sumthing else

Insider Blog

A little over a month ago, I began counting down my favorite games across the last generation of consoles. If you missed the last couple entries please: click here:

#2. Square-Enix, Eidos Montreal and Deus Ex: Human Revolution:

Have you ever been inside a bookstore and casually wondered WHAT exactly all the people around you might be reading? Kind of interesting, right? But it would be a fairly tedious and dangerous exercise to nudge each and every one on the shoulder to ask them about their favorite authors. Reading is a private exercise, not really meant to be done in public (but it is). Don’t worry, you’re in luck, because I know exactly what a significant portion of the mass literary audience prefers. Though my ad-libbed study is FAR from scientific, it’s part of what I do, and I see it everyday. I see it in the numbers. It has very little to do with the Fiction genre, History, Biographies, Nature, or Travel. It has everything to do with slogans and mantras.


Listen: Deus Ex: Human Revolution – Pangu, City Above The City

Have you heard of Joel Osteen? I wish I were Joel Osteen. Every time I see another one of his books in hardcover, I want to kick myself, then have somebody, anybody in close proximity, kick me again! Why couldn’t I have come up with that? I mean… I have good ideas. Osteen, however, beat everyone to all of them, and has continuously, effortlessly slapped the hardcover straight into paperback with easily dialed clichés like“ You Can, You Will”, “I Declare”, “Break Out” and “It’s Your Time” into print – LOTS and lots of print. I have to give him credit though, because at least his books are complete, which is more than I can say for the author Don Miguel Ruiz, who published “The Four Agreements”, then had a suspect hand in letting loose the “The Fifth Agreement” as if to say, “Oh wait, I forgot one!” You would be wary of any scraggly man on the street yelling at you some ridiculous notion like “Ask and it is given” …wouldn’t you? I don’t see the difference here.


Listen: Deus Ex: Human Revolution – Megan Intro

Actually, I have absolutely nothing against any of these authors at all. They provide a service for millions of people in that they illustrate ways to improve the self, barge past hurdles, renew hope etcetera, etcetera, etcetera. So what are people reading? Self-help, self-medication, self-renewal, and I don’t blame them. It’s getting BAD out there.


Listen: Deus Ex: Human Revolution – Penthouse

All this to get to my initial point: put those books down. Remember, I say this because I am concerned for you all. I LOVE my literature, but this sizable demographic, those afflicted with some form of depression, self-doubt, or a litany of disturbances… may I make a suggestion? Want something for the pain right now? Something immediate?  Play video games. More specifically, play Square Enix’s 2011 masterpiece Deus Ex: Human Revolution. Now, I will take that a step further and say, if you haven’t played Deus Ex: Human Revolution, then you can’t possibly be serious about getting help, and all these books you’ve purchased in the hopes of overcoming cycles of intermittent despair are actually serving as weights to hold you back. You’ve actually just created another rather large blockade on your path to sound and true wellness. So in this instance, I am advocating against the slower, more methodical burn of chapter upon chapter and workbook page upon role-playing activity, all of which were designed to take you out, layer by layer and bit by bit from your self-spun, self-initiated cocoon. This is not a time to mince words, nor a time to enable the behavior in question to continue. Deus Ex: HR will hold your hand in some manner, but realizes that things need to happen quickly, and that time is running out.


Listen: Deus Ex: Human Revolution – Wayne Hass

Deus Ex; HR brings with it a precise economy and wisdom to its sessions with you, as it cuts all costs through no applicable medications. It’s seen through all of the unscrupulous do-make-say-think greed, through every fatted panel of charlatan and witch doctor, and through all of whom are eager to pounce voraciously on your clouded, unstable vulnerability with hollow two-word creeds. While they might briefly address your problem, more than likely, theirs is a Band-Aid with an already weakened adhesive. These results need to be lasting. Are you familiar with Adam Jensen‘s dedicated 24-hour crisis hotline? Let me connect you.


