It’s been a year now since I started this series with Bastion so let’s celebrate with the greatest piece of video game music ever written. If the whacking great big banner up there didn’t give you a clue and you skipped the title completely, I am of course talking about Tetris.
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Readers with good memories will remember that I’ve mentioned Jeremy Parish’s excellent “Anatomy of a Game” series before, and well-read readers with good taste will already know about it. For the rest of you, I’m talking about a set of analyses of games in which the level design, mechanics and direction inform gameplay and teach the player in a time before tutorials. Not some weird fanfiction about the actual, you know, anatomy of the little guy himself.
Parish’s latest run is on the original Megaman and I’m mentioning it here because he raises a very interesting point, one that I’d never considered before.
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I haven’t played a Zelda game since The Adventure of Link back in the NES days, so when @samhogy pointed me towards the Majora’s Mask soundtrack, I was intrigued to see how things had changed over the years.
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After the Spectrum came the NES (or Nintendo Entertainment System for those who really enjoy syllables), a revolution that brought gaming out of arcades and into the living room. With it came a generational leap in audio quality, a series of truly iconic soundtracks and, for the first time, composers who would go on to become infamous.
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