Comments on: Game Music Inspiration: Amon Tobin and Sony on Infamous

By: Ken

Ken — Fri, 12 Jun 2009 11:58:53 +0000

this game is pure awesome

By: Peter Kirn

Peter Kirn — Wed, 10 Jun 2009 07:53:04 +0000

Absolutely — well, Braid did wonderful stuff with folk musicians. Amon Tobin’s compositions are sonically genius regardless of genre – yeah, huge fan of Chaos Theory and Foley Room, the latter another sound design excursion.

I will definitely keep covering game music. While there is a lot of run of the mill stuff, there are more than enough exceptions to keep you busy.

Now I just need a *friend* with a PS3… hmmm…

By: dajebus

dajebus — Wed, 10 Jun 2009 07:44:55 +0000

I just finished Infamous and Prototype and Infamous has a much better mood sound wise. The soundtrack in Prototype is just orchestral run if the mill stuff. A little boring.
Amon really did an amazing job in pulling you into the feel of the game and getting the right mood across.

By: MMI

MMI — Wed, 10 Jun 2009 07:32:54 +0000

Super super cool. But I still won’t be buying a PS3 anytime soon. That money and time is much better spent on gear and making my own brand of noise.

By: mr. tunes

mr. tunes — Tue, 09 Jun 2009 20:17:05 +0000

overall for me this is great news because what one studio does always influences another, and i think a lot of action games have been super-orchestral productions for a while now.

it helps a lot of people out if companies search for new talent in any genre, not just a boost for electronic musicians.

the reality though, is that any style can be well emulated or licensed out to, so it’s largely a case where musicians need to be business-savvy so they can adapt and make any project work.

it’s not an easy biz, but amon tobin is on the right track to having a sustainable career outside of the crazy recording and touring industry, with two game scores under his belt now. big respect to the man!

By: Marco Raaphorst

Marco Raaphorst — Tue, 09 Jun 2009 14:54:37 +0000

nice creative effects. like that.

By: Martin

Martin — Tue, 09 Jun 2009 11:13:06 +0000

Amon Tobin did also a great job on the score of splinter cell – chaos theory. good enough that they released it as a regualr album too.

By: NicksTutorials

NicksTutorials — Tue, 09 Jun 2009 10:55:53 +0000

Just finished this game yesterday. Quite enjoyable, and the atmosphere is definitely unique. I’ve never seen anything quite like it in a game, but I agree with Peter that calling it post-apocalyptic hardly captures the game’s novelty :) Amon Tobin and friends did a great job with the score, and my one complaint is that it rarely shows up in the game! It’s used TOO subtely.

By: SiUnit

SiUnit — Tue, 09 Jun 2009 09:51:53 +0000

I think the score was the best part of the game, everything else felt too stereotypical. Plus it is possibly the brownest game ever, even more than ‘Gears of Brown’. I like their approach to creating innovative game music. SCEA are doing some really awesome things!

Keep up the game related posts! I think they are becoming more relevant as they move away from traditional linear scores. Some of the underlying technology is mind blowing.

Typo in your post, ‘Chuck Doug’ should be ‘Doud’

Thanks!

By: Peter Kirn

Peter Kirn — Tue, 09 Jun 2009 09:34:16 +0000

I do think the game is unique and special, absolutely. I just think it’s funny to describe what’s unique about a game is saying it’s post-apocalyptic. And there are certain riffs in game music, too, even the top-flight stuff — you could call it a zeitgeist. ;) I don’t think it’s necessarily bad, but it would be a stretch to say that no one is doing this stuff.

Maybe instead of talking about novelty in black and white terms, though, we should be talking about what the appeal of these aesthetics now is, and how it might evolve gradually.