The leader attachment to squads is kinda handy and it is indeed welcome to see a focus on building actual armies as opposed to a small empire. Indeed, it is great to get the tedious elements of RTS get discarded in favor of actually building a force to go crack some heads. Of course this may not be first time such a thing has happened but it is a welcome change from someone who keeps surrendering to the siren call of Starcraft,

So yes, I like Dawn of War, as a fan of 40k and fan of RTS games. Now if you will excuse me, I must keep on crushing heretics in the Emperor's name...

31 Songs (no.4)

And here go with another installment to this series - Hope you've been enjoying what's been written up about already!
So, the sixth generation. Well I've said a lot already so there any more that can be added to it? Well yes there is.
So here we go!

Final Fantasy X - To Zanarkand

It’s a moment frozen in time: My first encounter with Final Fantasy. I pop the disc into my new PS2 and am immediately confronted with a solemn piano piece – that eventually leads to the images of the ruined Zanarkand and an introduction to the main cast.
So yes, I’ve always enjoyed this theme – but looking back in the five years since I first heard it, I can actually see something different: I’m really impressed by its simplicity. Sure that may have been the factor that won me over initially but now, having played more than a few JRPG’s where simplicity and subtlety a more or less foreign concepts, hearing something handled in such a manner is indeed a rare treat to behold. And besides it’s not often you hear a game tune being played out entirely as a piece on a sole piano – so to hear this – and as an opening theme no less – is a bold move but a welcome one at that. Matters are helped considerably in that the tune itself is a pretty damn good one.
Interestingly enough, I went to a friend’s wedding back in 2007 and they actually had this playing for the Bridal entry theme. It’s kind of funny when you hear this in such a serious context and you immediately recognise not only the theme but where it came from (as a footnote, I happened to be standing next to the person playing this theme on the piano and said “You’ve got taste!”).


Ico - You Were There

Much of the Ico soundtrack is minimalist, indeed much like the game itself, but for a concluding theme it seems they went all out with this one. Aside from the wonderful use of the mandolin and the rather unusual percussion, what really makes this them stand out for me is the child soprano. It may seem a complete left-of-field decision to have a child soprano for gaming theme but then again, Team Ico have practically made a career out of not playing by the rules of gaming convention.
Ultimately this is one theme that evokes plenty of emotions: the despair that the liberation that came may not have been the one that Ico and Yorda were hoping for, the sense of the stepping out from the shadows of the ruined castle and into the sunshine, the completion of the quest, the end of an era with the collapse of the ancient castle and the end of the evil queen’s very long life. And the fact that it shows flashbacks of Ico and Yorda’s adventure is the icing on the cake and works even more to the theme.
There’s not much more I can really say about this really. Ico is indeed a game that reaps a lot of emotional investment from the player and this is really the pinnacle of the experience. It’s a great theme and indeed one of the few game themes I can listen to eagerly without the game itself.
But what I am doing harping on about this? Just listen to it and draw your own conclusions.


Okami - Shinshu Fields

Well what can I say about the soundtrack to Okami? For starter’s how about it’s loaded with the most beautiful pieces of music I’ve ever heard in a video game? Yeah that’ll do.
On paper, the incorporation of classical Japanese instrumentation may sound bizarre for a video game but here it works. It’s in line with the theme of the game, which drew heavily from classical Japanese artwork and mythology, and works a treat. And I believe that unique nature of Okami’s music, the taiko drums and the pipes, make it stand head and shoulders over a lot of other game soundtracks out there. It fits the mood and tone for the rest of the game and really seems like music fit for a god.
And Shinshu Fields has to rank as my favourite piece in the game. It really encapsulates the mood of running out into a wide field in the sunshine to take up a glorious adventure (with a thousand flowers blossoming in one’s wake). Apparently the makers of Okami were inspired to build a connection with nature and this theme really represents that goal achieved in more ways than one. It starts of really simple and glorious and then halfway, it gets busy with some other instruments coming into the song – now whilst this may sound like bad thing, the new direction never ones loses it’s way and never once overpowers the rest of the song. And for a game theme to do that, when all is bombast, is actually a feat indeed.
Indeed, when playing Okami I always looked forward to coming back to the Shinshu Fields just to hear this glorious theme. If that isn’t the mark of a great video game theme then I don’t know what is.


Prince of Persia: Sands of Time - Farewell Princess

Here's a fun fact: The composer who wrote the music to the Sands of Time games was Stuart Chatwood, bass player of Canadian Gothic Rock band the Tea Party. This band was one I followed through High School and College and eventually became the first band I saw live back in 1999 ;)
This in turn influences my assessment of the soundtrack to Prince of Persia: Sands of Time. I enjoyed the Tea Party for it’s combination of Middle Eastern and rock guitars. So it’s interesting to see what they were doing being replicated into a video game soundtrack. Of course, the sound track to Prince of Persia: Sands of Time sounds pretty cool on its own but it’s indeed fun to see something you grew accustomed to as teenager being taken into a different context.
And in the case of Farewell Princess, thing about that strikes me straight off the bat is the rhythm in this song: namely the relentless drum beat and the rumbling bass line. Indeed, there is really a sinister feel, which makes the tune all the better for it, accompanied by the synthesizer effects and the horn sound. It’s perfect music to listen to when traveling across a large expanse of desert. The intro part (note the reversed section!) is also kinda cool too.
So which do I like better: this or Time Only Knows? Good question. I suppose I have to go with this because I found that once you take out the vocals, the attention is immediately drawn to the instrumentation itself which still sounds pretty fantastic on its own.


Shadow of the Colossus - To the Ancient Lands

It’s the first theme the player hears in this game and pretty much establishes the rest of the game. In fact so much is explained in this theme that watching the introductory movie – where Wander journeys with horse to a forbidden land and eventually crosses a bridge that can’t possibly exist – comes across as more strange than exciting. Not that that’s a bad thing of course but it’s interesting to inspire attraction from the bizarre and unusual rather than an adrenalin rush.
I’m impressed by how many moods are conveyed through the course of this theme: Wonder, bewilderment, journeying, trespassing, defying an ancient order, and the thought of taking up a quest that is somewhat questionable. Also, there is a lot going on in this theme with strings, choral vocals, an organ and a zither. But here everything is arranged in an economical sense and never once does anything feel out of place. It’s never over-powered and sounds to perfectly fit. Each portion of the song comes in, says its part and then makes way for the next one.
But ultimately, I really like this theme for the many ideas and emotions it manages to convey within the space of three and half minutes. In fact now that I think of it, this theme really does represent the ultimate of game music: Explaining what they’re all about within the context of the music. Many games may try to but To the Ancient Land, IMHO, nailed it.
And you know what? I don’t think it was even trying.