Listen: Deus Ex: Human Revolution – Picus Funicular Combat

I will not rehash again what I’ve already told you about Deus Ex: Human Revolution. I’ve written tirelessly in this very space about and around the circumstances that encompassed some of my ongoing experiences with it, but if you want the short version, I will give it to you: It saved my life. While I can’t quite laugh about it now, I can speak genuinely to the merits of its attack/therapy/counseling mixture. A fragment of who I am today was shaped by this very title.


Listen: Deus Ex: Human Revolution – Exploration (Hard Fight)

Deus Ex: Human Revolution is one of the greatest landmarks in the seventh generation of video games, but it should be looked upon as more than just a piece of software; it should be viewed as something much more precious, something spiritual. It becomes part of you. With Deus Ex: Human Revolution, there is no before, after, or during, and you will never speak of it in the past tense. In this sense it is the truest form of therapy: one in which the dialogue is constantly changing and evolving years after the initial ordeal has taken place. Deus Ex: Human Revolution is completely self-aware. It is keen to your person, your weaknesses, and your triggers. It is here to help. Once you’ve spent a few weeks with it, gone back and forth and hashed out all the ugly because that‘s what you need, you will be transformed. I declare.

A very personal and heartfelt thanks and congratulations goes out to Square Enix, Eidos Montreal, and composer Michael McCann .

Don’t forget to pick up the official Deus Ex: Human Revolution soundtrack here.


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.


Rising star composer Sarah Schachner (Assassin’s Creed IV Black Flag, Far Cry 3, Lazarus) returns to Ubisoft’s flagship series Assassin’s Creed to score the combat, co-op and multiplayer music for this year’s most anticipated next-gen blockbuster title, Assassin’s Creed® Unity, a new epic adventure set within Paris during the French Revolution. The soundtrack is now available digitally through Ubisoft Music and will also be released on limited edition vinyl. 4 full-length tracks are available to preview on Soundcloud.

Schachner combines her dynamic talents as an accomplished multi-instrumentalist (violin, cello, guitar, mandolin, voice) and modular synth artist/programmer to create a unique classical soundscape infused with analog pulses. “The French revolution was an interesting time musically because it was at the beginning of the classical period but there was still some crossover from the baroque era,” explains Schachner. “The missions at Versailles, for instance, reflect more of the overly flourished baroque sound that the aristocracy was reluctant to let go of.”

Sarah Schachner’s action-driven score for Assassin’s Creed® Unity immerses players in the time period during which the action takes place but also reflects the game’s overarching modern sci-fi element. “The combat music in Unity needed to strike a balance between the methodical and calculated chamber sound of the era while also encompassing the passion and struggle that was at the center of the revolution,” continues Schachner. “As always with the franchise, the player is periodically reminded of the sci-fi modern Abstergo element with low gritty analog synth pulses weaving in and out of the classical soundscape.”

Sarah’s previous scoring credits include arranging and composing additional music for Brian Tyler on various cinematic projects such as Call of Duty: Modern Warfare 3, Far Cry 3, Now You See Me, Iron Man 3 and Assassin’s Creed IV Black Flag, which was nominated for a 2014 BAFTA Award for Best Original Music. Her upcoming projects include the Lionsgate horror thriller Lazarus produced by Jason Blum (Paranormal Activity, Insidious, Purge) and starring Olivia Wilde, Mark Duplass, Donald Glover, Evan Peters and Sarah Bolger. Lazarus premieres in US theaters January 2015.

Set in a once-magnificent Paris, Assassin’s Creed Unity plunges into the terror of the 1789 French Revolution and features the most dense and immersive Assassin’s Creed city ever created. Through the streets of Paris, the starving inhabitants are set to take up arms for freedom and equality. In this time of chaos and brutality, a young man named Arno, wounded by the loss of those he loved, sets on a deadly path of redemption. Arno’s pursuit throws him into the middle of a ruthless struggle for the fate of a nation, and transforms him into a true Master Assassin.

