Kenley Kristofferson

Composer.

Tag: VGM

VGM Wednesday – “Demise of the Ritual” from Shadow of the Colossus

“Demise of the Ritual” from Shadow of the Colossus, by Ko Otani

Shadow of the Colossus is one of those games that I never, ever thought I would beat.  I don’t know why, but I had this fear of it, like I wasn’t very good or something.  I knew a ton of people who’d beaten it, but I never thought I’d be one of them…

… until one day I was.

I picked up the Ico/SOTC Remaster for PS3 and started playing it, getting to the third colossus and being unable to make the jump on the platform.  For those who’ve played, it’s this one:

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Ugh, so hard, except it’s not.  Once I learned the back jump control (R2 + looking back + triangle), it wasn’t hard at all.  I just didn’t understand the controls, which I needed to learn.  The game gave me a situation where I needed to figure it out so I could use it later on, which is just good game design.  Once I got it, I got it for the rest of the game.

Then I fought the colossus and fell into my old traps of thinking I couldn’t do it and that I wasn’t good enough to beat him.  How was I supposed to beat this game if I’m stuck on the third boss? There are thirteen more after this! So I kept running, falling off, and eventually dying.

But each time I died, I did a little better each time.  This is a concept that comes up in our classroom a lot: Failing better.  Every time I died, I was further along than I was before, and on the fourth round, I beat him and there was much rejoicing.  Then I fought the fourth one and beat it the first time, and the same with the fifth.  I was getting better.  I could do this.  As we say in the band room, when you change the way you look at things, the things you look at change.

I still died at times as the game progressed, but I was dying less and less and getting better at figuring the puzzle of beating each colossus.  The game got a lot more fun once I overcame my self-sabotage.  If I reframed my perception and my approach, the game (or, at least, the playing of it) was entirely different experience.  It was fun.  It was exhilarating.  There many times where Wander was literally holding on for dear life and I was right there with him.

Before I knew it, I was at the sixteenth and final colossus.  I had reached the end of a game I never thought I’d finish.

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That’s where the music comes in.   Ko Otani’s score is absolutely gripping and I would finally hear “Demise of the Ritual” in the game environment.  A lot of the battle themes are moved around and reused, but not this one.  This one only happens during the last colossus and, in the spirit of honesty, I never thought I’d hear it while I was playing.

And hear it I did.  By the end of the nearly two-hour battle, I was humming all of the inside parts and singing some of the beautiful English Horn writing whenever it came up.  It’s a humbling experience to die five times on the final boss then win after hours of fighting, but I was failing better each time.  On my third attempt, I hadn’t even reached him yet and had no idea how to proceed.  It was one of those experiences where you just have no idea how you’ll ever succeed, where you collapse before you’re even close to the finish line.  And we’ve all been there, right? I’M SO TIRED AND IT’S ONLY TUESDAY!

But then you keep going.  You assess where you went wrong and what alternate solutions are.  You keep doing what you did right and changing what you did wrong.  If you don’t do something exactly correct, you practice until you get it, and that’s where video games shine:

If you can’t do it, you can’t move on.  There are no pity passes or half-marks, it’s pass/fail and that’s it*

In the end, I did it.  It was a gripping feeling to finally beat a game I didn’t think I could ever finish.  As weird as it sounds, sometimes I feel like a fraud or a phony for not beating games in the core repertoire.  Granted, there’s an argument that the need to finish games isn’t entirely necessary to experience them, but I try to finish things that I start.  I haven’t beaten Ocarina of Time yet, which is embarrassing, but I felt the same with it that I did with SOTC: I just can’t do it…

…except that I can, and taking down SOTC showed me that.  So  I guess I’d better get on that!

-K

PS: (I’m going to try to create some content again because that’s important)

* Mostly, not every single game has pass/fail, like that ridiculous option to skip parts you can’t beat in L.A. Noire, which is garbage.

Sabbatical Roundup – Highlights

Today is the last day of my sabbatical.  Who would’ve thought 150 days would blow by so quickly?

