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Starting in the 1970s with a reputation of sub-music, quality music for today’s game is slowly approaching that of film music. The sound of video games are marketed alongside the music of film, and are played in concert, especially in Japan. Thus, many composers like Nobuo Uematsu and Koji Kondo have made a name. What would be a video game without a suitable music to add the magic and emotion to the player. Indeed, without a melody enwrapping could not immerse themselves in our videogame universe. It allows us to feel a little more tension in a dramatic scene. Of course, this means better during cutscenes where composers can to their hearts delight. The fact that we also make use of big names in the music world again demonstrates the importance that development studios paying more and more in this medium. I’ll try to share with you my favorite music.
Castlevania was one of the first games to give the music the place it deserves. From the first episode was on the Famicom is impregnated with these compositions that installs an atmosphere that is both gothic and unhealthy. The music became epic from time to time, especially when fighting against bosses. We could discuss the footprint baroque in Super Castlevania IV, which creates an atmosphere alone. Found in different types of music created for Castlevania many episodes of a dark side, this being felt by the choice of instruments called “classic”, a rather slow pace and sounds very “sweet”. Composers who have followed the saga of symphonic writing have often been impregnating the game a scary atmosphere and melancholy at once, which is its charm at work.
Another heavyweight in terms of music in video games is Final Fantasy of course. More than just a game, they are real stories told that we live in and which bore the imprint is feeling all the emotions. Our common thread is that it has been marked by at least one episode ! For me this was the seventh episode. The enigmatic composer of the series is none other than the now famous Nobuo Uemastsu. The music of Final Fantasy is not just the OST (music games) from the games. One can enjoy on many CD rearrangements, piano concerto, philharmonic concerts which are all made to the building stones of Final Fantasy music, we can truly speak of a real cathedral ! For the last episode released Masashi Hamauzu is the resident composer for Final Fantasy XIII. This proves that the game is really a fully fledged media as well as cinema.
When discussing the series of Metal Gear Solid, a name is forever in the minds of all players, that of the man behind the game, the great Hideo Kojima. But since the second installment in the series since the advent of second-PSone-another name regularly comes just behind that of the famous designer. This name is the English composer Harry Gregson-Williams who has become for many the resident composer of the series, which is true, but only in part. Harry Gregson-Williams was surprised to have to work “blind”. In contrast to the composition to a film where he was speaking mostly an afterthought on a sequence filmed already known and his work on Metal Gear Solid 2 was mainly based on very brief indications provided by Hideo Kojima. Complete freedom of creation that highly pleased Harry Gregson-Williams. To help Harry Gregson-Williams team Hideo Kojima sent her many drawings, descriptions of scenes and background so he can have the best mental image of what he was trying to transcribe in music.
Konami may be the studio that gives the music a place in his games of choice. This is seen both in the adventure games for girls like Flower of Love Tokimeki Memorial or for boys as Hohoemi Photograph. But the studio is also famous for its many action games where the music takes a prominent place in supporting the rhythm or accelerating it. Shooting games created by the firm are also well known worldwide and are an opportunity to hear the melodies memorable and invigorating. Konami has even released compilations to celebrate the past decade, alongside the players. We could not ignore that Konami is also known for his musical games requiring the most frequently used instruments to recreate as close to reality. This is the case of Pop’n Music.
Fighting games are not to be outdone acoustically speaking. Often relegated to mere claim at the beginning of the era videogame they spent this gear. Indeed, in the beginning they were used only as a simple sound effects when the blows or did not exist at all. The editors then taking aware of the importance of implementing the music to accentuate the drama of dueling virtual undertook to find talented composers to create it. This was the case for the series of King of Fighters, Tekken and Toshinden or for connoisseurs of course the precursor Virtua Fighter. For them the music created is an electric. It is also the case for shooting games. The studio Cave has a specialty in integrating in its shooter sounds techno and frenzied as in the famous series DoDonPachi or Mushihime Sama and don’t forget the little known but no less causing Ibara.