Skies of Arcadia - Kingdom of Ixataka

Throughout this series I’ve made mention that there have been several game soundtracks where every track is a gem. So do I have a favourite? Oh come on! I’m having hard time enough as it is selecting one piece from the soundtracks I like! But I have to say, without hesitation, that the Skies of Arcadia soundtrack is definitely up there in amongst the best.
Whilst the soundtrack to Skies of Arcadia may never reach the same level of respectability that the Final Fantasy achieved, that’s not to say that there isn’t anything of interest in it. Indeed, the soundtrack to Skies of Arcadia boasts a lot of diversity in styles & mood and some really delightfully charming pieces. Some are energetic and exciting, some are goofy and comical, and others are solemn and serious. It may sound like a scattershot score but never once does the Skies of Arcadia soundtrack lose its footing.
So what to choose? Good question: The Main Theme’s great, Gilder’s Theme’s great, Sailor Island’s great, Ruins Dungeon’s great and I even like how the music in the Boss themes change to reflect the state of the battle (calamitous for losing, energetic for winning). But I have to admit one stands out more than any of the others. Which now brings me to Kingdom of Ixataka: I’m not sure why this theme has managed to win me over: maybe it’s the tribal feel, the pipes melody or maybe it really fits the jungle setting it originates from. Maybe it really suits the summer feel? Or maybe it’s a damn snappy song? Yeah let’s go with that.


And thus there is my thoughts and recollections of some of my favorite video game themes. I pretty much set out to do in taking you readers along on a journey through time and picking out the themes that I loved over the years. And what you've just witnessed is thirty of the best.
So what about the current generation then? Well I have to confess: Nothing I've heard have really grabbed my attention. Whereas the music of the previous generations have provided a substantial selection, the current generation has left it hard to think up a handful. I could mention Still Alive from Portal but I refuse to submit to the obvious. That and it kind of breaks the limit of thirty songs.
But what the hell! I saw a book in my local library called 31 Songs - so if the author of that book can over the three-zero limit then I can make room for one more!
What could it be? Step forward....

Mass effect 2 - Suicide Mission

Much like its parent series, the music of Mass Effect has an epic feel, perfectly suited for a story encompassing many planets, stars, lifeforms and a universe to save from calamity. I’ve enjoyed the electronic soundtrack that backed the Mass Effect series but Suicide Mission from number 2 is really the standout piece for me. This is the sound of heading off to battle. The sound of stopping a colossal monster that can destroy a galaxy. The sound of not taking one step backwards. The sound of the weight of thousands resting on the shoulders of a scant few. The sound of a battle that may have been won but the knowledge that there’s a war that’s coming rumbling at full pelt towards you. So much commands attention in this tune: The pounding drums, the choral chanting, and the full orchestral effect. It’s epic in every sense of the word and best captures the mood of saving the universe.
True there have been many games that have worked with a world/galaxy saving plot but Mass Effect, I feel, stands out by actually addressing the stakes: It shows the preparation into going into a galaxy saving mission. It shows assembling the people you need for the job and where each one has their own character arc that needs to be resolved. It shows how every little thing can count for so much when you’re heading off to save the universe from disaster. And this theme, I feel, deals with such issues better than anyone else has ever done before or since.
So all in all, Suicide Mission is gripping, edge-of-your-seat, piece of music that leaves me with a lump in the throat every time I hear it. It's that good
And hey, you can never do better than Commander Shepard.


And so there you have it: 31 Songs and I hope you've enjoyed listening to them.
Come back later when we wrap this series up....

Raiden Fighters

Recently I've been giving the 360 a bit of a rest - So I thus return to my long neglected (but still quite functioning) PlayStation 2 to give it some lovin'. Indeed, I have some unfinished business with my PS2 so no time like the present (or something..)

So I decided to take a crack at Metal Gear Solid 2. Man, has this been along time coming but not without good reason. Firstly, I've said, many times before, that the ending the the first Metal Gear Solid came to a great end with Snake coming away from his adventure having found a new meaning to his life and a determination to make every day of his now limited life count. Thus to see him head back out onto the battlefield seems odd in comparison.
Plus, one of the many criticisms of Metal Gear Solid 2 was the ratio of cut-scenes and the actual gameplay: Where too much time was spent watching an, at times, incomprehensible script play out when compared to actually cracking heads.
And finally there was that thorny issue of Raiden: The hard-bitten gravely voiced Snake had been replaced by a white-haired whiny wuss! But that was my impression - one that came from fan outrage that boiled over ten years ago. So now what? Has the shock worn off? And perhaps time has healed the wounds? Maybe.

Still, I've gone into Metal Gear Solid 2 with a fresh mind as ever so what do I think of it?
Well I've made it up to the battle with Fatman and it's been quite enjoyable so far. There's still that intense excitement of breaking into a enemy facility and trying to elude capture. I like the use of the first-person perspective, the M9 and the addition of the patrol squads and how maps can only be found through the Node. I'm not bothered by the cut scenes - or at least it hasn't got to the MGS4 level of absurdity in having a half hour long cutscene for the introduction (apparently).
And as for Raiden, well he has yet to annoy me: Sure he does whine but at least it's not constant - I understand his inexperience in the battlefield and, admittedly I kind of enjoyed seeing him aggravate Fatman. And sure his interactions with Rose may be off-putting but it's not to the point where it's a deal-breaker.
So I am willing to give him a chance at least - and this is from someone who spent their college years watching Neon Genesis Evangelion so believe you me I know a whining character.

Still this is only the first impressions - and such an opinion is subject to change.
So how will it go later on? Watch this space....

The leakiest ship in the fleet

Recently the beta code to Mass Effect 3 was leaked - It was a mistake on Microsoft's part but it was only up there long enough to get hacked and have seem secrets of the plot ripped from it. Whilst this disappointing to Bioware they are at least taking it in their stride and seeing this as an opportunity for the fans to respond and provide feedback (probably the best they can do in this situation).

I'd become aware of the hack but I didn't bother at all with it. Why should I? I discovered the Mass Effect series in my own time and was all the more happier for it. To become aware of the plot details of ME3 beforehand kind of ruins the experience for me. What's so wrong with finding out things in your own time? I mean, I discovered Bioshock in my own time, even when so much had been written about it online, and it didn't bother me at all.
Now, the Mass Effect games have benefited greatly from great writing, well thought out character arcs (the loyalty missions) and being able to take the viewer along for the entire ride. So to pick up the plot points beforehand will ruin the damn experience for me. Is the temptation to find out everything before picking up the controller too great for some people?
Character deaths in particular grind my gears: I worked hard to rescue everyone at the end of ME2 so to have some taken down in ME3 kind of begs the question of what the bloody point was.

But I never understood the point of these spoiler hacks: So what if it you did so? Everyone else is going to find out anyway. And even if you did, it will still become meaningless as more games will come out and they will reap the interest and the almost inevitable hacks.
I mean does anyone care in this day and age that Tellah from Final Fantasy 4 and Galuf from Final Fantasy 5 were both permanent character deaths?!

31 Songs (no.3)

And welcome to part 3 of this ongoing series of video game music. Today, we head into the fifth generation. Now things are a little different than before: In previous posts, I made mention that I grew up with the games of the previous generations. But during the fifth generation of consoles, my interest in gaming was being directed away and I missed out on a lot - much of which was eventually rediscovered years later. Thus, this post is going to be based on looking through a past generation through a perspective both new and adult.
Will it make a difference? Let's find out...