It’s been a very productive five months, though, and I thought that I’d share some of my favourite events and projects from my sabbatical time.

1) Premiering Morgun with the Winnipeg Symphony Orchestra

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There is something very surreal about getting to work with some of the best musicians in your community.  Writing something for the WSO has always been something of an unattainable goal in my musical life.  I always sensed that they were on a different level than I am (and they really are), but a select few people with the right connections took a risk on me and, before I knew it, I had the commission – paid for and all.

While the premiere was amazing, I’ll never forget the moment that they started rehearsing it.  Both the conductor and the ensemble were in plain clothes and only Matthew Patton (composer and curator of the Winnipeg New Music Festival, which all of you should attend), Peter Johnson (editor of the Lögberg Heimskringla newspaper), Vikingur Ólafsson (the amazing Icelandic pianist with whom I had the privilege of sharing the concert) and I were in the hall.  When the strings started stacking the harmony through those opening measures, there was a feeling of awe and beauty like I’ve never felt before.

I’ll write more about the experience later on because there’s just so much to say.  It is quite surprising where music takes you.  Here are some pictures from the premiere!

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2) Meeting Maddy’s Mom

During the summer, I was asked to write a piece to commemorate the life of Madison Fleming, a 10th-grader from Olds, AB who had died suddenly just after school had been dismissed for the summer.  While the research was emotional, I was hardly prepared to walk into this girl’s home and sit with her Mom, Pam.

I wrote about the experience in Olds in an earlier post, but I didn’t write about meeting Pam – I’m not sure why, I just didn’t.  Her house was beautiful and well-kept and she greeted us at the door.  She had a friend with her and they were clearly talking about Maddy before Karri (the band teacher and commissioner) and I arrived, but she still smiled as she led us inside.

While looking at pictures and hearing stories, it was clear that the family was so happy and fulfilled before Maddy died.  While she was a fighter, she had her whole family behind her and they cherished every moment.  When you see pictures of the family at the lake or at her baseball game, there was a sense that no time was ever wasted, but instead was genuinely spent together.

Pam is a profoundly kind person and you know as soon as you see her.  She just brings an energy of warmth wherever she goes and I think about her family often.  It is quite surprising where music takes you.  #Kindnessmatters

3) Banff!

It took me a few weeks to really realize how transformative my time at the Banff Centre really was.  I worked so hard, I was exhausted, I was bitchy in the middle of it, but it was so worth it.  I met some incredible human beings, some wonderful musicians, and I got to work full-time on music for an ensemble for which I’d never written before.

Some of the people I got to meet:

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Sammy, Kelsey, Abby and Neil

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These lovely ladies, Kelsey and Jodi

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Here’s Abby, Jodi and Kenna, as well as Team Australia (Jessica and Xina, who are some of my very favourites)

And so many others too! Including the wonderful Sarah Slean, who is also one of my very, very favourite human beings.

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And here’s where we were…

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4) The Release of Horus Heresy: Drop Assault

I’ve worked on very few contracts/commissions that actually scare me – DuckTales: Scrooge’s Loot, The Matters of Kindness – but Drop Assault was definitely one of them.

I play Dungeons & Dragons with someone who is very serious about the Warhammer 40K universe, but particularly the Horus Heresy origin story of it.  When I found out that Complex Games had gotten the rights to make a game set in that universe, I was hoping that I could write for it and, thankfully, I was the guy.

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The advance for the contract was almost-entirely spent on upgrading my instrument libraries.  I knew that what I had wasn’t good enough for a game of that scope and depth, so I took inventory of what I needed and went up from there.

That being said, I’m super proud of the game and I’m quite pleased with the score.  We worked really hard on it and it took many resubmissions to get it right, but we definitely got it.  You can pick it up here if you want to check it out!

