The Godslayer

I don't think it would be wrong to assume that anyone who's reading this has grown up listening to a lot of music. It really doesn't matter whether you're into metal, pop, classical or not into music at all. If you like games, there's a whole world of themes, melodies and songs you can recognize in a second. Like Super Mario Bros., Doom, The Secret of Monkey Island or Sonic the Hedgehog. Such classical names cannot be said out loud without getting a familiar ringing in your ear and your mind going "oh yeah!"

Many may think they're nostalgic, retro or something like that, but there's a whole genre of gamers who, everyone in their own way, stuck with these songs. The songs wouldn't really matter very much if there weren't memories connected within but still these songs have a way of growing onto you. You grow up but as your perspective of life changes, they don't just become a part of your youth - they become ageless. While they made the biggest impressions when the games they represent were new, nowadays, when you pick up a new game and get to know the musical themes, the impression probably won't be as huge. This occurs mostly when the new stuff triggers memories of the old and we start comparing them and find ourselves missing the old stuff.

Since the ages of NES, gaming has changed quite a bit (pun not intended). For the most part that's great, but it's a fact that most new games are more similar to Hollywood movies than to their ancestors. In "the golden age of gaming", my favourites were ball-bustingly challenging but uplifting and rewarding. I wasn't that great with the most insane NES-games - I found more fulfillment with games that built a balance between simple playability and huge stories. That meant falling in love with point-and-click-adventures and rpg's, especially LucasArts- (RIP) and Squaresoft-games. As rare as time for just sitting down for hours and falling into an escapistic gaming world is these days, when the opportunity comes, I still prefer many of their titles or games highly influenced by them over newer and more fancy creations.

It was ten years ago when I started up a midi-based project called Hirvituho ("Elk Devastation" or something) using a program called Guitar Pro. It may seem funny or tragic in a way but it taught me so much about the basis of making music - tempos, time signatures, chords, tuning etc. Back then I could barely play at all with a real instrument. Guitar Pro made me understand the bare basics, but it also gave me a channel to express myself. I didn't have a band at the time, so why not create music from a different point of view? As I progressed on learning to make music, I found new routes and ideas - a whole new world, in fact. The midi-soundscapes don't sound too pretty but after growing up hearing so much game music, it felt natural. I did not mind nor cared. Only I was more interested in creating something new and more "band-like", so Hirvituho was merely flirting with game music - or so I thought. It was only after compiling a so-called "best of" of all the finished Hirvituho-material in the fall of 2012 when I realized how much game music-influence there was. Not just the equally funny and annoying midi-bleeps but the structures, melodies and instrument choices. It sounded like the maker was waiting for someone to ask if he'd like to make a game soundtrack.

And then someone did.

I was familiar with Tositaku's first game, Story of Integra. I haven't actually finished it yet but have played enough to express my opinion. There are areas where it could be better or more original but still it has all of the most important characteristics of a classical rpg. It is very challenging but also rewards with an epic tale that has a huge amount of characters and things you can do other than just racking up experience points and upgrading gear. Integra feels like it has all the elements an old-school'ish masterpiece requires but it's not quite there yet. And that's why there exists the concept of "sequel". When the profound creator asked me if I could make the soundtrack, it was a no-brainer. This is something I have to do.

Even though the sequel to Integra is even more epic and ambitious than its predeseccor, it is most of all a labour of love. There's a nostalgic value in it but it's not just that. Having old-school sprite graphics and midi music should not be an obstacle for a memorable gaming experience and a story worth telling. No, they are elements that actually support the story. Seeing all those small and cute characters going through hell and high water while listening to an insane amount of bleeping and squeeking music makes it more worthwhile, so to speak. They require the use of imagination - to immerse into the world it offers within the palette of the gamer's own perspective and feelings. It is escapistic fantasy but not the power fantasy you would look for in a new game created with a huge budget. It is more equivalent of a book you can interact with - it won't progress only on its own, it needs your input. And that's what rpg's are all about to me.

I find this project very exciting and meaningful - but also as one that requires a lot of hard work. On the moment, as I'm writing this log entry down, we have about 20 more or less finished songs. That's merely a fraction of what it will take to have a finished game - but it will be worth it.

A-L