Archive for the ‘Games’ Category

Cave Story creator releases simple shoot ‘em up, Guxt

Monday, August 6th, 2007

I’m ironically not much of a gamer, so anything having to do with actual game releases I’m bound to be slow on. DarkeSword recently made mention that Cave Story creator Daisuke “Pixel” Amaya released a new, even simpler free homebrew shmup called Guxt. (Have Japanese characters installed on your comp, please.) With Cave Story under his belt, Pixel’s already got the buzz needed to give any new project of his a good deal of attention in the gaming community, and February’s release of his most recent game has already got people talking.

I make mention of Guxt, because Pixel is not only a programmer, but a composer as well. With his one man Studio Pixel team, Amaya does it all, including the actual game music. For Guxt, that includes a standalone player program that features all 8 tracks from the soundtrack. It’s classic-style VG muzak, just the way you like it: small size, tons of hooks, and very appropriate for the game setting. The Boss theme in particular is excellent.

Makes me wonder who in the community’s gonna have the first well-made rearrangement from the game under their belt…

Activision Reports Sluggish Sales For Sousaphone Hero

Saturday, August 4th, 2007

God bless ya, The Onion. Washington, DC is the paper’s ninth print edition market, and I love picking it up every week. The cutting edge of reporting.

And this? The cutting edge of video game music. The game’s not a hot seller, I’m afraid.

Half-Life: Black Mesa developers on Cockbite Radio

Saturday, July 28th, 2007

Uh…Cockbite Radio.

But yes, the developers of the upcoming Half-Life 2 mod Black Mesa were on episode 5 of Cockbite Radio (there’s that name again) this past Wednesday to discuss all things Black Mesa and how they’re remaking the first Half-Life from the ground up. OC ReMixer Kevin “Lorenzo” Sisk, one of the voice actors of the game, intros the podcast. (Check for him also at the 11-minute and 53-minute marks as well.)

Kevin adds: “That screenshot [below], other than the surface tension dam, is a prime example of how the team is trying to bring the original game up to date with today’s graphic standards, while preserving the game’s spirit.” Definitely give it that look.

Also of note for this podcast, 30 seconds in has a hilarious rant from Casey about 12-year-old boys on Xbox Live. Creepy, immature boys on the internet? Never.

bustatunez scores Hellgate: London trailer, revealed at E3

Monday, July 23rd, 2007

I had the pleasure of finally meeting Wilbert “bustatunez” Roget, II at the Video Games Live OCR meetup in Washington, DC. But we actually used to both reside in New Haven, CT, my hometown, and where Will attended Yale University for his music degree (man, how my life would have been different had I gone there). We tried meeting up during Will’s last few months there before he graduated but couldn’t work out our schedules, so it was excellent finally getting to shake his hand and shooting the shit with him.

At the VGL DC meetup, Will was only at liberty to say that he has just scored the trailer for an upcoming game and that the trailer was set to debut at E3. Besides being excited for the opportunity, he wouldn’t tell us anything more, not even what genre the game even was. So just to let Flagship Studios know, he held VERY tightly to his NDA!

But with E3 now in the past, Flagship Studios (spun off from Blizzard North and responsible for the Diablo franchise) recently took the Hellgate: London trailer public. GameSpot has a great-quality version of the trailer to check out.

Now, I’m not about to praise the trailer merely to pay lip service to Flagship and suck up on behalf of anyone. Anyone familiar enough with the business of games knows that there are (unfortunately) a lot of games with great soundtracks that end up having awful “everything else”. But this trailer looked REALLY polished. It may be for a game, but Hellgate: London has what looks like a straight up movie trailer.

There’s no guarantee Will will be involved with the actual game soundtrack itself, but hitting paydirt with the release of this trailer is a potentially great sign of things to come for a young, talented composer like bustatunez. Be sure to give the trailer a look and send some congratulations Will’s way for one of his first professional gigs, as I hope it’s the start of a fruitful career in video game music.

Composer Spotlight #3: Koichi Namiki

Wednesday, July 18th, 2007

Alternate title: “Sales Pitch #2: Koichi Namiki”

Works featured in this post:

