Jennifer Allen
By Jennifer Allen
Some years ago, I broached the subject of video games being considered art. I mentioned how they’ve dramatically changed over the years, and since that article was released many have grown to be even more intricate. I feel it’s only fitting to also mention that similar to film scores… a game’s soundtrack should act as a fitting accompaniment to their engaging stories, beloved characters, enjoyable mechanics, and breathtaking visuals.
For decades, video game music wasn’t highly regarded as anything other than background noise. Similar to early film scores, many composers looked upon game soundtracks as a side project or hobby. Yet the cultural and economic growth of this medium has proven to be so much more, to the point that some of these artists have since achieved iconic status due to their work on video game soundtracks.
We’ve come a long way from the signature beeps heard while tapping a small square back and forth across the screen in Pong. Even early Pinball machines only thought about attracting those with coins burning in their pockets by means of flashy lights and colorful displays. Yet that would change in 1978 by means of a 4-note progression which harks to a similar 2-note one from a certain summer blockbuster film about a shark released a few years prior.
Designer Tomohiro Nishikado created the musical theme for Space Invaders but due to a code fluke the notes would gradually speed up as descending aliens crept closer to the bottom. These increasingly heart-pounding thumps created a sense of urgency that would eventually help Invaders become one of the most iconic arcade games of all time.
Next came Japan’s Nintendo, who was the first gaming company to hire a full-time music composer. Koji Kondo would go on to create, among many others, two of the most beloved and familiar themes in gaming history with the main themes for Super Mario Bros. and The Legend of Zelda. Both of these have become so recognizable that even non-gamers will perk up just by hearing the first few notes.
Japan would continue to develop new game tracks which would, despite the limited hardware at the time, create these amazing pieces. Castlevania: Symphony of the Night, Silent Hill 2, Street Fighter II, Sonic: The Hedgehog, and Chrono Trigger among other games from the 1990’s included works which combined various genres of music… from rock to jazz to tribal drumbeats in order to create those perfect sounds as your tiny character spite travelled from map to map.
However, there was one composer who stood above the rest. Nobuo Uematsu, a self-taught composer and keyboardist, whom to date has created music for almost every Final Fantasy game since the first released in 1987. Some of his most memorable pieces appear in 6 (“The Dancing Mad” Suite), 7 (“One Winged Angel”), and 8 (“Liberi Fatali”). He’s often been called the “John Williams of the video game world” due to his diverse styles which range from baroque organ music to heavy metal. Simply put… without Uematsu, the medium would not be nearly as appreciated as it is today.
Other soundtracks would follow, but then in 2005 a little-known artist by the name of Christoper Tin was asked by his former college roommate to compose the main theme for Civilization IV. That became “Baba Yetu,” a choral Swahili version of “The Lord’s Prayer.” Beyond its widespread praise amongst the video game community, Tin’s composition also became the first video game song to win a Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s). He’s since composed other pieces in a plethora of languages with lyrics taken from diverse sources, including the Torah, Persian and Japanese poetry, and the Bhagavad Gita.
Video game music, like any other medium, is a continuously evolving artform, shifting from its original chiptune sound toward a more cinematic ambience. While “Baba Yaga” was not the first game track to step away from the limited electronic sound of previous decades, it was one of the first to gain a widespread audience. Since then, it’s been performed at concert halls across the globe and covered by an assortment of performers alike.
What’s most exciting about modern video game music is that our technology also keeps evolving, creating new possibilities for composers. Just like with more recent film scores, music for video games is typically influenced by current trends throughout the industry. Technology still remains an important part of musical innovation, and now game composers find themselves with much more freedom to create something truly unique.
An example of such a unique achievement is the soundtrack for the 2012 game Journey, composed by Austin Wintory. He initially sustained his career by doing the occasional filler piece for TV shows and film projects in the 2000 and 2010s. While he’d dabbled in game soundtracks before, Journey (similar to its predecessors Flow & Flower) was unique in that the game contains neither dialogue nor direct combat. The music shifts dynamically in cohesion with the visuals… building on a central cello theme to represent the game’s emotional arc as your tiny, robed character travels across a vast desert towards a mountain in the distance. I should note that Journey’s soundtrack was also nominated for a Grammy, and this would only be the first of Wintory’s composition accolades.
These are only a few examples of how the gaming world has been blessed with an array of talented composers and songwriters. Their talent and imagination have sparked pieces which would rival those of major film scores. While many of these artists may not be as well-known as someone like say… Hans Zimmer (whom ironically has recently added game music to his body of work) their compositions are no less impressive.
If you have a chance to browse Spotify, Apple Music, or YouTube, you will find a section specifically dedicated to game soundtracks. Don’t be afraid to give a few of them a listen, as you may very well be surprised at how a few simple songs, musical motifs, and pieces of theme music have left a lasting impact on gamers.
Now I must go play Journey again… as every time I hear that first cello solo, my heart swells with joy as I prepare for yet another uplifting experience.
Jennifer Allen works at Saathee and is also a Podcaster, Blogger, Photographer, Graphic Artist, Gamer, Martial Arts Practitioner, and all around Pop Culture Geek. You can reach her at saathee@saathee.com
