In response to "In 3-D" from The Escapist Forum: Allen, Thanks for taking the time to clarify [the questionable language]. However, the word "pussy" is so often used in a derogatory way towards women that it didn't even cross my mind that you were going for a different image. The words "queer" and "bitch" also have harmless origins, but I would hope that, as a jounalist, you would use those words with a little more caution.
In response to "In 3-D" from The Escapist Forum: Why are we discussing the word pussy more than 3D games?
In response to "Bittersweet Symphony" from The Escapist Forum: This is very resonant (music pun! har!) with me, as it was just Saturday I was in the audience at Video Games Live. Canceled out from under my feet twice, it was (and I'm still complaining), but it was well worth the wait.
I listen to a lot of video game music, and I relish any opportunity to go see an orchestra perform, so this was a sort of chocolate-and-peanut-butter combination.
- Bongo Bill
In response to "Play On" from The Escapist Forum: As a music composer from the "other side" (i.e. non mass-media related music) I am very excited about the possibilities in music for computer games. I believe music has always progressed in a manner parallel to the main expressive art forms of the times it was made in: The symphony at the age of the novel, modern scores (Stravinsky, Bartok etc.) at the age of cinema, post modern music at the age of T.V. I think computer games and other modular forms of dramatic narrative are the art-form of today.
The question is: how is music progression to follow? Consider film music for a moment: Film music has its start in the Piano accompanist for silent film, usually improvising music to the events on the screen, having to change style and mood on a dime as the action on the screen dictates. The progression of the music - the way the music "Goes" - has necessarily been re-configured radically. When sound came around, this new approach got necessarily blurred somewhat with the employment of "serious" composers, coming from Europe and landing jobs in the film industry, who were crafting scores that harkened back to their training and musical backgrounds, namely "common era" European music. The great majority of film scores, therefore, became instant imitations of great orchestral music from the late 19th century: Majestically orchestrated, with "big sound" and a slavish attitude towards the notion of "theme"- a theme for every character, a battle theme, a love theme and so on.
Those guys were NOT the only ones making scores for film, though; consider Carl Stalling, who composed the music for all the Looney Tunes animations: Sheer non-linear brilliance. Consider also Ennio Morricone, the composer of spaghetti westerns, whom, though usually theme based in his score writing due to professional necessity, still blurred the line between sound and music, ,making music that is equal parts sound effects and notes. There are many other examples.