  • Bakusou Dekotora Densetsu 2 (PlayStation)
  • GuitarFreaks (PlayStation)
  • Rail Chase (Arcade)
  • Super Hang-On (Arcade)
  • Thunder Blade (Arcade)

full list of works

~~~~~~~~~~~~

Koichi “Mickey” Namiki (who has also had the nickname “Pretty K.N”) is an oddly system-specific composer. He’s also old guard as far as video game composers go, starting in 1987 with the game Super Hang-On, which he composed with Katsuhiro “Funky K.H” Hayashi and Shigero “Recruit O” Ohwada. For eight years, he composed solely arcade games, mostly ones published by Sega.


“Winning Run”
Super Hang-On (Arcade)


“Type II (BGM2)”
Thunder Blade (Arcade)

The soundtracks to many of Namiki’s older games have the same style: they’re not the strongest in the melody department, but they have enough hooks to get through the song and just groove along. Rail Chase stands as the most notable exception with its almost adventure movie-style score.


“Stages 1 & 4″
Rail Chase (Arcade)

Starting with 3D Shooting Maker in 1996 and reaching until his most recent game credit, Akudaikan 2 in 2003, he composed solely for the PlayStation and PlayStation 2 systems, with the exception of 2002’s Magides Fight for the Xbox. Even though he composed more games during this second time period, fewer of those games were released in the U.S. or even had soundtrack releases.

Namiki was a member of the S.S.T. Band, Sega’s official band composed partially of Sega composers who played rock arrangements of different songs from Sega games. He was one of two guitarists in the band (the other was Jouji Iijima, who composed the soundtracks to Galaxy Force II and Zero 4 Champ RR), and played for the full five years that the band was active. In some of his later compositions, Namiki wields his mighty axe.


“Dream One”
Bakusou Dekotora Densetsu 2 (PlayStation)
vocals by Shoji Koganezawa


“J-STAFF”
GuitarFreaks (PlayStation)

I did mention in the first line of this post that this should be called “Sales Pitch #2,” so let’s get to that. Over the past couple of years, Sega’s Wave Master sound development studio has released soundtracks to classic Sega video games, such as the Monster World and OutRun series. They have also started the “SOUND!SHOCK SERIES” of albums, the first of which was released this month, SUPER HANG-ON 20th Anniversary Collection. In addition to the soundtracks of Hang-On and Super Hang-On (of which Namiki composed three tracks, including “Winning Run” above), the album also includes five new arrangements, one by Hiroshi “Hiro” Miyauchi and four by Namiki, all of which rock.

The second album in the series, Galaxy Force II & Thunder Blade Original Soundtrack, is set to be released on the 26th of this month. I mentioned Galaxy Force II and Jouji Iijima, its composer, earlier; its style of music is actually quite similar to Thunder Blade’s. This album will have another four arrangements by Miyauchi and Namiki. Both albums are available from VGM World, along with the ten disc Game Sound Legend Series Box 2 ~Platinum Box~, which contains the soundtrack to Bonanza Bros. and many, many more games.

Play-Asia.com has the GUITAR FREAKS 2nd MIX ORIGINAL SOUNDTRACK, which consists mostly of tracks from GuitarFreaks 2nd Mix, but also has three tracks from the original GuitarFreaks, all written by Namiki, as well as extended versions of each. Also available is SEGACON: The Best of SEGA Game Music - Vol. 1, which also contains the soundtrack to Super Hang-On, as well as those of other older Sega games.

Finally, CDJapan might have a copy of Bakusou Dekotora Densetsu 2 ~Otoko Jinsei Yume Ichiro~ Original Soundtrack. (”Usually ships within 3-7 days” means that CDJapan doesn’t know if the distributor has any in stock, but if they do, it’ll take about 3-7 business days to ship.) The tracks are all vocal like the sample above, and there are four vocalists other than Shoji Koganezawa.

Composer Spotlight #2: Saitama Saisyu Heiki (S.S.H)

Wednesday, July 11th, 2007

“Come on, CHz. What do you think you’re doing, dude? Everyone knows who S.S.H is. He’s that badass doujin remixer dude from Japan who slings the best guitar synths in the business and totally rocks out VGM covers. You can’t just talk about stuff that’s not original game material.”

That’s why we’re going to be talking about stuff that’s original game material!

Works featured in this post:

  • Lost Child (PC)
  • Sixty Nine 2 (PC)

full list of works

~~~~~~~~~~~~

I’ll just come clean and say that S.S.H’s original game compositions sound, well, just like all his other songs: thrashing guitars, smooth synth melodies, etc. The difference is that, instead of having nostalgia for his tracks to rest their laurels on, they stand fully on original material.

And, of course, they still completely rock. This is S.S.H we’re talking about, after all.

Sixty Nine 2


“Fly High”
Sixty Nine 2 (PC)

Of course, in regard to both his remixes and original pieces, not all of S.S.H’s tracks are synthrockin’, high-flying (see what I did there) power extravaganzas. For example, “Crying” on LOST CHILD ORIGINAL SOUND TRACK FROM S.S.H SIDE-A and “Into the Noize Ocean” on Sixty Nine 2 ORIGINAL SOUND TRACK FROM Saitama Saisyu Heiki are both slowly building tracks, “Crying” taking the rock ballad approach and “Into the Noize Ocean” featuring synth melodies, that only break out with guitaric ferocity after more than three minutes in. LOST CHILD ORIGINAL SOUND TRACK FROM S.S.H SIDE-B has the most variety, from the industrial-like “Amitto” to “Relieve,” a piano version of the vocal opening theme composed by Soshi Hosoi.

