Peter explores the emotional gut-punches that exist throughout the soundtrack of Professor Layton and the Unwound Future and Joe has no objection to Masakazu Sugimori’s courtroom work on Phoenix Wright: Ace Attorney.
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Peter explores the emotional gut-punches that exist throughout the soundtrack of Professor Layton and the Unwound Future and Joe has no objection to Masakazu Sugimori’s courtroom work on Phoenix Wright: Ace Attorney.
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Joe takes a look at the blending of film score writing across different cultures into the sci-fi plot of Beyond Good & Evil and Peter delves into the Victorian chamber orchestra insight of Austin Wintory’s work on Assassin’s Creed Syndicate.
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Peter marvels at the infusion of J-pop into the first game from his youth in Sonic the Hedgehog 2 and Joe discovers the tumultuous development struggles of Yasuaki Fujita’s work on Mega Man 3.
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Joe dives into the world of Yarnham for the horror themes of the Bloodborne soundtrack and Peter learns about the creation of tunes that accompany girls with physical disabilities from Sebastien Skaf’s work on Katawa Shoujo.
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In this week’s episode of the show: Peter applies the Rules of Nature to the vocal soundtrack for Metal Gear Rising: Revengeance and Joe customizes his cyberpunk bartending playlist from Michael Kelly’s work on VA-11 HALL-A: Cyberpunk Bartender Action. TIMESTAMPS1:23 – GAME 1: Metal Gear Rising: Revengeance9:34 – Composer History: Jamie Christopherson17:42 – Critical Track #121:38 – Critical Track #225:16 – Critical Track #327:04 – Critical Track #429:35 – Critical Track #532:04 – Cutting Room Floor35:55 – Transition37:03 – GAME 2: VA-11 HALL-A: Cyberpunk Bartending Action44:18 – Composer History: Michael Kelly55:00 – Critical Track #157:02 – Critical Track #258:08 –
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Joe cranks up the demonic vocal action for Devil May Cry 3 and Peter picks the polar opposite in Tomoya Tomita’s piano work on Kirby’s Epic Yarn!
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Peter looks into the music of post-apocalyptic androids in NieR: Automata and Joe highlights Danny Baranowsky’s work on the soundtrack of Super Meat Boy.
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Joe teaches us about Laura Shigihara’s passion project of Rakuen and Peter highlights Jack Wall’s contributions to the original Mass Effect.
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Peter reminisces about the context of adult themes with Shoji Meguro’s tunes in Catherine and Joe recalls how Darren Korb’s soundtrack for Bastion made the game an indie darling.
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Joe covers what he considers the most unique soundtrack in video game history in Yuu Miyake’s Katamari Damacy, and Peter covers the history and adventure of Kenta Nagata’s soundtrack for The Legend of Zelda: The Wind Waker.
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