I think spending too much time on the internet can divorce a person from the real world. We get into a state where basic human empathy isn’t in gear because it’s not used to online communication. This gets worse the more different you are. We’re trying our best to make our entertainment media more accepting, and it has its ups and downs.
A little while ago, Valve introduced paid mods to the Steam Workshop for The Elder Scrolls V: Skyrim. The experiment lasted less than a week, after a massive backlash from the community resulted in a veritable echo of last autumn’s #GamerGate. And, like with all other controversial topics, this one was filled with people clinging onto the kind of black and white thinking that causes the majority of internet drama.
My piano arrangement of the DuClare Chateau music track from the original Deus Ex, with sheet music. (It’s probably not exactly the way I play it in my recording as it rarely is when I’m making an arrangement.)
The third entry in the Dragon Age franchise saw the departure of two-time composer Inon Zur in favour of film and TV composer Trevor Morris. Although the game is good, in spite of its flaws, the music this time around is a disappointment.
This is an examination of ‘The Witcher 2: Assassins of Kings’ by CD Projekt Red. I ended up having a lot of things to say after finishing it, about the story and mechanics as well as the music. In addition to picking apart the game experience, I’ve transcribed the title theme, Assassins of Kings, and made a scrolling sheet music video of it.
With Jeremy Soule having recently scored his third instalment — almost 10 years since the first, Morrowind — now would be an excellent time to not only review the Skyrim OST, but also to make a little note on how the music has changed over the years.
© Raniel Dan MMXIX.