Lost Child Original Sound Track side Z front


“Amitto”
Lost Child (PC)

Currently, both SIDE-B and Sixty Nine 2 are available for purchase at VGM World. If you’ve heard all of S.S.H’s tunes on his web site Live House S.S.H and desperately need more, or just want some music to rock out to, both of these albums would be well worth your time and money.

VGM World has also stocked SIDE-A in the past, but they are currently out of stock (although the “Buy Now” button, which usually disappears when an album is sold out, is still there, so maybe they really have some…?). LOSTCHILD ORIGINAL SOUNDTRACK ALTERNATIVE SIDE-X was a bonus single packaged with the limited edition version of SIDE-B, and LOST CHILD ORIGINAL SOUND TRACK FROM S.S.H THE FINAL SIDE-Z was only packaged with the 2006 re-release of Lost Child, you will likely have to check eBay or elsewhere.

Why I hope my marriage is like Super Mario Bros. 3: A long improvised-essay

Thursday, July 5th, 2007

OC ReMixer and former OC ReMix judge Antonio Pizza just posted an essay at the OverClocked ReMix forums likening his upcoming marriage to Miss Robin to Super Mario Bros. 3. But for better or for worse? Or for both?

For posterity’s sake, we reproduce the entire essay in full:

Why I hope my marriage is like Super Mario Bros. 3:
an improvo-essay by Antonio Pizza

On Monday, February 12, 1990, Super Mario Bros. 3 was released in the United States. I don’t know when I got my copy, but I do remember the anticipation leading up to it. I remember seeing the trailers for The Wizard; I remember hearing from a classmate that it was at “The Fun Factory”, the local mall’s arcade in a Playchoice-10 machine; I remember the brilliantly effective hype commercial with thousands of kids all across North America grouped in different colored shirts chanting “Mario! Mario!” until the camera pulled back into outer space revealing that the kids had formed Mario’s smiling face upon the face of the earth. I was hyped, I was eager, I was amped. The classmate (Jeff Kraak, if you’re out there somewhere, what’s up?) told me magnificent things about the game such as not reverting directly to small Mario if you were injured as Fire Mario, a frog suit(?!), and (get this) the ability to fly! Oh! I had to have it! Everyone knew and loved Mario 1, and Mario 2 was, though not identically, equally loved and adored. How I asked for it, I don’t recall. How I convinced my mother to buy it, I don’t remember. When we went, I couldn’t tell you. What I do remember was traveling to The Crossroads Mall in Portage, Michigan with her and purchasing Super Mario Bros. 3 from K.B. Toy Store for $55.

What I remember next disturbed me at the time and disturbed me in later retrospect, but now I recognize it as an important life lesson. We walked out of the mall and I had Super Mario Bros. 3 in my hands. Finally! I could get this weird “frog suit” and “teddy bear suit” (Tanooki Mario) that I’d heard about. I could try and get the whistle just like Jimmy Woods did in The Wizard, I could do better than Moira Grissom who stupidly fell and died in World 1’s first miniboss castle, and I whoop the snot out of the evil and arrogant Lucas and his crony Toby Maguire. I could see if “Wart” was coming back!

I could finally do what I’d been waiting so long for. But the strangest feeling washed over me on our way back to the car.

I didn’t want it anymore.

The excitement, the fever, the hype, the rush… all of it had vanished. I wanted to take the game and just throw it away. Not because it disgusted me, but I just didn’t want it anymore. It was taking up precious space in my hands. Though nine-year-old me couldn’t articulate it at the time, twenty-six-year-old me can say that it wasn’t the game I desired most. It was wanting the game that I desired most. And as soon as I had it, my need had been fulfilled and I felt extremely disappointed at what I now had. Keep in mind, this is before I ever got home. This is still on the way to, and in, the car. Of course I hid this from my mother who had just shelled out $55 on something she had not the slightest interest in. I feigned excitement and contentment as well as a nine-year-old could in 1990. The inevitable logical question arises: “Why on earth would you desire for your marriage to emulate that?” Follow me and I’m going to bless you…

