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#Exclusive on Destructoid


New Wii U bundle photo
New Wii U bundle

Report: Wii U 32GB with Wind Waker HD bundle coming

Destructoid has learned of Nintendo's upcoming plans to release a new Wii U bundle and new 3DS XL bundles. The information was revealed to us by a source at Target, a major North American retailer, where they were able to show us a firsthan...   read

 
 
ภ la cartridge photo
ภ la cartridge
  Watch Video

A la cartridge: Dragon's Crown pork monster

Food is good. Videogames are good. Food inspired by videogames are doubleplusgood. It's simple science. Science and art. I would like to humbly present the first episode of Steven Hansen's À la cartridge, a straightforward cooking s...   read

 
 
Secret of Mana photo
Secret of Mana
  Watch Video

Celebrate 20 years of Secret of Mana with fan remix album

It's really been 20 years since Secret of Mana was released. I still listen to the game's amazing soundtrack composed by Hiroki Kikuta on a weekly basis, so it's great news that a group of musical masterminds have combined forces to br...   read

 
 
Windborne photo
Windborne
  Watch Video

Debut trailer for the social sandbox game, Windborne

Last week, Destructoid brought you the first real details on Windborne, the next game from Hidden Path Entertainment heading to Steam on the PC. Now we can exclusively debut the first gameplay trailer showing off the game's world. Note tha...   read

 
 
Windborne photo
Windborne

Build, create, and share your own world in Windborne

Hidden Path Entertainment, makers of Defense Grid: The Awakening, Counter-Strike: Global Offensive, and Age of Empires II HD, have exclusively revealed to Destructoid their next project, Windborne. The new title is a social sandbox creation...   read

 
 
EarthBound photo
EarthBound

Nintendo comments on EarthBound's pricing

[Art by Zac Gorman] The cult classic SNES game EarthBound was released on the Wii U Virtual Console last week for $10. That's $2 more than most SNES Virtual Consoles games cost. A couple days later, we posted a feature on what makes the gam...   read

 
 
Castlevania photo
Castlevania

Dave Cox: Lords of Shadow 2 is 'the last one for us'

Speaking with producer Dave Cox at San Diego Comic Con about Castlevania: Lords of Shadow 2, we found ourselves surprised by the candid response we received when we asked about the future of the franchise: "I’ve always thought that th...   read

 
 
Archie Mega Man photo
Archie Mega Man

The world has been shut down in Mega Man #31

I've been so busy diving into Sonic and Mega Man's "Worlds Collide" comic mini-series that I've neglected to talk about Mega's post-crossover story arc. How do you raise the stakes after a dimension-bending war against both Drs. Wily and Eg...   read

 
 
Teenage Pokemon photo
Teenage Pokemon
  Watch Video

Teenage Pokemon returns this month with some new friends

[Update: Slight delay! The new season is now set to start on June 23rd, with an episode about depression and E3. That's this Sunday! Max Scoville as Spiky-eared Pikachu! Anthony Carboni as his trainer! Eric Stuart as Brock! Real talk with ...   read

 
 
Etrian Odyssey photo
Etrian Odyssey

Etrian Odyssey Untold: The Millenium Girl coming our way

Destructoid has confirmed the rumor that Atlus will be localizing 3DS Etrian Odyssey remake Shin Sekaiju no Meikyu: Millenium no Shoujo for North America. They are, and it's coming our way this fall, renamed Etrian Odyssey Untold: The&...   read

 
 
Mirror's Edge 2 photo
Mirror's Edge 2

Possible Mirror's Edge 2 details

We won't say where these character details come from. But we're pretty sure they're from an upcoming EA game, Mirror's Edge 2. And if they're not, they're from a big franchise game from the same publisher.  The details we have touch on...   read

 
 
Psychonauts photo
Psychonauts
  Watch Video

Feel doubly fine with Adam WarRock's Psychonauts single

Asian sensation Adam WarRock is a pretty chill dude. Our own Tara Long of course loves him to pieces, but it was I who managed to score a brotastic fist bump at last year's Nerdapalooza in Orlando. He's so skilled, he can turn literally an...   read

 
 
Castlevania hip hopera photo
Castlevania hip hopera
  Watch Video

Preview Mega Ran's Symphony of the Night hip hopera

I gotta give it up for my man Mega Ran, without a doubt one of my favorite nerd music acts around. He's got quite the spread, from Mega Man to Final Fantasy VII and even to River City Ransom. And next on the block is the turning point of t...   read