Castlevania: Symphony of the Night - Dracula's Castle

Well when you call your game a Symphony it’s kind of expected that the music be top-notch right? Well not only does Symphony of the Night achieve this goal but it surpasses it many times over.
Symphony of the Night is often considered one of the finest soundtracks ever made in the history of gaming and rightly so. Whilst many other soundtracks may age with time and technological advancements, Symphony of the Night is in a class of its own. It has a timeless quality that can proudly hold up some fourteen years later. And it certainly has a lot of variety and colour throughout, touching many styles and succeeding: Choral voices, classical pieces, rock guitars and even a dancey number – it may sound cluttered but somehow it works and even maintains the gothic horror mood that made the Castlevania series famous. In fact, I could say this is one of the few soundtracks that could actually work without the game: on it’s own it sounds dark, sinister and strangely beautiful. Much like Symphony of the Night itself.
Thus I, once again, am spoiled for choice when it comes to selecting one piece for the purposes of this list. Requiem for the Gods, Abandoned Pit, Lost Paintings and Heavenly Doorway are all beauties but I’ve decided to go with Dracula’s Castle. It is the first theme heard when the player enters the castle as Alucard and pretty much sets up the mood for what’s to follow. It’s nightmarishly scary but at the same time, wonderful.
You know, I recall playing Symphony of the Night at a friend's place and someone heard Lost Paintings and said: “That’s nice music”. And this was without looking at the TV screen. Sometimes moments like that can count for so much.


Chrono Cross - Unsealed Jewel

It seems that each time I do a post to this series I must, at some point, break my own guidelines. Yes this game wasn’t released in Australia, yes I never played it, and yes I’m basing this theme purely on what I’ve heard but damn is this a sweet theme.
For me, I have no idea what this song is implying: I don’t know what the singer is singing, I don’t know what context this is being used in the game (okay I do: it’s the ending cinematic) and I have no idea what the point, if any, is trying to be conveyed. But you know what? I don’t care. This is such a simple song and it works well. I love the singing, the guitar playing and the peaceful mood this song manages to project. And that’s the beauty of it: It doesn’t need the game to work for me. I can listen to this and still enjoy it without playing the game. And for a game theme to do that is indeed a substantial accomplishment – and an accomplishment that happens much rarely than one would realise.
In fact, as I found out, it’s quite nice to listen to when you go outside in the morning and watch the sun rise. It’s also nice to listen to when you wake up in the morning nursing a large hangover.


Command and Conquer - Act on Instinct

I must say I’ve always had a soft spot for the work of Command and Conquer composer Frank Klepacki. It's a great combination with the metal guitars and industrial beats – even to the point that when I play the previous Command and Conquer games now I’m still impressed that the music like this was still being made in the mind-nineties. It was as if someone decided that music in computer games was going to get serious and, years later, it would seem they were successful.
So what can I say about Act on Instinct? Well not a lot really: There’s a lot going on in this song with the bass, the pounding drums and the sound effects. But honestly what makes this theme for me is that four note keyboard part that appears halfway through the piece. It’s the dealmaker for me, even to the point that I rewind those parts of the song just here it again. Although I’m not entirely sure why I like to so much – but then again, there is the fear that if I try to explain it may not work in the same light ever again.
So yes, Act on Instinct is a rockin’ theme. And this must rank as one of the few game themes that can actually work outside the game: As I found out, this is actually a really good theme to listen to in the car.


Command and Conquer: Red Alert - Hell March

Die Waffen legt an!
Well it was hard to choose one piece from the repertoire of Frank Klepacki so I went with his other best known theme. And could I not? This is a theme with plenty of bite and perfect for charging into battle with guns blazing. Or behind the wheel of a tank.
This is pretty much a battle theme – even to the point of being shameless in its intent. It’s loud, powerful and pretty much just the thing to get one’s blood pumping. It may have been intended for a strategy game but it could work equally well for a shooter. Or a death match LAN. Open fire? Hell yes.
Everything here seems to work: The rumbling bass demands attention before the drums kick in and the guitars come charging in. And it must’ve succeeded so well because it’s been remixed for the Red Alert sequels
Now I’m not a big fan of metal music – I do enjoy it yes but I’m nowhere near the hyper serious fans that flock to it’s banner – But I have to say this works for me far more than a lot of metal bands I’ve heard. And all for a computer game no less! And if such a theme can cross such barriers then you know you’ve done something right.


Deus Ex - Opening Theme

Yes it’s another no-brainer but its inclusion is there for a reason. For one of the main goals for any opening theme is to pretty much establish the mood and establish a line of thinking that the player must abide to. And this theme is shining example of that principle. I hear this now and I immediately think cyberpunk, X-Files-esque conspiracies and saving the world from catastrophe – pretty much what Deus Ex is all about. I can picture all of this is achieved even without a single image being shown. In fact I bet you could play this to anyone without a prior knowledge of Deus Ex and they'll pick it up straight away. And if your opening theme can do that then you're onto a winner indeed.
I also like the orchestral arrangements and the pounding drums throughout. And let us not forget: At the end of the day is a pretty damn good tune.
Not much more I can say except, I must confess that nowadays I, unfortunately, can’t hear this song without thinking: “Put on a trenchcoat, and fight some conspiracies, Get experience and level up abilities…”


Final Fantasy 9 - Crossing The Hills

You know what? Of all the Final Fantasy games I’ve played, I would have to say that no.9 has the strongest soundtrack of all. And I’m not the only one: Nobuo Uematsu himself has even ranked no.9 as his favourite. So who am I to argue?
And once again I face the difficult process of selecting one track on a soundtrack that’s packed to the gills with gems. I love The Place I’ll Return to Someday. I love Awakened Forest. I love Freya’s theme. I love Burmecian Kingdom. I love You Are Not Alone!. Much like Secret of Mana, in the previous post, if I could the entire soundtrack on this list I damn well would’ve. But no, I’ve broken enough of my own self-imposed rules already so we must go with one. And the lucky winner is Crossing the Hills.
One thing I like about this, and this may sound kind of bizarre, is whilst this used as a world/journeying theme, it doesn’t sound anything like an atypical journeying theme. I wouldn’t associate this with exploring a world – I would think it more a theme to a storybook being read than a game.
And that’s what’s kinda cool about it. I mentioned in my best endings post that Final Fantasy IX does come across as taking the storybook approach – perhaps more so than it’s brethren – and this theme really is representative of that intent.
But this is just me rambling. Simply put: I like this song, I think it’s great so just listen to it and draw your own conclusions.


Metal Gear Solid - The Best is Yet to Come

Well seeing have I’ve spoken at length of the emotional impression Metal Gear Solid’s ending had on me having The Best is Yet to Come on this list shouldn’t come to a surprise to the regular viewer of this blog. But who am I kidding? It’s a great song and one of those rare songs that still sound great no matter how many times one hears it.
Mind you, Celtic folk isn’t something you’d hear in any video game at all, let alone a military drama but here it works. And as the title suggests, the Best is Yet to Come: Snake completed his mission and ultimately found himself and a new purpose in life and hearing this haunting tune only adds to that truth. The fact that it is accompanied by the footage of the Alaskan wildlife, where life truly does go on, only adds more to it.
But again, this is one theme that exists freely beyond the confines of its original purpose. I can hear this when I’m feeling low and it helps. For tomorrow is another day. The problems that came before are meaningless. Things can get better and every moment in this life counts. It may sound cheesy but to find a theme that can work without it’s accompanying game is a rare thing. But to find such a life-affirming theme in a video game is certainly an achievement in itself. Who would’ve guessed that video game music could do such a thing?!