5) Finishing the “Icelandic Folk Song Suite”

It was the hardest thing I ever wrote – and by “hardest,” I mean the most technically complicated and harmonically complex.  It’s Level 5 (second hardest level in Concert Band music), four movements and eleven minutes long.  I had it kicking around in my head for about a year, but I knew that I had to get it down, I just needed the time…

And it took about six solid months.  Granted, I didn’t work on it every day, but it was always there writing itself in my head as I was doing other things.

It premieres on May 4th, 2015 by the Winnipeg Wind Ensemble.  Going to be a wild good time!

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There is so much more I could write about (getting published in The Teacher, for example), but there’s something to be said for just having the time and energy to do things right.  Not to be rushed to finish a commission or a game contract, but just having the time to make it as great as it can be.

I am so grateful to my school and school division for allowing me to take one semester to write.

Now back to the classroom 🙂

-K

 

Horus Heresy: Drop Assault Released!

Long live the emperor, Drop Assault is released for iOS today.  You can pick it up here.

horusheresyiconPut together by the teams at Complex Games and Crooz, this Clash-of-Clans-style mobile game has been such a great experience for me.  I’ve always wanted to work on a dark and gritty game with an epic orchestral score and I finally got to do it with this game.

And what a game it is.  The controls are tight, there’s so much care and detail in the environment and so much attention to the Warhammer 40,000 lore.  The graphics are really clean (but certainly not lacking in detail) and the animations are really smooth.  There are no rough edges anywhere in the experience.

Here’s the trailer, to get you started:

Musically, it was a really big job, even though it was only 8 minutes or so. Because of the grandness of the universe, the score demanded a breadth that I don’t think is found in most mobile games.  That’s not to say that it sounds as grand as film music, which I like on its own, but this score still needed to feel like it was for a game and I tried to keep that at the front of my mind and the edge of my pencil.  Movie universes are nice, but there’s a depth that’s lost because of the forced progression of the narrative and scene structure – you can’t just hang out in a movie scene like you can in a game.  The music of Drop Assault still has the structure and design of a game soundtrack and that’s super important to me.

The music is mostly orchestral, but featuring extended percussion like a tom ensemble, taiko drums, shakers or tam and gong.  Because the universe is so mechanical, I had the urge to put chains and gears in it, but I thought it might be overkill with the SFX (which are awesome, btw).  In many of the big pieces, the low strings drive the ostinato, so finding the right string ensemble was key.  The one that I ended up using has 24 sampled celli and 8 sampled double basses, which is about two-to-three times a normal orchestral low string section.  That’s not to say that there still isn’t ample non-string writing – there’s a lot of epic brass and moving woodwind lines too.  This game is one of those few times where I really wanted to use every spice in the spice rack.

I talk about the music further in this developer diary entry from Complex Games:

I’m really proud of this game (and its music, to be honest) and I hope that you all pick it up and give it a go!

-K

Sabbatical Week 2 Roundup!

Another big week on the sabbatical:

Seeing as I got to the end of Movement IV of the Icelandic Folk Song Suite, I spent most of my work on this patching up holes in the music.  I worked the transitions a lot and figured out how they’re going to work, patching up the last one just tonight (which is still a bit of a mess).

I’m definitely at the last 10% of the piece, which is often the most time-consuming.  I’ve had this piece in my head for so long that, for much of it, I couldn’t get it down fast enough.  I knew exactly where everything was going to go and how it was going to fit – well, most of it anyway.  Now it’s the real nitty gritty.

Here’s what else transpired this week:

– I also got down some earlier choral sketches, but I’m not sure if I’m going to keep them.  I like them, but we’ll see where it goes.

– Anticipating the WSO‘s Nordic Festival, Peter Johnson from the Lögberg-Heimskringla wrote an article about me and my musical development.  It was centred around high school band, video games, and how I learned to write music.  I’m really pleased with it and I hope that you pick up a paper to read it!

– I started some upcoming video game work, but nothing new to show.  In fact, I don’t even think I can show it anyway.