 
 
 photo
8===D
  Watch Video

Cart Life dev reveals new game, is humble and lovable

I'd like to pay Richard Hofmeier to talk to me about videogames. During last week's Sup Holmes (now on iTunes), he told me about so many great things, like the free online "game" Geoguessr, surrealist interactive text auteur Porpentine's p...   read

 
 
Banjo-Kazooie Symphony photo
Banjo-Kazooie Symphony
  Watch Video

Preview the upcoming Banjo-Kazooie Symphony

Abridged soundtracks to Banjo-Kazooie and Banjo-Tooie were recently released online for free, and Banjo composer Grant Kirkhope has been popping his head seemingly everywhere. Is it just me, or is the classic Rare platforming series undergo...   read

 
 
 photo
8===D

Confirmed: Game sequel in development right now

Today, Devolver Digital has confirmed that a sequel to a game you like is in development as we speak. This exciting news, delivered by CFO Fork Park via Twitter, could be taken as absolute confirmation that Shadow Hearts IV is in developmen...   read

 
 

On "Nilin The Hunter"

[embed]252904:48472:0[/embed]

"This is the main theme, during its first half it represents Nilin, a strong female character whose memory has been wiped out. The main melody is performed by a morphed sound between a synth and a voice. Throughout the whole cue you can hear "Remember Me" several times in the far back (listen carefully: five times). The second half is more about Neo Paris and the echoing sounds of memories. The last part is back to Nilin’s reconstruction up to the end. During the entire game the main melody is exposed piece by piece (as Nilin is reconstructing her memory) and this track is played at the very end of the game, when Nilin gets her full memory back."

On "The Fight"

[embed]252904:48473:0[/embed]

"This music plays during some big fights. It's mostly hand-to-hand and the music reflects that with the punchy orchestra. The full cue is completely dynamic and reacts to the player's behavior. Its real length is about nine minutes to make sure all the situations are covered. I wanted the music to support as much as possible how the player will apprehend every situation. The final part of the track is when the player succeeds in doing many successful combos in a row, it's like a perfect play! (Once again, a lot of "Remember Me" hidden)"

On "Hope"

[embed]252904:48474:0" data-vidtitle="

Remember Me exclusive music samples, composer commentary Are you looking forward to Remember Me next month? I've been looking forward to the game's soundtrack, composed by Olivier Deriviere, who some may know from Alone in the Dark and Of Orcs and Men.We're now getting a sense of w...  
Full story

" data-purl="remember-me-exclusive-music-samples-composer-commentary-252904.phtml" data-vidsummary="" data-remodal-target="watch">Remember Me Soundtrack photo
Remember Me Soundtrack

On "Nilin The Hunter"

[embed]252904:48472:0[/embed]

"This is the main theme, during its first half it represents Nilin, a strong female character whose memory has been wiped out. The main melody is performed by a morphed sound between a synth and a voice. Throughout the whole cue you can hear "Remember Me" several times in the far back (listen carefully: five times). The second half is more about Neo Paris and the echoing sounds of memories. The last part is back to Nilin’s reconstruction up to the end. During the entire game the main melody is exposed piece by piece (as Nilin is reconstructing her memory) and this track is played at the very end of the game, when Nilin gets her full memory back."

On "The Fight"

[embed]252904:48473:0[/embed]

"This music plays during some big fights. It's mostly hand-to-hand and the music reflects that with the punchy orchestra. The full cue is completely dynamic and reacts to the player's behavior. Its real length is about nine minutes to make sure all the situations are covered. I wanted the music to support as much as possible how the player will apprehend every situation. The final part of the track is when the player succeeds in doing many successful combos in a row, it's like a perfect play! (Once again, a lot of "Remember Me" hidden)"

On "Hope"

[embed]252904:48474:0" data-vidtitle="

Remember Me exclusive music samples, composer commentary Are you looking forward to Remember Me next month? I've been looking forward to the game's soundtrack, composed by Olivier Deriviere, who some may know from Alone in the Dark and Of Orcs and Men.We're now getting a sense of w...   full story

" data-purl="remember-me-exclusive-music-samples-composer-commentary-252904.phtml" data-vidsummary="" data-remodal-target="watch">  Watch Video