Shining Force 3 - Scenario 1 opening theme

I’ve played the Shining Force games that came out on the Megadrive and I enjoyed them very much. But I have issue with the music: It sounds ghastly and has aged rather horribly. So much so I can barely listen to instead preferring to mute it and put on some Dragon Force.
Thus hearing this, the opening to Shining Force 3 (scenario 1) on the Saturn, comes largely as a shock: Instead of some Megadrive ditty, we get a full orchestral piece accompanied by the rapping of military drums. It sounds epic, heroic and more representative of the game, a strategy RPG, as a whole. The fact that this is playing during the opening cinematic – which features the unforgettable image of two warriors facing off against each other in a crumbling fire-ravaged city as a giant mech approaches – is the icing on the cake.
Indeed, listening to this theme now to me sounds like the composers finally had an opportunity to work beyond the technological restrictions previously presented to them and are relishing it for all it’s worth. As such whereas the previous Shining Force games have had soundtracks consisting of rather chirpy sounding little ditties, this, along with the rest of the soundtrack, sounds much more serious and indeed more befitting of an army fighting its way through countless battles. Indeed one feels that this is the soundtrack that the Shining Force games deserved all along.
Not much else to say but there have been many heroic themes throughout fantasy games but none of them can match this: More than anything that came before it, or even after it, this is the sound of an army marching to war.


Starcraft - Terran Theme 1

It’s the Korean National Anthem!
Okay seriously, much like the Command and Conquer themes, this is pretty much a battle theme, designed to get the blood pumping and create the mood of building an army, storming across the battlefield and annihilating anything stupid enough to get in your way. Whilst the first part, the orchestral arrangements that came with the UED campaign in Brood War, is impressive by it’s self, the real meat comes in the rock part. I love the moody bass and the guitar work but the real treat comes in the keyboard work (Ba-ba-ba-ba-ba-Bah, Bah, Bah bahhhh!!!). In any case, this theme works as being many parts being put together to produce a compelling whole.
Of course the rest of the soundtrack to Starcraft is pretty cool in itself. But what I find particularly interesting is that this theme, and indeed the rest of the Terran music, is more akin to conventional music from a strategy game. Thus the themes to the Protoss and the Zerg are less about convention and more building a mood to go with the race in question. Thus the Zerg get themes with industrial electronics, squealing guitars and a sense of being evolved to destroy. And the Protoss get orchestral themes, a sombre mood and the sense that a once glorious civilisation is pretty much on it’s knees. It’s an unusual move for a strategy game but in my mind, makes it all the better for it.

So that's it for the fifth generation. Already, game music was evolving at an impressive rate and delivering some unforgettable tunes. So what can the sixth generation do? Tune in next week to find out...

Crushed by a Baldur

Here's something that caught my eye recently: A poll was conducted asking a thousand game developers which was the best game ever made. The results were:

1) Baldur's Gate (series)
2) Diablo (series)
3) Monkey Island (series)
4) Shadow of the Colossus
5) Mass Effect (series)
6) Batman: Arkham Asylum
7) StarCraft
8) The Legend of Zelda
9) EverQuest
10) Devil May Cry
11) Tomb Raider (series)
12) BioShock
13) Metal Gear Solid
14) World of Warcraft
15) Deus Ex
16) Super Mario (series)
17) Call of Duty: Modern Warfare
18) Silent Hill
19) Assassin's Creed
20) Dead Space

Source: The Escapist

Well I have to admit that when compared to other lists of the Greatest Games EVAH this is a very different result. Indeed, it's quite a surprise to see Baldurs Gate claim the number no.1 spot. Usually in lists like this it hangs around the middle region but here it charges to the top and takes out some stiff competition along the way.

But let's drop the pretensions: I love the Baldur's Gate and I'm couldn't be happier with this outcome. So if many professional game developers think Baldur's Gate is the best game ever made then what can I say but: Damn right!

I believe I can fly / I believe I can touch the sky

Well Skyrim is officially upon us and Australia has the pleasure of it being released twelve hours before the US (HA!). So whilst I've been having a shot at Oblivion recently, I am aware of the Elder Scrolls series and, admittedly, it hasn't been difficult to ignore the build up. So I went around to a friend's place to see Skyrim for myself.

Well there's no way getting around it: I took one look at the graphics and I was completely blown away. Whether it was a vastly improved graphics engine than that in Oblivion or seeing the damn thing running on a HD TV, I can say without a doubt that this must be one of the bets looking games around. I like how the menus are more easily accessible and how the menu text is is presented in white against a black backing. Indeed, it seems that everything is so improved from Oblivion that it seems difficult to go back to.

So I sat down and had a go, using my own character and, surprise surprise, I pretty much did with Skyrim what I did with Oblivion: Far too much time wandering around the world and exploring as opposed to bonking some heads. But how could I not? I was really taken by this world and wanted to check it out. But I have to admit that the combat was kinda cool - I particularly like those mini-cut scenes that happen with a successful kill. It's a diversion but enough to break the gameplay/immersion factor.
Amusingly, my warrior tried to challenge a giant and was struck by a blow so hard, he was sent flying. Literally! Of course, if I were playing Oblivion I would've been frustrated with yet another death but here I couldn't stop laughing. Sure my character got plastered but it was a funny way to go.

What a sadist I am....

31 Songs (no.2)

Welcome to part two of this series and thanks for joining us. Well let's not dither around, let's dive straight in.
Last week I talked about the gaming themes I listened to, and enjoyed, as a kid. And seeing as nearly all of them came from games on the Commodore 64, let's head into the next generation of gaming history. That's right, lets talk the fourth generation - it's round about here that many recognizable themes begin to show their faces. So which have I enjoyed and which still hold up years later? Let's find out...

Cannon Fodder - War has Never Been So Much Fun

Let's kick things off with a game that wasn't on the Megadrive or SNES! Okay so maybe this game got converted onto the afore-mentioned systems but honestly? In retrospect, the Amiga definitely comes across as being the true version.
I’ve made mention of Cannon Fodder previously where I pointed out how the game was devised as an anti-war game masquerading as strategy game. And no better is this idea exemplified than with this rather cheerful sounding, but still quite morbid, title theme. Handled by the late great Richard Joseph, this one of those rare computer game themes that invite a singalong – and how can one not? The song is built around a repetitive chorus that’s quite catchy – but go beneath the surface and it’s clear the song is a condemnation as opposed to a glorification. But it’s only after the listener has been sucked in by the lyrics that the realisation becomes crystal clear. For any song to pull that off is feat in itself but for a videogame theme? Absolute genius. Interestingly enough I can’t think of any other games that feature a singalong opening theme (except Sonic CD) – maybe they needn’t bother as Cannon Fodder did it right the first time around.
Interestingly enough this song didn’t survive the conversions to the Megadrive or SNES – as such the point of was lost in mass of blips. So listen to this in all it’s original glory and chalk one up for the underdog.
(and yes I am well aware of the irony of me mentioning this song on Remembrance Day so please don't point that out)