Assassin’s Creed® Unity is on November 11 in the US and on November 13 in Europe. For more information visit

This weekend in the Twin Cities (in St. Paul, technically), there’s a new game media convention called Gamer’s Rhapsody. I’m participating in two panels, although I think I’m most excited for performances by Dale North, Nerd Enhanced Sound, Disasterpeace and Jake Kaufman. Here are some reasons you should come if you’re in the neighborhood:

Saturday at noon, I’m sitting on a panel called “Hey Listen! Linking video game music to its classical roots”. Coolest part is, this one wasn’t even my idea. Tim Turi of Game Informer, along with the three brothers (two of whom are pictured in the link) of the Super Marcato Bros., hatched that plan. We’ll be talking about how classical music inspired composers from all walks of video game life, 8-bit era through modern game scores.


Later the same day, I get to have a panel conversation with Disasterpeace (Rich Vreeland, who wrote the soundtrack to Fez), and Jake Kaufman (Shovel Knight). I’m looking forward to this – I’m fascinated by the workings of the 8-bit composer’s mind. Even though Rich and Jake wrote Fez and Shovel Knight using similar sounds, these are two completely different soundtracks. Like BioShock’s orchestral score vs. Dead Space 2. Similar tools, different results.

If you live in the vicinity and want to be connected to the gaming community, this is the place to be. The International Game Developers Association Twin Cities chapter will be there. Several Twin Cities developers and studios, like Yellow Chord Audio, Big John Games and Thought Shelter Games will have tables there.

If you’re into remixing video game tracks, there are a couple must-see options: Dale North has a panel about what makes a remix great, and (trying to contain my glee) OC Remix is coming!

Saturday night is all about the music. Dale North, who is Destructoid’s editor in chief, recently finished a score for Dragon Fantasy Book II. He’s also a singer/songwriter and is doing a set Saturday evening.

Nerd Enhanced Sound is a local trio that normally goes by the name Orange Mighty Trio. These three fellas play covers of video game soundtracks from the old days, like Contra, Metroid, Duck Tales and Marble Madness. There’s plenty of Mario in there too. Piano, bass and violin makes for a great alternative to the originals!

Disasterpeace is doing a set – he’s also a singer/songwriter and I’m looking forward to hearing a different side of Rich’s musical brain. His Fez score was so intelligent and thoughtful – well planned, well constructed – I imagine his other music will do the same.


Purchase the Fez soundtrack right here!

Jake Kaufman is the only one I’ve never interviewed or met. That right there is reason enough to hear his set Saturday night at the end of a long day! I love his Shovel Knight score and can’t wait to hear more of his music.

If you’re in the Minneapolis/St. Paul area, I highly encourage you to come to Gamer’s Rhapsody. It’ll be an intimate group (it’s the first year, remember) so you’ll have plenty of opportunities to meet folks and ask questions, or show off your own creativity!

Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cat June Bug and loves gaming, with or without friends.

A little over a month ago, I began counting down my favorite games across the last generation of consoles. If you missed the last couple entries please: click here.

# 9. Ubisoft and the Assassin’s Creed series

Say what you will about the first Assassin’s Creed, its ad nauseam parade of derivative objectives, repetitive mission structure, and its dead-eyed, bloodless protagonist Altair – any of these may be chief among your complaints. I hear you. BUT. That’s not the reason so many left unsatisfied. No, no… it all came down to what was initially outlined, what was not so much promised, but alluded to, er promised. There were some rather large dice being tossed about Ubisoft’s conference room shuffleboard set, and even larger bets.


Watch: The first Assassin’s Creed Trailer

The trouble inherent with big promises is that they remain an elusive and seldom delivered ingredient within packaged games, and Assassin’s Creed’s trail of strewn letters to its many lovers all promised an affair like no other: exclusive, gorgeous, many the gifts and most importantly, hot and heavy. Assassin’s Creed’s first date, however, if you will, is more akin to a blind double date with dinner at a Wienerschnitzel, and a dingy, two- transfer bus ride to your love in waiting. It’s all on your dime though, because the man on your arm just skipped out on the bill. Promises, promises.