– I had to rewrite some Drop Assault music because it didn’t pass the top rung of the ladder with the head company and the timeline was super tight, so Tuesday was a 15-hour day and impeded some progress on the following days.  Clearly, I am not 18 anymore and can’t work like I used to.

– Speaking of Drop Assault, I’m doing a development diary for the music that I wrapped up this week.  There will be some video, an interview portion, and a supplementary blog post on the “Combat” music.  It should be up reasonably soon.

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– And this is one of the most important ones: I put together the event for the Morgun premiere with the WSO.  It’s going to be spectacular.  If you’d like to come, all of the details are on the event page:

https://www.facebook.com/events/754205461293112/

That’s it for this week!
-K

When the spark catches…

So, I worked on this game called DuckTales: Scrooge’s Loot that was made by Complex Games and published by Disney.  My last post was about it and, now that the game is out, it’s starting to make some waves.

I’ve been following online magazines like Destructoid and Touch Arcade for a long time and today I saw DTSL on both of those this afternoon.  Then on Gamezebo and through YouTube videos.  There’s been so much hub-bub about DuckTales: Remastered that this game has really caught some of the mags off guard.  And really, how many people are expecting a third-person, team-based DuckTales shooter? 🙂

Very cool.

Very.  Very.  Cool.

(It would be even cooler if they mentioned the music :P)

VGM Ed Mondnesday – “Dying Over and Over Repeatedly” or “Why Super Meat Boy Makes Students Into More Successful Human Beings”

Once upon a time, console platformers (Super Mario Bros., Sonic the Hedgehog, Wonder Boy, etc.) gave the player three lives to beat the level.  In the case of Super Mario Bros., you got three lives to beat the whole game.  You may be thinking “but you’ve got 1ups!” and yes, that’s true, but allow me to pull you into a stressful part of your past…

You (as Mario) are standing on a platform with a particularly treacherous jump.  There are hammer brothers and a smattering of koopa troopas that pass juuuuuuust at the time you need to jump.  Your heart races.  Your getting warm and your face is flushed.  Your breathing accelerates and one thought cuts into your consciousness:

I don’t know if I can make it and I only have three lives.

Then you jump… and you don’t make it.

You wasted one of your lives because you made a mistake, now you only have two lives left! You can’t get that life back!

However, you need to try again… and you die.  One life left.

In a last ditch effort to beat the level and continue forward to the game’s conclusion.  You attempt the terrifying jump… and you die.

Then you see it, what you’ve been dreading all along: GAME OVER.

Life message: You tried and you just weren’t good enough.

Let me present another scenario.  You see an amazing power-up at the top of the screen in an underwater level, but it’s being patrolled by cheep-cheeps and those squidy guys.  You mull it over in your head for a while, then remember that you only have three lives and you can’t risk it.

Life message: The best things in life have risk attached and, if you want to get to the end, it’s best not to go for them.

Now, I’m no educational psychologist or sociologist, but those sound like pretty bad messages to send to kids.   I know that there are no game designers laughing maniacally in some Japanese lab, trying to crush the dreams of schoolchildren, but the messages stand.  This is the plight of older console games, especially the ones at the nexus of limited lives and extreme difficulty.

Strangely, that nexus resonated with one of the game designers of Super Meat Boy.  In Indie Game: The Movie, Tommy Refenes talks about his love of hard games, especially older console games.  I say “strangely” because there is one real difference between Super Meat Boy and platformers across all gaming generations:

The player has unlimited lives.  It’s not even a cheat code, it’s a legitimate part of the game design.

The game is also punishingly difficult, and notoriously so.  And, as a player, it’s okay that the game is hard because I get an unlimited number of lives in order to achieve my goal.

Life message #1: You can always try again.

Furthermore, every level has an ending that’s really achievable and many people have done it.  That doesn’t mean that it’s not hard, it means that success is possible for every player and, as said above, you can always try again.

Life message #2: It’s hard, but you can do it.

Life message #3: You can achieve the success that other people have also achieved.  They are not special or better than you, they just put in the work and time it takes to be successful.