Remember Me exclusive music samples, composer commentary

Are you looking forward to Remember Me next month? I've been looking forward to the game's soundtrack, composed by Olivier Deriviere, who some may know from Alone in the Dark and Of Orcs and Men.We're now getting a sense of what the game wi...   read

 
 


Derek Duke (Blizzard Entertainment)
Role: Composer
Selected Past Works: StarCraft series, WarCraft III, World of Warcraft, Diablo III

On being the “Zerg” guy and his contributions to Heart of the Swarm

“Helping Glenn out with this one was a lot of fun. With so many other composers dipping into zerg territory, it really forced us to clarify a lot of what’s at the heart of zerg music. Glenn wanted to build off of the Queen’s theme, as heard in the zerg rollout trailer and in various incarnations in Liberty. Sharing certain scales and chord voicings that are particular to the zerg was also cool. It’s not always just strange sounds and textures that make zerg music.

We spent time each week for a while specifically creating zerg music textures and source at my home studio, using all means of analog and digital music paraphernalia... analog modular synths, vintage synths and hardware effects, alternate controllers, and so on. We got some great 'music design' source material from those sessions.

We were also able to expand upon the electric guitar vocabulary. We had the opportunity to involve guitarist and composer David Torn, who has a very unique and extraordinarily musical approach to the guitar. In contrast to the guitar and Dobro stylings used in Wings, David was in our 'infested' guitarist.”

On his exclusive audio sample

[embed]251947:48208:0[/embed]

“This comes from a piece called “Corruptors,” written for the Skywalker Symphony Orchestra and David Torn. You’ll hear the zerg Queen’s theme featured and various nods to the zerg music from the original StarCraft. I was unable to attend the session—always a challenge—so having conductor Eimear Noone there at the podium worked out great for the music. She had also conducted for Wings, and really 'gets' a lot about my musical language.”



Russell Brower (Blizzard Entertainment)
Role: Composer / Audio Director of Blizzard Entertainment
Selected Past Works: World of Warcraft series, StarCraft II, Diablo III

On his contributions to Heart of the Swarm

“Since Glenn Stafford founded the Blizzard sound department and, along with Jason Hayes and Derek Duke, defined the sound and musicscape of StarCraft and StarCraft: Brood War, my own musical responsibility—as the “new guy,” relatively speaking—continues to focus on staying true to the series’ roots wherever I have influence, and to suggest ways to evolve things where it makes sense in context. As composers, we also strive to cast ourselves into roles that are the best fit for our individual strengths. In the end, every Blizzard game to date contains the art of multiple composers—I believe this is part of the 'secret sauce' that makes Blizzard’s music and games timeless.

For instance, on StarCraft II: Wings of Liberty, I had the opportunity to write a couple of themes that covered new territory or expanded character development: specifically, melodies for Jim Raynor, Zeratul, and the 'space opera' main title piece, which was a special request from Chris Metzen. I also had a hand in suggesting that we add to the terran music vibe with virtuoso, legendary live players—Tony Levin, Jerry Marotta, Jesse Gress, and others. The terran musical composition, production, and DNA, however, are 100% Glenn, and stay very true to StarCraft tradition. In fact, the majority of the Wings score was written by the original StarCraft composition team; I wrote what made sense for me to write, and wore my administration hat for the rest of that project.

This brings us to StarCraft II: Heart of the Swarm: With the focus squarely on the zerg, Glenn and Derek built on their established musical vocabulary, as they’ve described, and created a spine-tingling score... and that’s really the heart of this particular musical swarm."

[embed]251947:48209:0[/embed]

"My musical contributions to Swarm happened in two waves. During the earliest recording sessions, the Skywalker Symphony Orchestra was so good, we realized that we were going to run out of music to record before the sessions were over, and it was too late to cancel the unneeded time. Gasp... ka-ching! This afforded me an awesome opportunity and challenge: I wrote about six minutes of additional music to leverage the remaining session time, with the clock ticking, in the control room—all while Neal Acree’s cinematic scores were booming live over the speakers. With pencil, paper, and an iPad piano sound in headphones, I wrote fast and furious during the sessions. No pressure! I’m proud of those two pieces, affectionately and nonsensically titled 'Zergs in the Banana Patch' and 'The Protoss Take Kiev.' These cues found their way into some of the later missions, and, yes, they’re big and loud... I couldn’t waste a world-class 87-piece orchestra!