Watch: The Madness Of King George

What I realized though was that UbiSoft ran out of time, plain and simple, because the glimmers of what might and would be coming were nothing short of cosmic. So what if at its inception, corners were painstakingly cut? Despite that, from time to time, you could still glimpse that original manifesto, the pen and paper drawings, the pitch, the frequency: VISION. Working to establish a top-tier brand, something with its very own distinguishing mark and signature are bound to encounter some form of jetlag or layovers, and the first Assassin’s Creed has a pouch full of meal vouchers and has been downgraded to coach more times than even it can accurately account for. That being said, there is absolute euphoria in its purgatory, and it is to be had in large and regular doses spread evenly throughout that debut title. Those blinding glimmers, the flesh of those ideal, proud tenets that were promised to me, MADE me stick around. It didn’t take Ubisoft long to correct the mistakes of its first child as the second seed heralded the deliverance of the goods: Suddenly, Assassin’s Creed had become one of my most beloved, and unbeknownst to me, easily sustained fixations.


Listen: Assassin’s Creed 2 Soundtrack – Venice Rooftops

The thing is, when I initially committed to take part in the Assassin’s Creed consumerism, I had no idea that the games would become an annualized event, where every November I would be placed into a darker shade of coat belonging to yet another similarly dressed assassin. While I have some disdain for this practice (every sequel should have a few years between entries.), I found Assassin’s Creed’s successive slew of sequels via tired slogans like Brotherhood, Revelations, and now Unity, surprisingly served over the counter and without prescription. Because… things happen when you’re given too much of a good thing, and suddenly I found myself comatose in the intervening months leading up to the next chapter. I had become a willing, violent addict growing increasingly dependent on this drip feed of expensive collectors’ editions, and preposterous bizarro-world exposition. Where else would you find the deranged what-if madness of King George Washington colliding with the imperturbable pfft of a dead Tutankhamen’s sarcophagus? You have yet to play Ubisoft’s Assassin’s Creed: Cartel Imhotep, but you will. You won’t be alone either, I will be right there with you, struggling to find more room for which to place my new limited edition 1/6th scale Pharaoh Assassin statue. This really is just the beginning I hope, as I can’t wait till they start in with the acronyms.


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

This fall. This fall was gorgeous in Minneapolis/St. Paul. We had amazing weather – lots of sunshine, and we’ve experienced a slow, steady decline in temperatures (which will continue for weeks).

I’ve missed most of that nice weather, and I’m okay with that. I’m an agoraphobic introvert who’s really great at passing off as an extrovert. I feel this is more complicated than just existing as a straight-up introvert. Regardless, I stay inside a lot, and I play a lot of games.

This fall, I’ve had the opportunity to play several games I’ve been waiting for, like Middle Earth: Shadow of Mordor, Sunset Overdrive, Fantasia: Music Evolved, Borderlands: The Pre-Sequel and Sherlock Holmes: Crimes and Punishments.

Am I playing any of these wonderful games? I played them all for short periods and truly enjoyed each of them. But am I playing them? Of course not, because two other titles came out in the late summer/early fall: Destiny, and Diablo III: Reaper of Souls.

Those damn games are ruining my life. They’re ruining it for quite different reasons, and one could learn from the other, but seriously.

Let’s take D3 for instance. I’ve written about this game enough times in the past – it’s fair to say there are hundreds and hundreds of challenges and goals to work toward in D3. This keeps me interested amidst all the repetition that comes with the game. I always have something to try and achieve, and I’m constantly rewarded with better and better loot, which allows me to battle tougher and tougher monsters.


Legendaries everywhere…

I can trade with my friends. This keeps my friends interested. I can battle their enemies and win them prizes. We can play together without ever playing together.