Because you have infinite lives, the player isn’t afraid to take risks because you can always try again.  There are no consequences for failure.  In fact, the respawn time after you die is almost immediate.  Imagine if, every time you failed, you immediately picked yourself up and tried something new?

Life message #4: In order to succeed, two of the most important qualities you must develop are persistency and resiliency.

The game requires you to take risks in order to find the solution because it’s often not where you expect, or it demands a certain level of ability.  If you have it, you’ll beat the level and continue to one more difficult; if you don’t, then you’ll die a whole bunch of times until you finally achieve the dexterity and finesse you need to win.

Life message #5: Practice makes perfect.

Life message #6: No risk, no return.

The amazing thing about Super Meat Boy is that it not only demands risk, it also demands failure.  You need to fall down sometimes.  You may jump into a wall full of needles when practicing your jump timing.  Then you die and respawn immediately, before you get the chance to wallow in your own failure.  In fact, it often achieves the opposite effect: You get inspired to win.  By the time you’ve actually realized that you died, you’re already back at the start, ready to start again.

Life message #7: Allow failure to be motivating, instead of demoralizing.  If you don’t find it motivating, see Life messages 1-6.

Beating a level in Super Meat Boy is so rewarding because it’s just so damn hard.  Before we move on, let’s address how awesome that feels.

Life message #8: If you want a feeling of genuine success, find a genuine challenge and overcome it by being persistent and resilient.

It feels amazing because of a wonderful combination of personal risk, failure, persistance, resiliency, and finally victory.  After you beat the level, the designers put in a replay where you get to watch every round that you played on that level at the same time.  So you watch your ten or twenty or thirty or forty Meat Boys at the same time jumping, racing, running and dying.

All except one.  That Meat Boy makes it to the end and succeeds.  That’s you 🙂

There is no consequence for dying; in fact, it’s celebrated.

Watch an example of the bone-crushing difficulty of Super Meat Boy, at least from the opening to 4:15.  The re-run happens at 4:00, but it’s important to watch this player fail for four minutes straight.  He must fail thirty times.  Then watch him get back up and try something new.  Watch him keep going.  Watch him being resilient.  Watch him being persistent.

Now imagine if we all did that in our own lives.  Imagine if we picked ourselves up every time we fell down.  Imagine if we didn’t internalize failure and just treated it as something that happens whenever we start something new.  Imagine that failure was not only expected, but celebrated as risk taking.  Imagine taking a risk that was meaningful to you.  Imagine going all in on everything important to you.

What if we failed, got up, and tried something different every time?

What if you learned that at 16 years old?

Imagine how different your life could be.  If that makes you emotional, let it.  If you are a teenager/young adult, take that to heart and go for it.  If you’re older than that, it’s not too late.  It’s never too late.

The best time to plant a tree is 20 years ago; the next best time is now. 🙂

Cheers,
Kenley

VGM Wednesday – “Fiddler’s Green” from Uncharted Waters, Special Edition

“Fiddler’s Green” from Uncharted Waters: New Horizons, by Yoko Kanno
Arrangement from the album “Uncharted Waters: Special Edition”.

I write this from the seafaring island of Cape Breton on the Canadian eastern shore.  My wife and I are on our honeymoon until the end of the month and we’ve been spending our two weeks here frolicking through the long grass, eating seafood, touring the rolling hills and valleys and listening to some killer East Coast fiddle music in pubs throughout the island.  Life is good 🙂

The fiddle is a really big deal here on the island, it’s as though everyone plays it and knows all of the tunes.  I know that’s not really true, but when you go to a jam session and there are six fiddlers getting in the circle, calling out tunes and shredding up a storm, it sure seems like it.  It’s culture in the truest sense.  It’s not manufactured for tourists and there aren’t parties planned to make a summer schedule, it’s simply what the people do and we get to be part of it.

