Treasure Adventure Games by Robit Studios is a charming and fun piece of work and readers will know that I’m a big fan of the game’s soundtrack and its composer.
Now the game is receiving an ambitious remake in the form of Treasure Adventure World with new design, artwork, animation and, of course, new music. The original soundtrack was a masterfully modern take on old-school gaming. So how does the reimagined version measure up?
2014 rose from the ashes of 2013, went careening all the way around the sun, and is about to hand the baton over to 2015 before dying of exhaustion. So what did that trip around the solar system achieve in the world of games?
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Game music posts may not be a weekly feature of Pixieland any more, but that doesn’t mean I’m not going to put up a post when an album catches my ear. And oh boy, has the soundtrack to Brothers: a Tale of Two Sons caught my ear.
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When it comes to video games ARPG is more of a marketing term than a real subgenre. Let’s face it, how many RPGs can you name that don’t essentially rely on progression-through-murder? Even games that hang heavily on their stories are afraid that if you don’t get to climb to the top over a mountain of skulls then the player might lose interest and go play Halo or something. Which is why the recently kickstarted Unrest by Pyrodactyl Games is so refreshing.
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Mechanized dragon.
Sometimes it’s the little things that pique your interest, tickle your funny bone or prompt a sudden perception test. In the case of SanctuaryRPG the little thing was the phrase “Mechanized dragon”. Any game that has that as a boss fight gets two automatic thumbs up in my book. Or talons as the case may be.
SanctuaryRPG is part Nethack, part Final Fantasy, all text. The website is immediately arresting, probably the slickest, most advanced-looking text-based site I’ve ever seen. The soundtrack by Rafael Langoni Smith matches perfectly, a wonderful throwback to the best of the NES. Worth a listen and worth some of your gold pieces and/or credits.
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With Mighty No. 9 around the corner I got to thinking about Megaman. And the music to the Mighty No. 9 trailer likewise got me thinking about Megaman’s music.
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I’ve never played Titanfall and since it’s multiplayer-only the odds of me ever playing are effectively zero, anti-social misanthrope that I am. Still, that’s no barrier to enjoying the music.
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Having started playing through Oni again, it would be remiss of me to not talk about the soundtrack, and so my Wednesday post buffer grows another week, extending like the timer in an endless runner after hitting a checkpoint.
Extended.
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Ah, Mass Effect 3, such conflicted emotions you elicit. Undoubtedly the best of the trilogy in terms of gameplay, but also easily the weakest writing. Your soundtrack is no different either. Gone is the unique style of Mass Effect 1, replaced by a sound that is more… what? Standard? Safe? Broadly appealing, perhaps, much closer to the sequel than the original.
But like the writing, the score hits high points that are utterly superb and proudly stand shoulder to shoulder with the rest of the trilogy.
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How did this happen? As an XBox One owner I expected any interruption in the dearth of games to be heralded by, if not Titanfall levels of fanfare, at least something. But no, it was only when I went looking through the game store I came across Ubisoft’s Child of Light. Yes it’s had reviews, and no it didn’t slink onto the scene like a ninja, but at the same time when something as interesting, as pretty and as unique as Child of Light gets released I’d expect to hear a little more.
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