The D3 crew knows how to keep me in front of their game. That game is a perfect case study in the “carrot in front of the nose” idea. They wave that carrot loud and proud.

Destiny, like Diablo III, comes with a lot of repetition and far, far less incentive. At most, Bungie gives me binoculars with which I can barely make out the carrot at the end of the infinitely long stick, waving in front of my nose, off in the distance, like a tiny fairy queen on a mini parade float.

Those who play Destiny are after loot. In that game, loot comes inside ‘engrams’, which unlock and become your prize. The best color engrams to find, of course, are purple or gold. Purple is called legendary loot in Destiny, and gold loot is called exotic. Every exotic item I have, I either bought or earned through a special mission (these special missions are granted at random). I’ve never received exotic loot as a random drop, nor have I ever received exotic loot from a raid (arguably, the most interesting gameplay in Destiny occurs in the raid – (the raid being one of the more innovative types of multiplayer I’ve personally encountered on a console).


…nary a drop.

I’ve had more luck with legendary weapon drops, but the legendary armor drops tend to be for a different class than I’ve chosen to play. So, for every few hundred green or blue drops, I’ll get one purple one, that might not even be of use to me, and I can’t trade it with a friend.

The other night, I realized I’d amassed an entire legendary set of armor for a Titan (class). So I made a Titan character. And this is the rub – once I have the Titan leveled up, I’ll have three characters to run through the raid each week, to run the daily mission each day, to run the weekly and nightfall strikes each week.

Three times. Everything three times. Repetition with the quite rare reward. It’s a lot to ask. It’s pretentious, in a way, to expect the consumer to grind so much for so little. Or is it? Sometimes, I just want a damn reward. There aren’t enough hours in the day or in a week to be properly rewarded from Destiny. What game takes up all of your time, and why? What keeps you playing? How do you personally feel about loot rewards in games? What are your experiences with repetition vs. rewards in games?

Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cat June Bug and loves gaming, with or without friends.


Iconic “Halo” video game OSTs 50% off on through January 2015!

Halo 2: 10th Anniversary Sale

Sumthing Else Music Works, the premier record label dedicated to video game soundtracks, celebrates the 10th anniversary of Halo 2 and upcoming Halo: The Master Chief Collection with a special sale on all the Halo original soundtracks. Commencing today and running through the end of January 2015, Sumthing’s entire catalog of the Halo original soundtracks, including both volumes of the classic Halo 2 soundtrack, are on sale for 50% off exclusively at

Widely considered to be among the greatest video game scores of all time, the best-selling Halo 2 Original Soundtrack was released in two volumes and features the iconic music of Martin O’Donnell and his writing partner Michael Salvatori, the composers behind the award-winning Halo: Combat Evolved Original Soundtrack (winner of Rolling Stone‘s Best Original Video Game Soundtrack Award). Halo 2 Original Soundtrack Volume One also includes the original compositions by Breaking Benjamin and Incubus as well as the signature guitar sounds of revered rock guitarist Steve Vai. The album was produced by Grammy® award-winning artist, musician, producer and Sumthing Else Music Works founder Nile Rodgers.

The following Halo soundtracks are on sale from

Halo: Combat Evolved Original Soundtrack
Halo 2 Original Soundtrack Volume One
Halo 2 Original Soundtrack Volume Two
Halo 3 Original Soundtrack
Halo 3: ODST Original Soundtrack
Halo Reach Original Soundtrack
Halo Legends Original Soundtrack
Halo Wars Original Soundtrack
Halo: Combat Evolved Anniversary Soundtrack

To start shopping visit:

A little over a month ago, I began counting down my favorite games across the last generation of consoles. If you missed the last couple entries please click here.

