Amnesia: A Machine For Pigs Discussion Topic Part 2

[Bridge]

This alone speaks for how I perceive its quality.

That wasn't my point though. I respect the fact that you like it and I'm not trying to somehow diminish your enjoyment of it. But there is a glaring contradiction between: "This can't be compared to a classic film score because it's experimental" (implying that the score has less of an emphasis in the overall mix) and "the music fits perfectly with the game". My question is merely: which one is it?

[The Raining Brains]

Limbo is a relevant example here. What is interesting is that Limbo's soundtrack was only released as a separate album because fans demanded it. So although the music obviously worked very well in context, it clearly proved to be just as effective for separate listening. You shouldn't need context to assess quality. Music speaks for itself.

Just like I wouldn't put most of Silent Hill's OST on an mp3 player. It's fucking nerve wracking stuff, but it serves its purpose in the game well.

That's just your taste though. I actually have quite a few Silent Hill tracks on my iPod.

[Nyarlathotep]

I'm not saying it can't be compared to a film soundtrack because it's experimental. I'm saying it can't be compared to a film's soundtrack because it's in a video game, a different medium entirely. And again, the genre plays an important factor here too. I don't believe there's a lesser emphasis on the music, just that it's serving a very different purpose than you expect it to.

And, to repeat what I just edited into my last post.. This track isn't necessarily the main theme or anything. Who knows how it will be used, that is actually pretty important on how you look at the track. I'd guess that the song used in the trailer is more likely to represent the main theme.

That's just your taste though. I actually have quite a few Silent Hill tracks on my iPod.

Some I enjoy listening to outside of the game. Others... Definitely not

[fancreeper]

I actually like the music....

[pinkribbonscars]

I just heard the Mors Praematura track.... omg.... it's so grotesquely hideous, I love it

[Zgroktar]

Really don't know what to say to you at this point, we are not on the same wavelength I think, but I will state that I don't need to be telling myself that it will ''serve its purpose'' to like it. I've loved this song from the moment I've heard it, and must have replayed it a countless times. There is just some eerie quality about it.

It's dissonant and it's got minor seconds and contrabassoons and an opera voice, of course it's gonna sound creepy.

But to me it sounds a bit cheap. It sounds like the composer made a list of things that sound creepy and just mashed them together into a song.

EDIT: I agree with all points made by Bridge. But I disagree with his non-idealization of Mikko Tarmia. Mikko Tarmia is a god and his soundtracks are like manna from the heavens. Except for the Overgrowth one.

No, that doesn't have to do anything with deliberately choosing fitting chords or anything like that. I've heard a lot of creepy music in my life, but nothing like this one.

Considering Mikko, He really did managed to write some enchanting, tranquil tracks which felt very rich and deep, but not so much in Penumbra. It was, well calling it crap would be going too far, but I've played Penumbra twice and still can't remember any track in particular.

[MyRedNeptune]

Limbo is a relevant example here. What is interesting is that Limbo's soundtrack was only released as a separate album because fans demanded it. So although the music obviously worked very well in context, it clearly proved to be just as effective for separate listening. You shouldn't need context to assess quality. Music speaks for itself.

Just like I wouldn't put most of Silent Hill's OST on an mp3 player. It's fucking nerve wracking stuff, but it serves its purpose in the game well.

That's just your taste though. I actually have quite a few Silent Hill tracks on my iPod.

I think music benefits GREATLY from context. Serioulsy, it's something I can't overemphasize. I think that simply being familiarized with the context will affect how you listen to music. Even simple context, like the title of a track, is important. That was obviously the case with Limbo, since fans demanded the soundtrack after they have played the game.

But context only gives meaning to a track. It can't change its quality.

[The Raining Brains]

I think music benefits GREATLY from context. Serioulsy, it's something I can't overemphasize. I think that simply being familiarized with the context will affect how you listen to music. Even simple context, like the title of a track, is important. That was obviously the case with Limbo, since fans demanded the soundtrack after they have played the game.

But context only gives meaning to a track. It can't change its quality.

Well maybe it's just me...but if I had heard Limbo's soundtrack prior to my discovery of the game, I would have probably still loved it. I do agree though that the context benefits it greatly.

I'm just thinking that for TCR to have chosen that track to put on their website, then they must have considered it a good representation of the game's overall vibe. So if the purpose was to excite us, then really it should be something that works out of context.

That's just your taste though. I actually have quite a few Silent Hill tracks on my iPod.

Some I enjoy listening to outside of the game. Others... Definitely not

Well yes I agree not all of them make for pleasant listening outside of the game. The example I had in mind however was "The Day of Night" from Silent Hill 2.

[MyRedNeptune]

Now that doesn't have to do anything with carefully choosing fitting chords or anything like that. I've heard a lot of creepy music in my life, but nothing like this one.

Why doesn't it have anything to do with it? It's a matter of aesthetics. It might be just my impression, but the way you say "carefully choosing chords or something like that" implies that it's something usual. Of course I expect composers to put effort into their music, including the structure.

Also, I've definitely heard more than one bad ostinato before. And menacing bass, and eerie opera. And especially minor seconds.

When I was a kid, some of my friends would show me their compositions they made in Garage Band. Whenever it was supposed to sound menacing, you could expect minor seconds everywhere. It's the instinctual thing to do. Not saying there's anything inherently bad with them, but that they sound very cliche when not properly utilized.

[Bridge]

Since when was the diabolus in musica not the go-to menacing interval? It's Satan speaking to us through music.

It's a joke, I know that tritones can sound pleasant, but so can minor seconds for that matter.