I’m not much of a gamer. The Legend of Zelda came out in 1987, Super Mario Bros. came out in 1985. I didn’t beat either of them until 1996. I don’t know how long it was until I beat Mario 3 but I’m sure it was well into the 90s as well. But that didn’t stop me from playing it over and over again. Initially disappointed, I took the game (since I had it now and dare not even attempt to conjure up the notion of maybe suggesting that it should possibly be returned to the store), played it, eventually embraced it, and grew to love it. My next door neighbor and I would have all night Mario 3 sessions in the summer to see how far we could get without warping before we finally fell asleep (he always fell asleep by Water Land, I usually got tired around Level 7 or 8 ). I mastered the timing to hit the star at the end of every level. I could line up the Starman in Toad’s scrolling extra lives game every time without trying. I memorized patterns in the N-card memory game. I discovered other whistles, I’d hunt the mysterious coin ships and blue Toad houses, I’d hoard P-Wings and Lakitu clouds until Dark World. Above a bachelor’s, but not quite a doctor, I had mastered SMB 3 except for one part… I couldn’t beat the freakin’ thing. Getting through Dark World was hard enough, but throw in Bowser’s castle plus the fact that I had no initial idea on how to beat him and it wouldn’t be rare for me simply to get to Dark World and turn the game off. I wasn’t unfulfilled, but I wasn’t at a level of skill where I could face what was facing me. This wasn’t, nor is, a matter of disappointment for me as Super Mario Bros. 3 ranks as one of my top 5, if not number one, favorite video game of all time. This isn’t necessarily for matters of excellent construction or graphics or challenge, but because when I think of joy I’ve experienced when playing a video game, Mario 3 is at the forefront of my memory. I associate Super Mario Bros. 3 with pleasant memories and experiences. And though I have no difficulty breezing through the game today and stomping Bowser in the mud (or letting him stomp himself rather), it still brings me great pleasure despite it being 17 years old.

What I mean to say is that on the sixth anniversary of the party by the pool thrown by Flowerguy, I will become a married man and I have great expectations, hopes, and dreams. Admittedly, there are a few anxieties that I would not call cold feet, but merely recognition of the tasks and responsibilities that lie before me. I do not take what I am about to embark upon lightly. I am very excited but I hope that my excitement isn’t quick to wear off in the eventual normalcy of everyday life. Keep in mind, I never imagined that upon walking out of the store in 1990 that I would no longer want what I’d been fiending for for weeks on end. But the redemption in that (besides a true calling from the Lord for me to marry this woman and my own personal desire and love to do so) is that my own life has revealed a wonderful precedence. What began as intense desire became, through time, hard work, passion, and zeal, a timeless and lasting experience. I get a kick every time I play Mario 3. It’s as much fun now as it was in 1990, ‘98, and ‘06. I couldn’t beat it at first, but by not giving up on it and sticking it through I eventually mastered it and began discovering fun new elements all the time (like getting all the coins in World… 2-2 I believe, makes a blue Toad’s house appear). Yeah I’d throw the controller in disgust at times, and of course I’d angrily hit the power button on the NES and declare “I DON’T WANNA PLAY THIS NO MORE!” but rash statements can’t quench a love of the game that easily. Of course I had to try again. I’d had too much fun to give up on it forever.

People say marriage is no picnic, but I youthfully disagree. Having been in the relationship with my fiancée for an adequate number of years, I know that it takes actual work to build on what you started with and to keep the two of you growing together. And if you and your honey want to go on a picnic, it takes work. Food must be bought and prepared. Decisions must be made on what to bring. An agreement must be made on when the time to have the picnic is available and where the two of you are going to go. How much is being brought? What is being brought? Is anyone else coming? Someone has to carry the stuff and if your locale is far off someone has to drive, be it you, your honey, the bus driver, the cab driver, or your grandma. The site must be set up and cleared of debris. But once all of that has taken place, you and your mate can literally enjoy the fruits of your labor. I’m not going into Dr. Phil mode, but I submit unto you folks in relationships; when was the last time you and (s)he went on a picnic?

Just as I’d heard and seen so much about Mario 3’s fun (and difficulty via The Wizard) without ever having played it, I have high hopes that my initial eagerness and excitement about my upcoming and only marriage will mature into a lasting love and appreciation upon which I can fondly reminisce in 17 or, God willing, even 71 years from now. My father once wrote a poem about how we do not desire the sunshine, but desire the desire for sunshine. Immaturely, I fell into that trap as a 3rd grader in mid-1990 (and again when DKC 2 for the SNES came out) but now I realize that the desire for the desire can occasionally confirm that what you were chasing after was your true treasure after all. You didn’t enjoy the desire of Mario 3, you actually wanted Mario 3 the whole time. You just didn’t know it. You were merely sidetracked, but time can correct and redirect the course of that river. Have I stretched and exegied too much out of my illustration? Possibly. Does any of this make a lick of sense to someone out there? Possibly. Could it impact someone for the positive? Hey, anything could happen. That was not my inspiration for this improvised essay, but instead one of those quick 1½ - 2 second thoughts in which is compacted and compressed an entire day’s worth of meditation and verbal dialogue. Nonetheless, I fancied it an interesting simile worth sharing and figured that if it could be appreciated anywhere, it would be on a videogame webforum.

