GR Showdown: Have Video Game Soundtracks Gotten Worse?
Posted on Friday, April 5 @ 19:00:00 PST by GR_Staff
GR Showdown pits the Game Revolution staff against each other in a passionate debate on a particular hot-button gaming topic. Our self-imposed rules? There is no middle ground—all must take a side. All debates will have an equal number of representative on both sides: either 1-on-1 or 2-on-2 . And all our arguments must be made in 350 words or fewer; 500 or fewer, if it's 1-on-1. Which side are YOU on?
This Week's Topic: Have video game soundtracks gotten worse over the last console generation?
Daniel - NO: Sure, I think it's fair to say that many triple-A games have largely abandoned the inventive, alternative tracks gamers come to know and love and live and die (in-game) by. Battlefield 3's most memorable track is from Battlefield 2, Assassin's Creed III abandoned the stylings of Jesper Kid in favor of tugging at those 'Merica-branded heartstrings, and licensed tracks have continued to encroach on the territory normally reserved for bits and beeps.
But in arguing that the modern console generation has not provided a welcome environment for awesome game soundtracks, you also argue that it has. I don't think anyone defines the modern console generation by just AAA shooters. Journey, Fez, Lost Odyssey—all of these games exist alongside the BWAAAAA popularized by Hanz Zimmer and Call of Duty.
That means the modern console generation continues to play host to awesome game soundtracks, but maybe not as many as your nostalgia glasses catch in the rearview mirror. What's more, I don't think licensed tracks hurt a game if it's done in the right way. Fallout 3 and Grand Theft Auto IV come to mind, but even Bioshock Infinite had some incredible licensed tracks (with a little twisting and turning to fit the setting).
I mean, when a movie soundtrack features licensed tracks (but still does an awesome job of it), do we say the soundtrack sucks? No. It just adds another layer to our memory of a certain track. The fact that games can provide a better time and place for certain tracks furthers the point that games and licensed tracks can be friends, even if you think picking one perfect song out of millions of possiblities is still "phoning it in."
The biggest games, the ones with thousands of people working behind the scenes to ensure that X company sells Y million copies on day one, the games that have been chiseled and washed until they're so palatable to so many people... sure, those soundtracks suck, but it's not fair to throw the many babies this generation has given us out with the bathwater.
Portal 2 sticks out in my mind as one of the best soundtracks ever, not just within this console generation. I love the preprogrammed beeps and bloops, and even more I love the way modern technology and programming allows the music to accelerate or change according to the action on screen.
Soundtracks these days have to be 10 times as varied and deep and long as classic gaming soundtracks. They're procedurally generated, they're fully orchestrated, they're reactive auditory experiences. Not every retro-soundtrack is a winner either.
OK, can we stop fighting and just listen to the Persona 4 soundtrack together?
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