Final Fantasy 6 - Terra's Theme

Yeah well we all knew this was going to happen: It seems to be some sort of law that you can't talk video game music without mentioning the Final Fantasy series.
In last week’s post, I was praising the composers of the C64 era in how they managed to come up with material so memorable and evocative through the limited of technology. And the same could be said for Final Fantasy 6. Now whilst the SNES had some great soundtracks in it’s own right (some of which are mentioned later on in this post), I personally feel that Final Fantasy 6 has a soundtrack that could be truly considered epic. Now whilst many video games of soundtracks may strive for an epic feel in their soundtrack, I think Final Fantasy 6 may have been the first to do so - and hey, a game soundtrack boasting the only opera ever written for game is something not to be sniffed at.
So this is a theme that’s repeated many times throughout the game in different forms (leitmotifs one would call them) yet one never gets tied of it. It consists of a sweeping, epic feel that one would expect from the likes of Richard Wagner or John Williams yet it never once feels out of place in a videogame. It evokes many emotions from the sombre to the inspiring. And seeing this theme matched up to three mechs traveling through the snow truly makes for an unforgettable sight. And for a theme to accomplish all of this is indeed impressive.
But then again what would I know? In the end, it’s one of the finest pieces of music to emerge from the entire series and perhaps one of the real signature pieces of Final Fantasy (One Winged Angel be damned!). It’s also a damn good tune too.


Golden Axe 2 - Ravaged Village

I must admit - whilst I may have sworn my fourth generation allegiances to Sonic and the Megadrive, a lot of games on the Megadrive look different from an adult perspective - they have not aged at all that well. And such is the case of the music: Many Megadrive game music sound ghastly and irritating now but Golden Axe 2 is an exception.
I love the Golden Axe games for the action, the artwork, setting and obvious steals from the Conan the Barbarian mythos. And I really enjoyed the music with Golden Axe 2: Listening to it now really encapsulates the feel of traveling from one end to the other of a ravaged land that is being torn apart by some evil forces of insurmountable odds. Pounding drums are featured throughout and the soundtrack still sounds great. In fact, I think the music in Golden Axe 2 is better than that of the original Megadrive Golden Axe.
That being said, there's not much I can add to Ravaged Village - It's the best theme in the entire game and it encapsulates the feel of the rest of the soundtrack in general. It’s just the type of thing one could do with listening to when assaulting a village filled with Orcs…


Legend of Zelda: Link to the Past – Light World Dungeon theme

Strange as this may seem but I don’t think that the music from subsequent Zelda games aren’t as good as Link to the Past. That’s not to say that the music to Twilight Princess and Ocarina of Time have been crummy – far from it – but it is only in Link to the Past that the soundtrack has made the greatest impression on me.
Now whilst there have been some superb themes from Link to the Past that may have been worthy of consideration, the one I will always remember is the Light World Dungeon theme. It starts off nasty and foreboding before it gives way to a hypnotic synthesizer riff – and the inclusion of the (imitation) trumpet is the icing on the cake. There may not be much going on in this theme but it works wonders. It’s a triumph of minimalism evoking danger, darkened corridors and stepping into the unknown. Many RPGs have tried to replicate similar feelings but this is the one, I feel, that does it the best. And who would’ve guessed that a trumpet could work for a dungeon theme?


Phantasy Star 4 - Air Castle

As mentioned above whereas many Megadrive game music sounds dated today there are however three exceptions I'm willing to make. Golden Axe 2 is one and Phantasy Star 4 is another (and the third? Keep reading...)
As PS4 was pretty much the last hurrah for the original series, it seems the creators went all out with this one: Everything from the gameplay, graphics and storyline is top-notch and made with obvious care and love as one could muster for a last hurrah. And indeed, the soundtrack sounds great throughout - even to the point where I never thought it possible for the Megadrive.
And then there's this: the Air Castle theme. The Air Castle may be one of, if not the, toughest dungeon in the game so what music accompanies this area? The loudest and most scariest theme in the entire game. This seems the ultimate throwing down of the gauntlet: A dungeon theme that's taunting the player is if to say: "You want to step in here? You must be crazy!" I like the pulsating bass line throughout, the freaky synthesizer effects and, how the theme fades in once a battle's been fought and the dungeon resumes. This definitely seems the theme of a warlord's fortress, challenging anyone foolish enough to enter.
Interestingly enough, when I was doing research for this post, I found out this theme is actually a remix of the original dungeon theme for Phantasy Star 1. Comparing the two, the original seems more stiff and bland - whilst with this remix, one felt the theme was given the bite it so originally deserved.


Secret of Mana - Fear of Heavens

Yeah it’s another no-brainer but dammit if I could include the entire soundtrack to this game to this list then I would. Every damn song on there is a gem and exhibits a lot of variety and creativity on the composer’s part (one Hiroki Kikuta). I’ve said that many Megadrive soundtracks have dated horribly in the years since but that does not seem to be the case with the soundtracks from the SNES. The system may be long gone but Secret of Mana possesses that rare trait of having a soundtrack that never once sounds outdated – indeed many more modern games don’t come close. Wonderment, adventure, and mood emphasis – the Secret of Mana OST does all this and more – And special mention must go to the haunting-like-no-other game over theme Close Your Eyelids.
That being said, choosing one of this list isn’t easy (A Curious Tale, Into the Thick of It, The Dark Star are all beauties) but I settled with the opening theme. In my Degeneration serial, I noted I disappeared from gaming for a number of years – But that turned around when I decided to hunt down Secret of Mana and give it a shot. Thus hearing the opening piano chords to Fear of Heavens for the first time and I knew the exile was over. Now I could to continue to gush over how good the soundtrack to Secret of Mana is but I would rather leave that to the many critics the internet has to offer. Instead, I’ll say that Secret of Mana, and Fear of Heavens, represents a place in time – a point in my life where things changed completely. Everyone has pieces of music that do that type of thing (and if you don’t then you’re a liar) but for a theme to a videogame to do just that is indeed an accomplishment in itself.


Sonic the Hedgehog - Green Hill Zone

And it’s a hat trick for the Megadrive - although admittedly, the inclusion of this shouldn’t really come to as a surprise. Now whilst the original Sonic the Hedgehog game had many exceptional themes, many of which still sound great twenty years later, I’ve decided to go with the original Green Hill Zone theme. True the themes to the Marble Zone, Spring yard Zone and Star Light Zones are all superb, but this for me was pretty much the beginning of an adoration of Sonic – and I’m certain I’m not the only one.
If anything, the themes of Sonic the Hedgehog represent a time and place better than any game soundtrack I've ever heard. And hey, if they left an impression on me as a nine-year old that has lasted twenty years since, then something must've worked. And for a game soundtrack to do that is an impressive feat indeed.


Super Metroid - Brinstar

One thing I like about SNES music is how good it is replicating the sounds of bass guitar. And this is a shining example of that principle (the Filmore theme from Actraiser and certain themes from Tetris Attack are also good examples). Indeed, the bass line dominates the song and is pretty much the focal point throughout the song. Also pleasing are the many colors built around the bass with the percussion effects and the weird keyboard effects.
But enough with the technical talk: Whilst much of the music to Super Metroid is minimalist, often used to haunting effect, this theme sounds more like a fully-formed theme. But it is no less freaky. It’s a bizarre amalgam of natural sounds combined with a sci-fi/technological theme – much like Brinstar itself. Such a combination seems a recipe for disaster – but that’s not the case with this theme. It does what it sets out to do and does so with flying colours – much like Super Metroid itself.
In fact let’s just drop the pretenses altogether: I think finding the words as to why I like this theme is doing this theme a disservice. Just listen to the damn theme yourself and draw your own conclusions.