For this week’s VGM Wednesday, I decided to pick a fiddle tune from a reasonably obscure game.  I’ve presented another tune from this game called “Close to Home” a few months back, but in keeping with the spirit of “VGM-inspired tunes” this August, I chose an arrangement.

The arrangement album, “Uncharted Waters: Special Edition,” is really the definitive way to listen to this soundtrack.  The OST feels limited in what the SNES and Genesis/Megadrive can do, but this disc is a real tour-de-force of the music that exists inside the score.

It maintains the head of the tune with fiddle and guitar, then goes into the feel of a jazz-feel solo section.  The violin and guitar call-and-response harkens back to the time of Django Reinhardt and Stephane Grappelli and it’s really fitting for the pub feel of the tune (which is where the music plays in the game).

At 2:31, the guitarist sounds like he’s quoting “Jingle Bells” (though, of course, he’s not) and plays the wrong third of the chord and it drives me bananas every time.

Anyway, enjoy!
Kenley

PS: The photo in the picture is from a jam session at the Red Shoe Pub in Mabou, NS, which is on the island and about a 30 minute drive from our cottage.

VGM Wednesday – “Forever Rachel” Transcription for Live Instruments

“Forever Rachel” from Final Fantasy VI, by Nobuo Uematsu
Transcribed for live instruments by Eiko Ishiwata.

I’ve really been trying to limit my posting of Final Fantasy music since starting this blog.  Even though I have so much history with the franchise and I know this music better than any other VGM game or series, there is so much great game music out there and I want to explore as much of it as I can – both old and new.

There are so many Final Fantasy remixes and arrangements out there.  That being said, there are very few transcriptions.

What’s the difference?

An arrangement is the setting of pre-existing musical material and changing it to fit a new style, form, or ensemble.  Any remix that you’ve heard is, almost certainly, an arrangement of some kind.  A transcription uses the precise source material (with no edits or changes) and presents it as is.

That sounds like it’s just the song, though.  Well, it is, but not always in the way that you expect.

Eiko Ishiwata has transcribed “Forever Rachel” and had it performed, note for note, by the same instruments that Uematsu used in his score.  The difference lies in the character of the sound, not the notes on the page.

I have to digress for a moment here, because if you didn’t grow up in the 8- and 16-bit era of video games, you and I may interpret synthesized instruments differently (or maybe not, right?).  When I hear music from the SNES or Genesis/Megadrive, there’s a part in my head that’s already converting the flute synth to real flute, or the string synth to a real orchestral string section.  But, there’s another simultaneous part that’s appreciating the tone colour for what it is and just welcoming the 90s SNES sound into my head.  The two parts of the brain are working in tandem.  It’s a very strange sensation, but I’d be interested to see how others listen to VGM from that era.  Feel free to tell me in the comments section 🙂

Anyway! This transcription is what I’ve been hearing in my head since I was ten years old, so I’m happy that someone made it happen.

If you’re unsure of what the theme means (especially to the arrogant treasure hunter, Locke), the Final Fantasy Wikia article describes the tale and is dripping in spoilers.

The player is introduced to Rachel as Locke’s girlfriend from Kohlingen. One day, Locke took Rachel to Mt. Kolts, supposedly looking for what would become her engagement ring. Upon crossing a rickety bridge, it began to collapse with Locke on it, before Rachel pushed him out of the way just in time. In doing so Rachel took the fall for him. Locke saved her and brought her back to Kohlingen, but due to the fall, she had lost her memory. Her father blamed it on Locke, and he kicked him out of their house.

Rachel agreed to her father’s decision because she had no memory of Locke, and only saw him as someone who was upsetting her parents. The residents of Kohlingen were also angry at him, leading him to leave the town. Rachel was killed one year later in a raid by the Empire, but her memory was also restored right before her death. Her last words were: “If a man called Locke should ever return, please tell him that I love him”.