If you read all of this, I thank you. If you’re a Christian, we’d appreciate your prayers for our marriage. If you’re not a Christian, I still would still love to cheerfully accept your well wishes. We need all the support we can get. And if you’re like one of those types who has been on the forums since I first joined but still have yet to grow or mature any in the past 6 years, your immaturity, bitterness, snide attitude, and anger at the world is cause for great sadness. There is a world outside of your computer. The sunlight doesn’t hurt. Embrace it occasionally. I beg you, turn away from Dustin Diamondism. I don’t say this to whore out congrats for myself, but I believe in the prayers of the saints and would love their prayers for my marriage. However I recognize that everyone does not believe what I do and I don’t want to deny a well meaning person the opportunity to say “ur gettin’ /\/\4rr13|)??!!!11~ omg kewl.” So I leave you on a positive note. Buy yourself an ice cream sandwich, fire up your NES if it still works, and play through all of Super Mario Bros. 3 (with the one you love if you can convince them) without warping, and beat the game.

Till next time, peace out, God bless, and may the force be with you.

-ap

P.S. But if you really want to show us you’re happy for us, we want a Wii. :)

virt experiences wet dream, scores Contra 4

Friday, June 29th, 2007

As CHz reported over at ThaSauce, arrangement scene old-schooler turned professional game composer Jake “virt” Kaufman was outed last week in the current issue of Nintendo Power (#218) as being the composer for Konami and WayForward Technologies‘ upcoming Contra 4 for the Nintendo DS. (Here’s hoping they at least stick with Contra IV/4 in the title, and don’t drop that in favor of just a subtitle.)

Contra IV jungle

While unable to comment much beyond confirming his role on the upcoming shoot-them-motherfuckers-up (loosely translated, “schmup”), Jake backs up the Ninty Power interview and assures us that we’ll be rocked by new themes as well as rearrangements of classic themes from the Contra series.

I personally can’t wait until Jake has a chance to score another console game a la 2005’s Legend of Kay, but congratulations to Jake on a dream project that’s a major footnote in his growing career.

Dale muses on "Fail"

Tuesday, June 26th, 2007

OneUp Studios co-founder and OC ReMixer Dale North has a new post up at Destructoid on America’s history of crappy video game art and animation. Clearly the Mega Man series is in there. The video accompanying the post is tough in some cases (EarthBound? It’s different, but what’s wrong with that one?), but the gist of it is that Japanese art that’s much more relevant to games is passed up for oftentimes non sequitur art, usually resulting in cases of “fail.”

Best moment of the video for me, an iconic picture of Pac-Man is shown midway through: “Oh man! How are they gonna fuck that up???”
Seconds later, the Atari box art: “Dear LORD!”

Oof. I also don’t believe I’ve ever seen anything as comparatively anti-septic and bland as the American box art for Breath of Fire III after the vibrant Japanese art.

And say what you will about the US-based cartoons being poor. You still watched them. Never ever heard of that DarkStalkers cartoon until now. Don’t forget though that the Super Mario Bros. Super Show cartoon segments and Mario 3/Mario World cartoons by DiC were really strong all things considered.

One thing that could be noted for the present is that, with the foothold that manga and anime have on pop culture nowadays, a lot of the showcased art deemed unpalatable to American consumers back then is significantly more permissible. It remains to be seen what that’ll translate to for future releases, but hopefully the days of Mega Man’s American box art are basically behind us.

A long-time gamer, Dale’s been really active at Destructoid, so be sure to check out his regular updates.

Composer Spotlight #1: Hiroyuki Iwatsuki

Tuesday, June 26th, 2007

Hiroyuki Iwatsuki is the master of the generic beat ‘em up track. What does that mean? Well let’s find out!

Works featured in this post:

  • Choujin Sentai Jetman (NES)
  • Ghost Sweeper Mikami: Gokuraku Daisakusen (SNES)
  • Ninja Gaiden Shadow (GB)
  • Pocky & Rocky (SNES)
  • Shin Kidoesenki Gundam Wing - Endless Duel (SNES)
  • Spanky’s Quest (GB)
  • The Ninjawarriors (SNES)