Terranigma - Underworld

One of the lesser known titles in the SNES canon, Terranigma still has managed to garner some recognition in the years since the 16-bit era. Aside from being a forgotten treasure (if you were in the US at least) it has been praised for being a solid RPG, the philosophical themes the game addresses and being somewhat ahead of it’s time. But it’s in the music that Terranigma comes into it’s own, standing proudly as one of the finest in the SNES library. And again, there are many masterful pieces in the soundtrack that it makes selecting one a tough task. However I decided to go with this: The Underworld theme. This is the first thing the player hears when Ark steps beyond his village, the only world he was ever known, and ventures into the real world. And what does he find? A dead, lifeless world that’s waiting to be brought to life.
In any RPG, a lot rests on the shoulders of the music – it can establish a mood and convey an idea that gets the player thinking. Whilst there have been themes in RPGs that have been used for exploring and adventure, this theme sounds different. Whereas other themes have been inspiring and stepping out into a weird and wonderful world, this theme sounds far more sombre and cautious, suggesting that maybe the outside world isn’t really that great. Of course, this isn’t the way it’s meant to be done but to me, that makes the theme work so well.


And that's it for the fourth generation! Tune in next week when we head into the age of fifth generation where Playstation takes the field and many more memorable themes come into play. Which of them made an impression on me? I think you might be surprised....

Nothing worth redeeming

Something different for today's post: Recently I sat down and watched Dragon Age Redemption - I didn't know much about this prior aside from the recommendations from a friend who didn't even like Dragon Age Origins. But if the game didn't work for him whereas a web-series did then it may be worth checking out, right?

Well...no. I watched the first five episodes and, to be honest, came away disappointed.
Now I could be nice and praise the script for maintaining an understanding of the Dragon Age world which is something many spin-offs of IP tend not to do. I could give credit to the makers of this series, whom were working with a low budget (that is at times painfully obvious), for doing the best they could with what they had. I may be even generous enough to ignore the fact that the fight scenes were downright dull....

But the deal breaker for me is laid squarely on the shoulders of Tallis. To put it mildly, I do not like this character. And it's a gunshot wound to the kneecap indeed when your main protagonist, the focal point to your story, isn't working.
So what's my beef with Tallis? Well she seems to be doing everything in her power to annoy me: She's a bitch, psychotic, greedy, a bitch, arrogant and devoid of any actual human emotions. Oh and did I mention she's a bitch? Some people may find such qualities in a fictional character fun to watch but not me: I'm finding at hard to connect to such a character. And when I find myself cheering for the baddies in the fight scenes, as opposed to the lead protagonist, then something has gone horribly wrong.

I think what bothers is that Tallis falls into that trap of being a strong female character. Now before you all get started, there is nothing wrong with being a strong female character - but there also exists the risk of becoming a caricature. You know what I mean: A caricature means a strong independent female character has to be a volatile, violently neurotic, have no conscience, must treat any emotions as a sign of weakness and must surround herself with males who can't do shit just for the sake of proving how awesome she is. Granted that may not have been the intention of the creators of Dragon Age Redemption but it certainly comes across that way.
Now there's nothing wrong with a bitchy/independent female just as long as the bitchiness is balanced out with some human emotions - by way of example, consider Jahiera from Baldur's Gate. Crabby in the first game, she does however gain some depth in the second game, with the death of her husband, her dealing with it and, if the player is willing, the potential romantic sub-plot. So if a balance of bitchiness and depth can be achieved then what's wrong with it?

So in the end, Tallis doesn't work for me. She comes across as being more of a caricature and I can't make any connection whatsoever with her as a member of the audience. She's being a bitch for the sake of being bitch and whilst I may crave for some actual depth to the character, hopes are looking slim with each passing episode. In fact, having watched up to episode five, I think Cairn is a more compelling character - so why couldn't the series be about him? He gets some actual depth but Tallis, the main protagonist, doesn't.

I'll leave it on that note.
Flame away my soon to be former friends

Oblivion Awaits

Recently I've been having at crack at Oblivion - it's been a long time coming but with Skyrim rumbling down towards us I guess now is as good as time as any.
And so far it seems to be much like every other RPG I've played in that I seem to lose hit-points more quickly than I can get them back >__<

Seriously though, so far things seem to be going well. Sure it's annoying that I keep dying too frequently - mostly after a long gap between saves - but I've been impressed by how well-rendered this world is. So much so I'm far more content to wander around and explore: seeing this place for myself and marking more locations on my map. But of course, doing so means I'm not doing any quests and/or dungeons and subsequently missing the point of the game completely but this is an actual world I want to explore - which is a first compared to other open world games I've played like Red Dead Redemption or any of the Zelda games. I'm not sure, maybe it's quite fun wandering around and exploring... that is until some prick comes along spoiling for a fight and interrupts the mood.

Still this is only the beginning - it's interesting what will come later on....

31 Songs (no.1)

This month is the month of November - What does it mean? Not much - but for me it may be a good enough excuse to put together another serial. So, for the duration of November, every Friday I'll be talking about a subject over a series of posts, describing my own opinions and sharing experiences with a particular topic.
So what's the serial topic this time around?
Game music!
Yeah we should admit to it: We each have our particular favorite tunes in any game and we've even halted progression in a game just to listen to them. We may have downloaded some to listen to on the computer or Ipod and may have even sought out some remixes done by someone else who thought the tune was really cool.
So for this serial, I want to talk you all through some of my favorites. And as I've over two decades of gaming experience, there is quite a lot to get through. Therefore, this serial will be done with each post focusing on a particular gaming generation and, hopefully, track an evolutionary path through music, technology and taste.

So let's begin with the roots of my gaming experience, the third generation!

Arkanoid theme

Unlike most kids of the late eighties and early nineties, I never had a Sega or a Nintendo. Nope, I had a Commodore 64. Can't complain though: The damn thing had it's fair share of moments and some decent games. Indeed, it's fun to go online now and finally see other people share an interest in what I thought was ace at the time.
So about Arkanoid: This was a Breakout clone where, for the unfamiliar, the player controlled a bat facing a layered wall of bricks and to take them all out by bouncing a ball at them. Arkanoid however provided its own spin on the formula with power-ups and a 'space' theme with a mammoth space ship on the title screen and aliens that wander through the playing area. And of course, it had a rockin' theme tune.
I love how this tune is divided into sections starting with the explosive bass, before evolving into some electronics, followed by a mournful noise and then finally grinding to a complete stop. The end result is something surprisingly epic-sounding from the lowly C64 SID chip. Funny thing is, when I was a kid I thought that this was a theme best suited to a space-exploration/Star Trek-esque game - so imagine my disappointment that was used for a Breakout clone.
Still this was the sound of a sound system being pushed to the limit proving that anyone can make anything epic-sounding with even the most limited of tools.


