DIALOGUE

Issue 368

Score to settle

I have been a reader of Edge from the very beginning, and one thing I have noticed over the years troubles me. Often, I read reviews, hoping that somewhere in the text I will be proved wrong – alas, this rarely happens. The scores of the games are either not mentioned, or when they are, they get maybe a line or two at most.

I am a huge fan of videogame music, and to see this time and time again really makes me ache. A composer can work on or be attached to a score for a game for many months. Often that score will have a huge effect on the game – take, for example, recent games such as Chicory, Returnal, Death’s Door, Guardians Of The Galaxy, and so many more – you get the idea.

Now there is a huge market for videogame music, with many companies selling soundtracks on CD, tape and especially vinyl. The collectors of these (myself included) are voracious for them, often buying on announcement with many selling out, and some that are never again re-pressed (Okami) trading for way more than their original cost. Never mind the many concerts across the world celebrating game music, selling out huge venues all over the world, including places such as the Albert Hall.

Composers work incredibly hard, and it seems unfortunate that their work should be reduced to a few words when so much joy is taken from their scores, so much so that people like me have been podcasting and evangelising about them for years. To see composers being nominated for (and winning) BAFTAs, Ivor Novellos and many other awards, it seems like a huge thing to miss so often. I’m hoping we start to see more and more interest being taken in the scores – not just in Edge, but in the media as a whole.