full list of works

~~~~~~~~~~~~

One thing to note about Iwatsuki is that it’s hard to get his “sound,” so to speak, because he frequently collaborated with other Natsume sound team members, most notably Iku Mizutani and Haruo Ohashi. However, four out of his six chiptune works were solo ventures, so from these we can get some insight into the man’s usual style.

Choujin Sentai Jetman areas

“Area E”
Choujin Sentai Jetman (NES)

“Stage 1″
Ninja Gaiden Shadow (GB)

We can already see some similarities in the structure of the songs. Each loop has three basic sections: an intro, main body which ends in an upward sequence, and high conclusion. Both songs also have a driving bassline and percussion too. We’ll see the tripartite structure and backbone in the next two co-composed samples from the SNES.

“Crazy Woods”
Ghost Sweeper Mikami: Gokuraku Daisakusen (SNES)
co-composed with Kinuyo Yamashita

The Ninjawarriors

“Last Boss”
The Ninjawarriors (SNES)
co-composed with N. Tate

I’ve been hand-picking tracks on purpose to reinforce the first sentence in the post, that Iwatsuki is the master of the generic beat ‘em up track. All four games featured so far are side-scrolling/platforming beat ‘em ups. More important, though, is how similar these songs are; the games Iwatsuki has worked on are chock full of songs just like these that grab you and yell out, “Beat up enemies to me!

“However, what I like about these soundtracks are just how eminently listenable they are. “Generic” does not automatically mean a song is bad; despite the four songs I picked being mostly interchangeable with one another (discounting the synth qualities of the three platforms), each track has its own decent melody and hooks, variety, and development. If these types of tracks are up your alley, then you should definitely check Iwatsuki out, because there are lots more tracks just like these.

Now that I’ve talked about how his music is all the same, let’s look about some of his work that actually does sound different!

“Staff Roll”
Spanky’s Quest (GB)

Pocky & Rocky title screen

“Haunted House”
Pocky & Rocky (SNES)

“Airport”
Shin Kidoesenki Gundam Wing - Endless Duel (SNES)
co-composed with Haruo Ohashi

So in addition to beat ‘em up tracks, we also have almost Kirby-like ^___^ness, almost RPG dungeonness, and almost technocrapness. I used “almost” and “-ness” in all three of those “genres” because each track does manage to still retain a little bit of the Iwatsuki flavor. Staff Roll and Haunted House have pumpin’ basslines, and Airport still gets you ready to kick the crap out of something. Iwatsuki has a consistent style in his works that just rocks.

A plug for "Music from SSX Blur"

Sunday, June 24th, 2007

The Song of the Week competition (Week #98) currently has an entry from Tom “Junkie XL” Holkenborg from Nettwerk/Electronic Arts’ recent Music from SSX Blur album, the track being “Wanlong Mamoth”.

Music from SSX Blur album cover featuring Junkie XL

All I can say is that, after hearing it, I’m really disappointed that I didn’t have a chance to attend the Washington, DC part of the album release tour at GLOW on April 21st. That was back before I had my current (and thoroughly enjoyable) job, so all of my attentions had been going towards job hunting.

Nonetheless… :’-(

Great track, and I’ll definitely be checking out the rest of the album.

Other people besides Liontamer might post here too sometimes

Monday, June 18th, 2007

Apparently I’ve been given the ability to post here. I’d better make the most of it before Larry fires me for making fun of his stench (like that of an African elephant) or pubefro (no modifiers needed). D:

I’m CHz, sometimes known as ‘Ili Butterfield. I’m one of the folks who runs Song of the Week. Spiel:

Song of the Week (or SotW, for short) is an online, ongoing, weekly event. The purpose of this event is to promote the proliferation of quality video game music that is seldom heard amongst the society of VGM fans.

I just updated the site with this week’s winners about two hours ago, so check Week 97 and all the previous weeks out and see if you like what you hear. Maybe even participate if you have the time.

But anyway, why am I here? Well, since the scope of this blog is not just video game remixes, Larry wanted contributions from people who know more video game music than just a couple of tracks from whatever lame 2D fighter they played ten years ago. Since I owed him a lifedebt for saving me from a Nicaraguan death squad, I agreed to help him out with this “VG Frequency” thing.

So what can you expect from me? I don’t know either! Presumably something about video game music! My original ideas were composer spotlights on lesser-known guys who aren’t totally obscure (like, say, a Motoaki Takenouchi vs. a Nobuo Uematsu or Nobuo Ito) and looks at overlooked works by big-name composers, like the Hanjuku Hero series or DynamiTracer by Uematsu. But I’m not that organized, so I might end up just making things up off the cuff, kind of like this post!

I’ve gone on far enough here without any actual content, so I’m just going to end this post with a song I really like. It’ll give me a chance to test this cool Flash MP3 player dealie. It also could be a preview of my next entry…?!

“Energy Generator Lab (Stage 5)”
Mighty Morphin Power Rangers: The Movie (SNES)
Hiroyuki Iwatsuki

How a Russo-Nigerian Stallion Found Video Game Music, Part 3: Discovering OverClocked ReMix