Bubble Bobble - Theme

OMG is this song catchy. It has to be the most insanely catchy song every created in the history of gaming. Once heard you can't really get it out of our head! It's insane!
Now I've played Bubble Bobble in other formats namely the arcade version and the NES one on the Virtual Console and, I have to say that it is still the Commodore 64 version that works for me, in the terms of playability, graphical and, of course, the music. And how can one say no to that one tune? It's cheerful, catchy and, although repetitious, it never once gets boring. It's the time of theme that bores it;s way into the mind but in a good way - which is rare feat for any piece of music to accomplish.
What more can I say except it's so damn catchy and, even now, I'm still yet to tire of it.
Not that I want to anyway.


Last Ninja 2 - Central park

As this is a serial on my favourite game themes, I set myself a little challenge: To actively select games that I played and enjoyed, to deliberately seek out little known themes & shine some light upon them, and not fall into the trap of suggesting the obvious.
Which brings me to the Last Ninja 2. As mentioned previously in my Greatest Gaming Heroes list, this series was the defining game for the system and beloved by many a C64 owner. Sure the Nintendo kids may have had Mario or Link to champion but what would I care? I had Armakuni.
One of the trademarks of the Last Ninja series was the fantastic music. Whilst the first Last Ninja had some cool themes, it really stepped up with the sequel. I listen this theme now, after twenty-plus years of technological advancement and I'm still impressed by how the C64 SID chip is being pushed at such a rate one would never have thought possible. It's a hard rockin' theme and a damn good imitation of a metal band - I particularly like that solo/coda that wraps up the song. In fact I think this may have started the trend of having footage of ninja's fighting synced to metal music (and a gazillion and one Naruto AMVs). Okay maybe not but I'm still claiming it for Armakuni!
The rest of the soundtrack of Last Ninja 2 is indeed impressive but this still works for me - and judging by the many rock covers/remixes that exist of this theme, many more agree with me.


R-Type - Title theme

This was something of a milestone in my gaming history: This was the first time I'd actually sit at the title screen of game purely for enjoying the music being played. And how could I not? This was a fantastic opening theme and a pace setter for a brilliant soundtrack. It was energetic and perfect music for gunning down aliens and evading bullets with intensity. And the person we have to thank for this is Chris Hulsbeck - the man who wrote the equally excellent music for Turrican and, more recently, Star Wars Rogue Leader.
Funny thing is I've played various R-Types since and I can recognize some familiar themes. But I'm used to the frantic soundtrack to the Commodore 64 version - thus the other versions come across as being surprisingly stiff. True - they don't work for me. Why I heard the title music to the Amiga version and honestly it doesn't hold a candle to this one. Even hearing it now they seem to be completely different themes - but if the Commodore 64 version of R-Type truly got it's own theme then it's one up for it!


Ramparts - Theme

Not to be confused with the strategy game of the same name that made it's way to various systems (including the C64!) this Ramparts is actually a clone of the classic game Rampage. The major difference is it went for a medieval/fantasy theme with the players controlling an armored giant climbing castle towers and smashing them to pieces. Looking back it's a bit of weak game with dodgy controls, awful graphics (by C64 standards) and little to maintain interest.
But the game's saving grace is a genuinely freaky theme: Played throughout the game, this is truly a theme of giant destroying large buildings. I recall this theme being the one that frightened me as a kid - even to the point where I was more focused on the music than the actual game itself - and if the music is more engaging than the game itself then something must've worked. Okay so maybe now this theme can't compare to the likes of the Silent Hill games but for one of the scariest gaming themes ever made it sure makes a compelling case.


Tetris - Type A

Yes this is a no-brainer and yes it's inclusion breaks my own rule of not kowtowing to the obvious but damn, how can I honestly say no to this?
Interestingly enough, it is only in recent years that I found out that all the music from Tetris was based on Russian folk songs - and Type A itself originated from a song called Korobeiniki. Funny thing is, most people would probably recognize this theme almost instantly - and even then it's most likely through Tetris. Funny how game's can do that....

And on that note, this concludes the first part of the series - tune in next week when the music steps up a notch as we enter the fourth generation....

One Man Army

During my college and university years, I watched a lot a movies - in particular I was struck by the 'one man army' genre of action movie. You know the kind: One guy is up against a whole horde of baddies and spends the entire length of the movie taking them all out one by one.
Indeed, such is the strength of the concept that it has since provided the basis for many action games.

But here's something I've been pondering on for quite some time: In regards to this one-man-army scenario, what exactly is the correlation between action and motivation? Killing a bunch of guys by yourself is a mammoth undertaking - more so if the guys in question own and operate some kind of organization/corporation. To do so would take a motivation worth seeing through to the end.

That being said, I have, for the longest time, wanted to see someone take this formula and turn it on it's head. How about a one-man-army where the protagonist is someone who blundered his way into this mess by accident? And has to fight for his life against foes who are equally confused by his presence as he is? Or how about where the protagonist is someone who is doing this undertaking for something so, by comparison, small and insignificant?

Such scenarios have potential and I would like to see one played out - and what do you know I can see glimpses in he games I've played. When I was playing Bioshock I could see the scenario being put to use as the player controls an interloper to the city of Rapture and Andrew Ryan, through his video logs, is baffled as to who the player character is and what he's doing there. This set up is of course ruined with the confrontation with Andrew Ryan but then again 2K had their own story to tell but for me it's still a missed opportunity. How could it be for an average shlub to accidentally stumble across Rapture and explore it...only to have them fight for their life against a foe who's mistaking him for the CIA or some other organization?
As for the second scenario I can see traces of it in the Nuevo Paraiso portion of Red Dead Redemption. Throughout the portion John Marston gets caught up in a conflict against a corrupt president and idealistic revolutionary. Eventually Marston must pick a side and take part in the subsequent revolution. But it is interesting to note that all Marston wants is the location of Javier Escuella and Bill Williamson - thus Marston ends up doing odd jobs for the two opposing sides on the promise of telling where these men are. But most of the promises don't come through much to Marston's increasing annoyance. Thus there is something somewhat evocative with when the revolution comes and Marston is reacting to the mayhem around him by shouting: "WHERE'S JAVIER ESCUELLA?!?!?!?"

But in the end these examples are just fleeting glimpses - all it need is someone to take the first full step. And when I think about it, it is rather puzzling why this hasn't caught on seeing that video games rely on the 'one man army' concept and even cases of 'Who needs motivation when there are dudes to shoot.' I figured the scenarios I mentioned be more akin to a natural fit.
Still at least it's a start....

Land of the Living

Well it's Halloween so here's an obligatory post about monsters and scary .....shit.

So lets return to that old chestnut the zombie game. Now I've been critical of this zombie fascination and it's enduring popularity doesn't look, in any way, to diminish. Thus I see no reason to stop now.

It seems anything with zombies in it will guarantee immediate sales and instant interest from the pundits - which I find quite ironic since one of the keystones of zombies is seeing how people retain their identity and intelligence even when faced against a mindless, unrelenting horde.
So it makes me wonder if any game developers have the gall to try and do something different with their product. You know, proclaiming a gem has zombies will automatically generate sales so how about doing something different? How about grabbing one's attention and then saying something of your own?

So with that in mind, along with my continued interest with challenging that bond between game and gamer, here's a little synopsis I came up with:

This game centers around a protagonist named ....Barry. Barry is the survivor of a zombie apocalypse and couldn't be happier. He's seen countless zombie films and knows pretty much everything that needs to know. Thus every day involves him running for his life, blowing away zombies with shotguns and living out his fantasies.