bayonetta 1

Watch: Bayonetta’s 2008 announcement trailer

#5 Platinum Games and Bayonetta – 

In the lead up to this week’s writing, I was busy scouring my shelves trying desperately to pick some lesser alternate candidate to crown in 5th place, my reasoning due to my reticence to place yet another Platinum games title onto this list. I fought it, but ultimately nothing stood above it without me hoisting said understudy onto my shoulders and coaching it with a nickel’s worth of borrowed, cheap athletic wear slogans. The number 5 slot on this list is goes to Bayonetta, and not some hastily assembled upstart puppet regime, which exists solely by the aid of my collarbone.

bayonetta 2

Listen: Bayonetta soundtrack – The Gates of Hell

What it comes down to, for me, these days, concerning video games at least, is the level of absurdity, and Bayonetta wastes no time in dialing up the unfathomable, all the while willfully inebriated on the most magnificent of homebrew hooch. Why do stand-up in some dingy club, when you can tour those punch lines outside of its regulated confines, megaphone-main-street-parade style? This is one touring company not to miss, and Kamiya’s cast is a line of color so bizarre, slanted and captivating it’s no matter that his fuchsia rejects his mustard yellow; it’s all about that final shade… the mixture together, and I would wager a guess that Bayonetta is one of the only set of players to talk as loudly as its dressed, the only troupe with real personality for a thousand miles in every direction on any map. Without the characters, you’ve already doomed yourself to drown, but Kamiya’s all-hours house party attracts a very particular, and strikingly peculiar crowd to a room, and all of them are well beyond the dog paddle.

bayonetta 3

Listen: Bayonetta soundtrack – Mysterious Destiny

Kamiya’s actors, however, make up but one single facet on his already-heavy key ring. Platinum redefined the pace and expectation of the action genre, adding an emphasis to established MPH on the highway. Everyone knows that when you’re out on a long road trip, it’s unlikely you’ll stick to the recommended postings: you’ll speed, and Platinum treats Bayonetta as it would a tire to the asphalt. Bayonetta discards the pace that the beat-em-up genre set for action games some 25 years earlier: NO MORE WALKING! Now you will get where you’re going in half the time. You won’t feel even a bump, and you’ll be in the best shape of your life.

bayonetta 4

Watch: Bayonetta’s Wicked Weaves

Again, I could go on and on and ON about all the things this game does right, but I won’t because Platinum nails it where it matters most, and that is in the hand. Exactly 10 years ago, Tecmo’s Team Ninja completely overhauled the genre with Ninja Gaiden, a game I have played and beaten numerous times and on all its available difficulties. It’s still something I play every year without fail, and it feels tremendous even now when you wrap your fingers around it. BUT… Kamiya has exceeded even that title, usurping the throne while its complacent king sat idly by, staring at his trophies of old. When it comes down to it, the most important position is the one of power, the one that rules. This is Bayonetta’s coronation. Here’s to the centennial, the legacy to come… Long live the queen!


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

There are a handful of things I excel at in video games that I struggle with in real life. Here is my story.

Looking for Things

I can spend hours looking for things in games. I’ll search every corner, nook, cranny, drawer, wardrobe, desk, chest, closet, basement, car, crate, vending machine, computer and body for any item, regardless of how important its acquisition is to my character’s advancement. In real life, if I have to look for a specific shirt, I wear a different shirt. If I can’t find where I stored the new tube of toothpaste, I buy another tube of toothpaste. When I leave behind my water bottle for the twelfth time, I buy my thirteenth water bottle.


All players should have the ability to run in games. Commander Shepard in Mass Effect couldn’t run. That was annoying and has, no doubt, prevented more replays of that game than just my own. In real life, I would be the first to die. Not only am I unable to run very far, I hate every second of it. In grad school, I ran for several months before I realized how angry it made me. There was no release of aggression, just a massive surge of it. I love the freedom of running and jumping in games. That does not translate to real life.


Saving Money

I will save every last scrap of gold to buy that one item I want, whether it’s a weapon, a property, a piece of armor, crafting equipment, upgrades, a car, or whatever. I save currency, resources, potions, upgrades, almost to a fault. Not true in real life. I save some cash, yes, because if I’m lucky enough to retire, it’d be cool to not be broke then too. Games and electronics take vast amounts of my cash reserves. And I’m okay with that, mostly.