Tuesday, May 1st, 2007

When Matt Kertz mentioned to me to check out remix.overclocked.org in early 2002, I was definitely interested, but never became a hardcore fan of the site until the following summer. The first newly posted track I remember being interested in back then was DarK PurPLe’s Super Mario Bros. 2 “The DarK Underground.”

When I first browsed OC ReMix, I only downloaded and kept about 30 tracks. All were from games I was familiar with, including Super Mario Bros. 1-3, Super Mario 64, Sonic the Hedgehog 1-3, Streets of Rage 1-2, F-Zero, Street Fighter II and Mega Man X (which I had downloaded a ROM of). Any other games I had played had no mixes at the time, and I only played a limited number of games growing up. I quickly added enjoyable tracks from OCR to my radio show playlists, impressed at the sound quality and creativity of guys like McVaffe (Mike Vafeas). Even as a newbie, I could instantly tell the guy was treated like a huge deal there.

The advent of torrenting years later would make OCR’s catalogue much more accessible than when I first arrived. But in retrospect, what’s funny to me is that I initially treated the site rather nonchalantly, armed with downloading habits I’d chastise newbies for having nowadays. In that sense, I wasn’t there broadly looking to find good music, I was strictly there for nostalgia. My attitude wasn’t rude or dismissive, but other mixes on OCR might as well have not existed; they simply weren’t on my radar.

Even when I got my first taste of ReMixes that were from games I didn’t know, my horizons weren’t broadened at all. I simply downloaded the new tracks that I liked and did no further exploration. My roommate back then, Dave Share, managed to download Chris J. Hampton’s Chrono Trigger “New Zeal” and McVaffe’s Castlevania Adventure “CV2k” (since removed from the site, no thanks to me) searching for cool stuff himself once I told him of the site. When he played those tracks on his comp, they were so catchy that I asked him what they were from and was surprised that they were also from OC ReMix. You’d think I would have learned to check out everything, but then again the task of amassing every mix back in 2002 was time-consuming and potentially not worth the returns.

Some n00b things I remember about my earliest days:
*Before realizing he was the site creator, wondering how egotistical djpretzel was for being the only person using the first person in the ReMix writeups
*Visiting VGMix shortly after learning about the ReMixer Exdous, downloading several mixes there, realizing most of the tracks sucked and subsequently never visiting it again; they had no quality control system in place at the time, and it showed
*Severely disliking Super Mario World “Flat Goom Beat” (also since removed) for being uncreative
*QuasiKaotic & Jade Gemini

Luckily I passed on the good word about OC ReMix onto my best friend, Joe Mauri. If Matt Kertz was the one who guided me to OverClocked ReMix in the first place, then Joe was the one whose actions ended up making me a hardcore fan. Back in the days when bandwidth was costly and speed was inconsistent, OCR’s downloading policy strongly discouraged people hitting the site hard and snagging lots of tracks within a short period of time. About a week after telling Joe about OC ReMix however, he had unabashedly downloaded everything, the site having around 600 songs by that point. He was there for nostalgia, but he was also broadly looking to find good music.

The summer of 2002, Joe came to stay with my family during summer break, which was great for both of us. One of the most influential activities of mine that summer was taking three days to sit down and listen through all of the nearly 700 ReMixes he had, starting from the letter A and working my way down through Z. It was definitely a rewarding experiencing, as I ended up keeping about a third of the mixes, becoming familiar with lots of the artists there, and becoming indirectly familiar with a lot of popular game soundtracks. I didn’t know Mega Man II’s “Dr. Wily Stage 1″ or Final Fantasy VI’s “Terra” beforehand, but I definitely knew them now. From that point forward, OC ReMix was a daily visit. Once I lurked the forums, I decided my best approach for becoming a community regular would be to post a handful of mix reviews first to have some posts to my name; you can still see those archived posts today.

Much like my habits with mainstream music I liked, I meticulously tagged the OC ReMixes I held onto. While the framework was good, OCR’s informational database was really lacking back then as it was only as complete as djpretzel’s spare time or interest could manage. Thus, my curiosity had me researching the source tunes of the mixes at Zophar’s Domain, original composers, ReMixer real names, email addresses and homepages; whatever wasn’t readily available, I worked hard to track down out of my own personal interest.

My burgeoning interest in OverClocked ReMix quickly led to me altering the divided focus of my radio show singularly to the amateur VGM arrangement community. That’ll take us to Part 4…

How a Russo-Nigerian Stallion Found Video Game Music, Part 1: The Games

Sunday, April 29th, 2007

I thought it would be appropriate to give some background on myself and why I decided to start a blog about video game music. Or, more accurately, how my girlfriend (a woman you’ll hear more from known as “The Lady”) encouraged me to start a blog about video game music. It’s been a relatively long road getting to VGM listening as a life’s hobby.