However, as the game progresses things take a dark tone: There are audio logs to pick up but they all seem to address Barry directly - some even suggest he get a real job and stop watching zombie movies. In between attacks, Barry is haunted by images of a particular room and familiar faces. There are radio support transmissions coming from, presumably, the outside world but Barry doesn't heed to them. And eventually the zombies get surprisingly aggressive through actually picking up guns and using them.

And then in the last act, the rug is pulled from underneath the player: the entire scenario is fabricated. The zombie apocalypse isn't happening - it's just exists in Barry's head. Thus, all Barry has been doing (not to mention YOU the player) has been running in the real world and gunning down innocent civilians based on the paranoid delusions/fantasies that have been existing in his head.
So in a nutshell, this game is based on a mentally damaged guy living out a zombie fantasy - when in reality he's just gunning down genuine, real-life, no-bullshit, people for no better reason.

Heavy stuff but I want to see a game like that made - not just to challenge the gamer's perceptions and to give them something to think about once they put down the controller but to give the zombie fascination the slap in the face it needs.

Happy Halloween

Open Your Heart of the Swarm

Well what have we got here? Well golly me, if it isn't the trailer for the next installment of Starcraft 2!



Whilst I've never played Wings of Liberty (call it due to having a shit computer), I am aware of what happens in that Raynor is set out to retrieve Kerrigan's humanity and revert her from her infested state. And, by the end of the campaign, he achieves some degree of success.
However, judging from the above trailer, it seems that such effort has all been for naught as Sarah is gone forever and Infested Kerrigan is pretty much here to stay. Again, going from this trailer, this revelation would come about in one of the Terran labs as the game progresses.

But there is something about this that doesn't sit well with me. Whilst I may have criticized the ending of Starcraft before, I have to make a concession in that Kerrigan was actually a nasty villain. In the Zerg campaign in Brood War, I wasn't seeing Kerrigan's actions as part of a quest for vengeance - and as such, my perception of her changed into that of a sadist - doing all these terrible things just seemingly for the hell of it. And that indeed raised up the intimidation factor, indeed necessary for any villain, and left a greater impact.
That being said, this element of tragedy doesn't work for me at all. The story of Kerrigan's past doesn't mean anything at all as it diminishes the nastiness Infested Kerrigan eventually led to (and the fact that was established outside the game). As such the tragic element stinks of a cop-out.
Now there have been some tragic baddies in film, books and Shakespearean plays but they are all pre-planned stories and the audience has to sit and watch them play out - Whereas video games are more interactive and the demand participation from someone who has a say in how things flow. Thus, I don't support the idea of video game baddies being tragic: They are they to be mean, nasty, and give a sense of a goal worth working towards. By way of example, I don't give two shits about Sephiroth's background - his stabbing of Aerith is a good enough excuse to go and smash him in the face.

So do I think I could do better? Why yes I do. If I were in charge I would've done it differently in that Raynor eventually succeeds in restoring Sarah and eventually takes part in integrating her back to humanity. BUT! The memories of being an infested haven't been extinguished and subsequently haunt Sarah. HOWEVER! After witnessing the memories of what she did as an Infested, Sarah actually enjoys what she did. This, along with perceiving being a human as a worthless pursuit, prompts Kerrigan to actively go out to return herself to her Infested state thus ultimately undoing all Raynor's efforts and retaining her self-proclaimed status as Queen Bitch of the Universe.

Of course, this is all just speculation - based on a trailer.
How it effects the game, or course, remains to be seen....

That's Un-Possible

Earlier this year I made a post criticizing the end of the Commodore 64 game Impossible Mission 2 and describing how puzzling and abrupt it was.

Since then, I've managed to come across the original manual (you really can find anything on the 'net so it would seem!) which sheds some light on the matter: Apparently the baddie Dr. Elvin Atombender had a full arsenal of weapons ready to destroy civilization leaving the agent to infiltrate his base, find the right computer and shut it down (hence the three computers in the final room). From there, the agent was to be picked up from the roof of the base via helicopter.

I suppose that does explain a lot. It may also account for the white shape being Atombender who, it seems, would rather commit suicide than admitting defeat. And whilst I welcome this revelation after years of bafflement it is still far from satisfying. It doesn't help that Atombender may look like the agent and share the same scream (most likely through the limitations of the hardware) and it still doesn't explain why the whole event is being viewed through a computer screen.

But then again why I am complaining about this game? It wasn't as good as the original anyway.

Shocked to the Heart! And You're to Blame!

Recently I’ve been having a shot at Bioshock. Last week, I finally completed it so what do I come away from it?
Well to begin with, much like Portal, much has been written about this game – And in Bioshock’s case, the deconstruction of free will in the video games and the usage of the objectivist philosophies of Ayn Rand. But that’s where the similarities end for whereas Portal inspired the meme’s that ultimately ruined the game and drove it into the ground, Bioshock has managed to avoid such a fate – okay so yes I may have heard the phrase ‘Would You Kindly…’ before but somehow, it didn’t diminish the impact of how those words were put into use.
And somehow the game is even better for it: Word of mouth is a powerful tool that can make or break any new IP – whilst exposure is nice it also runs the risk of destroying much of what the game is trying to get across and ruining a lot of the mystique of the original. And seeing as the makers of Bioshock have something to say and are getting it across in their game, so much hinges on a game being discovered on the player’s own terms – not those of some douche who thinks quoting a video game makes him look cool (personally I’m still waiting for the voice quotes from Impossible Mission to make a comeback via meme but what are the chances of that happening?).

As for the game itself well I’m quite impressed by the creativity and inventiveness that’s gone into it. I’ve often been fascinated by steampunk – in that how many elaborate devices can be produced via steam power and this is a shining example of that principle. Seeing as shooters thrive on current firearms and some bizarre novelty weapons, it is welcome change to see some obsolete firearms being put to use – also pleasing is the designs of the weaponry once they’ve been put through the upgrades.
And keeping with the steampunk theme, I liked how the splicers talked with British accents, the use of the gun turrets (even though it is puzzling how they could identify friendlies from foes) and how everything is available through vending machines. I even enjoyed the hacking mechanic which involved the pipes! Yes even when no one else seemed to!!!
Indeed, it should be noted that I'm not a big fan of shooters - personally I think they're a dime a dozen and the shooters I've enjoyed are the old ones where you could go desperado against an army of dudes (ie Doom and Duke 3D). So to see someone else do something different with the genre is indeed a treat.
I also enjoyed the idea of exploring the city of Rapture. The setting looked fantastic with the place being lived in and once glorious in its day - but now succumbing to ruin and abandonment. I liked the idea of venturing into the place as the residents have descended into madness. I also found Andrew Ryan to be a compelling villain who is still hanging on even when his idea of a utopia has all but crumbled away.

So yes, I liked Bioshock for it’s great writing, it’s inventiveness, the creativity involved and it’s willingness to go beyond the conventions both shooters and games in general. However to does leave one question:
Why the hell does the sequel exist? Must be a bit hard seeing as Rapture crumbled and the villains of the piece are kind of.....dead....and wet.....