Making Passionate Impromptu Speeches

So fabulous at this in games. I’ve pumped up so many armies and forces before battle, leading them to glory. I’ve saved people with my words. I’ve prevented crimes, encouraged happiness, soothed nerves, calmed the grieving and cut down the arrogant. I’ve inspired good and defeated evil, all with my words in games. I’m not as great at this when it comes to real life. I tend to say things wrong, and my words get all twisted when I’m on the spot. I’m fine if I have the time to plan, but that’s not very impromptu now, is it?



I can keep a handle on my inventory. Perhaps this is one reason I disklike playing survival horror, where resource management is often the only way to beat the game… to say I struggle with organization is like saying the Pope is a bit religious. My desk is a disaster (although far, far, far from the worst, I’m happy to say), my house is more or less a mess (I haven’t unpacked from a trip I took two weeks ago), and the only way I can manage to pay bills on time is by doing auto-pay. In many ways, I’m horrible at being an adult.


Let’s just leave this one alone.


There are times I’ve died in horrible situations; for instance, you and that boss are both one hit away from ending a 20-minute battle and the boss strikes first. Or, deaths in games like X-COM are brutal, where dead means dead. I came dangerously close to losing my hardcore wizard in Diablo 3 at level 69 ½ (the goal is 70). But, you know, I can just play again. It might not be quite the same experience, and you might not get all the same gear on the second play-through, but you get to try again. In real life, I’ve lost friends, family, colleagues and pets. It always sucks, as I imagine you know.


Following Directions

Let’s face it: I’m horrible at following directions in and out of games.

And you?

Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cat June Bug and loves gaming, with or without friends.

A little over a month ago, I began counting down my favorite games across the last generation of consoles. If you missed the last couple entries please click here. This week, we have number ten and another tie.

#10 Electronic Arts Mirror’s Edge and Dead Space

I was skeptical when in 2008, video game publisher Electronic Arts announced a duo of high-end titles that were promised to be made and delivered both clean and sober. At the time it seemed too far fetched an idea, and I erroneously dismissed the news entirely. I have nothing against Electronic Arts, but a troubling portion of their previous finished products seemed to end up litter on a very unfinished highway. I won’t delve into all that though, because I am not here to dwell on anybody’s past transgressions. The past is the past, and when someone or something makes a public appeal to make things right, or boldly strives to change ways and habits… you have to at the very least give them a chance to succeed.


Listen: Mirror’s Edge Soundtrack – Still Alive

Dead Space and Mirror’s Edge both had to fight for my attention, challenge other games more prominently placed for my dollars, and destroy the preconceived notions and prejudices I had placed upon them with no formal sense of reason. While downloading the demo for Mirror’s Edge (downloading, not playing) I sat mildly mesmerized by a PS3 system theme that features the title’s protagonist Faith. That color wash of hot red, the skeleton etching of buildings in the whitest primary dashes, it’s a moment that lasted long enough for me to figure out the allocation of funds to pre-order it, and short enough for me to act immediately on the impulse. The scales rose instantaneously from unregistered pulse to live, blistering fever. I NEVER played that demo, and I didn’t have to. It was all a feeling: there was just something about it.