Locke eventually heard about the attack, and came back to Kohlingen only to find he was too late. Determined to do something for her, he took her to an herbologist living in Kohlingen, who preserved her body in its youthful state using herbs. After that, Locke searched for a way to bring her back to life. His feelings of guilt continued to haunt him, causing him to try to protect every woman he came across in need. He searched far and wide for a way, but he does not find it until the world is destroyed. He hears of the legendary esper, Phoenix, that can revive the dead.

He immediately goes searching for it, and finds it right when the player party shows up. When he gets to Kohlingen, he uses the Phoenix esper on Rachel, but the cracked magicite shard could only revive her for a few moments. She helps Locke overcome his guilt, tells him to “give his love to the one who now dwells in his heart” and dies again but not before her spirit merges with the Phoenix magicite and restores the magicite to it’s original splendor. Thus allowing Locke to finally make peace with his torrid past.

Ah, young love.

Have a great week!
Kenley

VGM Wednesday – Aurora (Meet Me in the Stars) by Anamanaguchi

“Aurora (Meet Me in the Stars” from Summer Singles 2010, by Anamanaguchi.

I want to do something different with VGM Wednesday this month.

Instead of finding tunes from games, I want to flip that expression around and find game-inspired tunes.  That could mean a lot of things and over the next five weeks, it will 🙂

The first is from the fabulous 8-bit band, Anamanaguchi.  Their music is all original and has the feel of classic gaming, but with modern harmony and parts/riffs that would normally push any 2A03 to the limit.

The piece is called “Aurora (Meet Me in the Stars)” and, having written and re-written this description several times, I still have a hard time putting down my thoughts.  I love it – that’s it.  Maybe you will too.  You can hear all of their music on their Soundcloud… all of it 😐 One of my other favourites is “My Skateboard Will Go On,” and it makes me want to high five everyone everywhere.  SO GOOD.

I love this band and bought their albums, I recommend you do the same.

(and by “buy,” I mean with money and not download them illegally. They’re indie, so support them).

Clear skies, everyone!
Kenley

VGM Wednesday – The Wedding Edition

“The Merry Mary Bell Rings” from Super Mario RPG: Legend of the Seven Stars, by Yoko Shimamura, and released in 1996.

Well, tomorrow is the day!

Tomorrow, I will be married 🙂

It seems only fitting that today’s VGM Wednesday reflects this exciting 48 hours because that’s what video games do, don’t they? They resonate with us at the common times of the games and our lives.  Whether it’s the mastery of our surroundings in Portal, the adventure-seeking in Skyrim, or the celebration of love in Final Fantasy IV (during Cecil and Rosa’s wedding, of course, as this is the wedding edition).  We empathize with the game elements that we crave in our lives, at least where narrative is concerned.

I recently beat the DS port of Final Fantasy IV and, while the battles were a bit cheap at times, the wedding between Cecil and Rosa at the end (spoiler) really resonated with me because I’m getting married right away! I wanted to high-five Cecil and wish him the best because we’re both going through the same thing and, as silly as it may sound, I was just so happy for him.

(also, Rosa is a total babe who is crazy in love with him, who wouldn’t want to high-five that scenario?)

It’s a strange feeling, this “getting married” thing.  Many people say that nothing changes in their relationship, while others say it was a transformative experience.  I can’t help but ask myself “I wonder what it’ll be like for me?”

Brenna and I have been dating for seven years – that’s a long time.  Thankfully, it doesn’t feel like it.  We live together and know each other pretty well, which I think has helped us plan the wedding.

(read: “…which has helped me help Brenna plan the wedding.”  She’s the mastermind and it’s going to be a crazy good time)

Anyway, I guess not knowing is part of the adventure, isn’t it? It’s that you have the adventure together.  I’m not nervous for the journey, just excited.  She’s the most amazing woman that I know 🙂

Okay, off to Marrymore to get married.  Valentina and Booster are first, though.  They reconciled their differences with Mario and have decided to be happy.

Until next time 🙂
Kenley

PS: All images from this post were taken from the awesome Destructoid post, “The Ten Best Video Game Weddings.”