Sometimes great soundtracks can become overlooked simply because they are one of the weaker components of an already fantastic game, much is the case with the soundtrack from Street Fighter II and it’s various spin-offs. Obviously the soundtracks to these…

The first thing that comes to mind when reviewing a music game for me usually happens to be…Is Radiohead in it? Once that question is answered I take a look at the rest of the track listing and see if it is really worth a purchase, because as fun as a music game’s mechanics can be, I see no reason to pick it up unless there is a significant number of tracks that I enjoy on their own. However, every once in awhile I come upon a music game that does something so completely different that I have to pick it up on principle alone.

While I have a tendency to really enjoy most video game soundtracks and have a particular affinity for those which I believe are top notch, I also like many other kinds of music as well. After anticipating the release of Animal Collective’s ‘Merriweather Post Pavilion,’ I listened to it with eager excitement because of the rave reviews the album had garnered. I’m sure at this point you are wondering what in the hell this has to do with video games, so I’ll get right to the point: After listening to it many times I began to find similarities, especially noticeable on the track “Bluish” that seemed instantly familiar to me, both in style and apparent melody.

When looking at how to release a video game soundtrack to the public it seems more often the not that some of the tracks are just put on to a CD and thrown in with the special edition of the game, leaving you with an incomplete and remorseful feeling of having spent an extra few bucks for a few choice cuts from the soundtrack. While it may seem like a complaint that would apply to only a small minority of the “metal case enthusiast” special edition buyers, when publishers and developers put additional time and effort into releasing content for these editions of the game or as stand alone products, it is easily noticed.

When the question of original compositions vs licensed music in video games come up as to which one is superior, it often time boils down to the genre of the game. In recent years sports games have taken the lions share of licensed soundtracks, and for good reason. The genre’s inherent nature of relying on similar game conventions provides a perfect venue for licensed tracks to garner both publicity as well as keeping things relatable for the player; If you are unsure of what I mean just try and imagine a Madden game with a Symphonic Soundtrack….

When it comes to analyzing different video game soundtracks there will always be ones that stick out in my mind for being truly epic. Not just epic in the sense of scale or style, but how it creates a second layer to the game, makes the experience stand out in a sea of other soundtracks. When sound design is singled out and elevated to the level it naturally should be along in conjunction with the visuals, interesting things begin to happen. Similar to the musical phenomenon of overtones, this fusion between the two work to heighten both while adding another motif to the soundtrack.

When looking back at the history of how video game soundtracks have evolved, there exists a certain uniqueness that differentiates them from almost every other visual or audio medium. The works are both represented as a product of a certain period of time, and a dependence on an ever evolving set of tools used in the creation of the music. Limited by a minimal number of audio channels made the development of coherent and refined soundtracks all that more difficult for early composers and sound designers. The creativity that was often used to work around hardware specifications helped these early soundtracks have an identity. Although some of the more ambitious soundtracks suffered because of this, an endearing quality has often become associated with the music that was created with particular soundchips in older consoles.

When artists from other mediums enter into a different form of media, either as a side project or simply as a change of scenery, the results can vary from being innovating and interesting to downright horrid. Usually consisting of a…

One of the most important factors in differentiating a good soundtrack from a terrible one is the ability for the material to remain fresh. Nothing kills a game experience like an overplayed melody that can’t help but get stuck in your head while at the same time driving you closer and closer to the edge of insanity. There is a fine line between something that is endearing (Such as the Final Fantasy Win Anthem) and one that makes you want to end it all (like the Dungeon Theme from Persona 3). While it is hard to craft enough music to round out a 50+ hour game, some games have proven that even with a relatively small number of tracks it is indeed possible to create music that doesn’t grate while remaining fresh even after a prolonged play session.

While the graphical leaps in video games are often the most talked about, it is often overlooked how far audio technology has also come over the past few decades. What were once simple blips has evolved into full orchestral scores. With disk storage space at abundance it is possible to carefully craft themes and melodies, which can truly contribute to both the story and emotional response that a game has on the individual. With the evolution to disc based mediums, Music has truly had a second genesis allowing for the cinematic experience to be complete.