The Reciprocal Influence of Game Music

I was browsing the new releases of the Ant-Zen catalogue when I noticed that Iszoloscope has a new release. What caught me is the description:

this music is the perfect soundtrack for console games like ‘silent hill’ or ‘project eden’. faussurier’s addiction to video games seems to be the impetus for creating these moods.

That’s not the only such reference. Discog’s bio for Iszoloscope says:

Faussurier found his place on the vast musical continuum through videogames, of all things. A fervent gamer, he says he derived a lot of his esthetic direction from games like Doom, Nocturne and Unreal Tournament and a sci-fi shooter called R-Type, all of which combine moody action and eerie soundtracks.

And along with Tarmvred’s Viva 6581, which is his 44KHz homage to the MOS6581, the soundchip at the core of the Commodore 64 and the dearly loved Sidstation, I realized that some sort of mainstream threshold was crossed. Maybe a long time ago.

Yes, there are arranged albums and cover bands and chip-tunes, and it is a big business in Japan, but now that gaming influence is spreading outside of the confines of its niche. Granted, it is doing so by going into another niche (Iszoloscope and Tarmvred, cool as they are, can’t be called “mainstream” artists,) but it’s a step and another sign pointing to the emergence of the video game generation (gratuitous eboy link).

Which is good, because the sooner that generation comes to power the sooner we can completely ignore stupid FUD like this. Yes, Jack Thompson’s name appears in that article. SURPRISED!? The key quote is game opponents — many of whom admit they don’t play video games.

PS. Nice summary of The Wind Waker:

“The Legend of Zelda: The Wind Waker,” a Nintendo Co. tale featuring a kid in a green outfit who travels by talking boat and pals around with an excitable fairy named Tingle.

Modal image