I was never big into video games as a kid. I loved the ones I did have, but never owned too many or spent way too much time playing them. In short, loved ‘em, just not fanatically. And it continues that way up until the present day. I don’t own a Wii, a PS3 or an Xbox 360, though I’ve played WarioWare: Smooth Moves for a few minutes and loved it.

My uncle bought my (fraternal) twin brother & I an NES in 1988 for our birthday, which came with the Super Mario Bros./Duck Hunt combo cartridge (naturally). Despite playing Nintendo together at the same distance from the television, my brother’s eyesight stayed 20/20 and mine started getting worse for whatever reason. I needed glasses in 1st grade (didn’t end up getting them until years later).

The music of Super Mario Bros. definitely stuck with me and remains an instant bit of nostalgia, but while it planted a seed, I never sat down and tape recorded the music like a lot of colleagues I know.

Other earlier memories involved:
*a friend of my brother’s, Nnamdi Ifejika, having a ton of NES games, which allowed me to sample a lot of ‘em and get to know bits and pieces of several titles
*3rd grade, where my friend Eric Hole had a huge Nintendo Power strategy guide and letting me borrow it for a few days, as just reading about the games was amazing enough
*playing the Sega Master System, particularly the footbag portion of California Games, at my uncle’s house (the one who bought us the NES)
*playing Duck Hunt at a brother’s friend’s house and chancing on a sweet spot in Clay Shooting that allowed me to hit each target no matter where it was on the screen; I eventually got nervous around Round 90 after I sportingly let one clay pigeon almost get away, then somehow got nervous and tried to shoot it directly
*Receiving both Super Mario Bros. 3, and the excellent Nintendo Power Strategy Guide for it in 1990
*Playing the SNES at Dave Riccio’s house back when it first came out, especially Street Fighter II years later
*Choosing Chip ‘N Dale Rescue Rangers over Teenage Mutant Ninja Turtles for a birthday present (a difficult choice at the time, an excellent choice in retrospect)
*Teenage Mutant Ninja Turtles IV: Turtles in Time
*My friend Hayden Mixsell bequeathing me his Sega Genesis after moving onto the Nintendo 64, hooking me up with Sonic the Hedgehog 2 and Streets of Rage 2 in the process

It’s difficult to encapsulate the entire mish-mash of games of my childhood, but so many of them had really memorable themes, Streets of Rage 2 in particular. Some of Pilotwings comes to mind. Road Rash. Super Mario Bros. 2. Street Fighter Alpha had a really big impact on me. There’s a big list eventually waiting to be recollected.

It wasn’t until Street Fighter Alpha 3 and Napster in 2000 during my freshman year at Emory University in Atlanta, GA that I really got into trying to find video game music. As far as I knew, back in the relative infancy of the internet, there weren’t any concentrated websites to buy game music let alone simply find it. But on a whim, I figured that if mainstream music was available, maybe somebody had some video game music from games I used to love.

There was no luck finding Street Fighter II, but Street Fighter Alpha 3’s “Brave or Grave” came up once somehow and I decided to check it out. I’d never played the game at the time, but I loved the track. In retrospect it’s not an A-grade piece of work, but the energy was pretty crazy the first time I heard it. I was gradually able to amass most of the soundtrack by searching for Street Fighter Zero 3 and becoming lucky when certain users would show up. Karin Kanzuki’s theme “Simple Rating” quickly became my favorite, along with Cody’s “Stripes,” Vega’s “Crimson,” and Cammy’s “Doll Eyes.”

A friend of mine who lived in my freshman hall, and who I stayed friends with throughout my 4 years, Dave Share, had a Sega Dreamcast and quickly got me back into the Street Fighter game series, far and away my favorite bunch of games. Eventually, I was playing Marvel vs. Capcom 2, Capcom vs. SNK (truly a dream game when I first saw it) and Street Fighter III: 3rd Strike, loving each one of the soundtracks even more than I loved the games.

It wasn’t until 2001 that I became interested in spreading the word on VGM through the radio. That’ll take us to Part 2…

Christian Pacaud joins Ubisoft

Friday, April 28th, 2006

Christian Pacaud, who has contributed to OneUp StudiosXenogears Light as well as OverClocked ReMix, VGMix, and Remix:ThaSauce, announced yesterday via the OneUp Studios boards that he was hired by Ubisoft.

The current developer of games in the Myst, Heroes of Might and Magic, and Tom Clancy series, Ubisoft has brought Pacaud on board as a Sound Designer, a job which Pacaud begins on May 8th at the company’s Montreal, Quebec offices. Comments and congratulations may be left at the OneUp Studios’ forums. Stay tuned to Pacaud’s homepage for potential updates.

2005: A Year-in-Review

Sunday, January 1st, 2006

2005 has been another eventful year in the video game music arrangement community. Now that we’ve reached 2006, join us for an informal retrospective at some of the important goings-on in the scene last year.
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