Watch: Dead Space’s Announcement Trailer

Dead Space had an even easier time in its rounds of discussion. The game was quick to remind me that there was a complete dearth of REAL survival horror games, and it quickly ran down the litany of failures the current damaged crops had to offer. Dead Space provided an accomplished, fairly decadent spread of airlocks, zero suits, and dismemberments, but what made it stand out was the emphasis it placed on its total isolation. It understood fear is most prevalent without a partner, without another face, and without assurances made solid with another body in close proximity. Mostly, you hear the Dead Space cadet Issac Clarke breathe and gasp for hours on end, and that sound is one of the most UNNERVING things I have ever had to endure. I never considered physical fatigue to be in and of itself an element of terror, but ask yourself, how long can you run? Issac Clarke can run about 30 feet, and then what happens? He’s tired. And then what happens? Well he’s not running anymore, and he considers the cramp in his abdomen to be a much more pressing concern than the legions of cobble-headed Belial giving chase at his back. Dead Space brilliantly simulates the prepping of an assault with trembling hands as they fumble for triggers and safety locks. No one is ever REALLY prepared, and Issac Clarke is the terrifying embodiment of a chicken loose in space with its head cut off. I haven’t been more petrified playing anything in the six years since its release.

Both Mirror’s Edge and Dead Space are beautiful games where design and imagination dictated and trumped all concerns for market viability, and the greatest compliment that I can give to any piece of software is to say I will commit to return to it annually, knowing instinctively that when I do, it will have lost none of its luster.


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

The video game industry has an ongoing identity crisis. Mostly, I’m able to watch this from afar, keeping industry drama firmly at arm’s length. Unfortunately, one of the symptoms of this crisis is manifesting itself in video game soundtracks.

In recent years, as the industry has blossomed, some AAA games seem set on hiring famous film composers to write music. I feel this is a loss that compromises the identity of the enterprise.

For several reasons, the game industry struts around like the red-headed stepsister of entertainment. I often liken this film breaking away from theater in the early 1900s; over time, ideally, these feelings of inadequacy will fade. Yet, since video games make absurd amounts of money, above and far beyond the music and film worlds, I’ve struggled to understand the inferiority complex.

Hiring film composers hardly brings more respect or recognition to games. Consumers certainly buy soundtracks as a result of the composer, but how often will someone actually buy a game as a result? Who purchased Mass Effect 3 because of Clint Mansell? Who bought Halo 4 because of Neil Davidge? Who bought Call of Duty: Modern Warfare 2 because of Hans Zimmer?


Did developers make back the exorbitant fees wrapped up in hiring these men (calling a spade a spade), purely from consumers buying soundtracks because of their music? That is so incredibly unlikely. Did they get bragging rights for hiring Zimmer? Yep. Good for them.

The most profound music in games was written by game composers. Or, quite simply, composers who aren’t famous for their films. They’re composers who are famous for their game music. They excel at writing game music. Film composers don’t.

A film composer can write a beautiful theme, but how often will they be the ones to innovate or improve game music? And let’s face it, when Mansell or Zimmer or Reznor get hired, they aren’t writing the bulk of the music. They might write a theme or two, and that’s it. The real game composers fill in the gaps, which is equally as tragic, scoring minutes upon minutes more than the film dude did. The game composers still write the bulk of the music, and get far less credit than they deserve.

Outside of bragging rights, there is no rhyme or reason for hiring outside the industry. There is plenty of talent within it. It’s not like I need to list names like Soule, Kyd, O’Donnell, Schyman… but there you go. Some of those insanely talented composers have been replaced by film composers.


The message sent? We want real entertainment composers. Video game composers don’t have enough talent, or skill, or name recognition. I think that last part is key: the name recognition. Hiring someone like Zimmer sends conflicting messages. To the rest of the entertainment industry, it’s a “Look at us – we hired Trent Reznor because video games are a big deal.”

To the fans, however, the message is, “Hey, we’re gonna go ahead and hire someone from outside the industry so we can get attention from the film folks”.

Again, how often do consumers buy a game because of the famous dude (spade a spade) hired to do the music? Perhaps they buy the soundtrack, but it seems outrageous to assume that this will make a pub/dev enough additional money to warrant the decision.

Game music makes games special. It always has. Hiring huge names for millions of dollars means the industry loses one of its unique attributes: composers who’ve spent their lives playing and studying games and game music; composers who strive for the best interactive experience musically. Let’s keep those folks in the game, so to speak.

Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cat June Bug and loves gaming, with or without friends.

Composer - Song Name
00:00 0:30