As the later missions’ gameplay matured, we found some opportunities for additional music, to which I contributed. Jason had rejoined the team by then, and he and I finally got to collaborate in person, on purpose, after all these years. A personal highlight is a piece called “Overdrive,” which was composed and produced by Jason and arranged for orchestra by me from his piano demo—It was such a blast to truly create something together. That experience pretty neatly sums up why I find Blizzard to be such a unique place to work, collaborate, and create."

Jason Hayes (Blizzard Entertainment)
Role: Composer
Selected Past Works: StarCraft, WarCraft III, World of Warcraft



On his return to Blizzard Entertainment

“Being back at Blizzard is like coming home for me—I couldn't be more thrilled! And yes, it was especially exciting to arrive during the final push on Heart of the Swarm. Working on StarCraft again is so cool.”

On his exclusive audio sample

[embed]251947:48210:0[/embed]


“I came up with the idea for 'Overdrive' while thinking of the past between Arcturus Mengsk and Kerrigan—his unquenchable thirst for power, and hers for revenge. As I was coming up with ideas, a musical theme from StarCraft: Brood War occurred to me. This was in the intro cinematic, where Admiral DuGalle abandons a group of confederate colonists to be overrun by the zerg. There seemed to be a symmetry between this and Kerrigan's situation—after all, she was also abandoned to the zerg by Mengsk.

I found that by taking this musical idea and punching it up with a militaristic insistence, it could help to frame some important events to come. Collaborating with Russell on the arrangement was a lot of fun—after years of indirect collaboration with him on a number of pieces, it was great to work with him in person.”



Neal Acree
Role: Composer
Selected Past Works: World of Warcraft series, StarCraft II, Diablo III

On being the king of cinematics and contributing in-game tracks as well

“First of all, it was an absolute thrill to be involved in helping tell the continuing story musically through the cinematics. So many talented people put their hearts and souls into making them what they are, and getting to write music to that is a dream come true. What made it even more fun is that the story runs the gamut of emotions and stylistically asked for some very different things from I had done before. I felt a huge responsibility in taking on the cinematics, but it was ultimately a lot of fun and I'm really proud of the final result. Getting to work with the Skywalker Symphony Orchestra and choir was a thrill as always. They are some of the best musicians in the world, and I never get tired of recording there. I wouldn't say we did anything too wild with the orchestra but we did hire an extended low brass section for an absolutely massive sound. See if you can spot those moments in the soundtrack.

As for in-game music, I had done a bunch for World of Warcraft: Cataclysm and Mists of Pandaria, so I was familiar with the process, which is quite different than writing for the cinematics. Though I very much enjoy the process of writing to picture, writing without it can be a very freeing experience. Writing for the cinematics takes a lot longer because the music tends to evolve as the cinematic evolves due to the collaborative process. This can result in some really cool stuff that none of us had necessarily envisioned when we started out. In the case of Heart of the Swarm, Glenn wanted me to write some in-game music that would incorporate some of the stylistic and thematic DNA of the cinematics, which was a lot of fun. I got to blend a lot of orchestra with synthesizer and get really experimental, which is the most fun part for me—there’s definitely a lot of zerg-specific stuff in there.”

On his exclusive audio sample

[embed]251947:48211:0[/embed]

“This is a standalone version of a theme written for Kerrigan and Raynor that underscores some of the cinematics in Heart of the Swarm. It's a slow-building piece that is somber and tragic with an epically heroic yearning... I hope that's not reading too much into it. It's not your typical love theme, but this isn't your typical love story. My inspiration for it was the story and the characters who have a lot going on beneath the surface. It was really cool to be able to write something like this for a game. It also features vocals by Laurie Ann Haus, who was a big part of the Kerrigan sound on both Wings of Liberty and Heart of the Swarm.”



Cris Velasco
Role: Composer
Selected Past Works: God of War series, Darksiders, Borderlands series, Soul Calibur V

On being brought on to contribute to Heart of the Swarm and his love for StarCraft

StarCraft is one of my all-time favorite games. I cannot even begin to count the number of hours I put into the original one. A couple of friends and I used to pull all-nighters, just building our units up, and then having a massive 3-way battle that would ultimately crash the computers. So even though I didn't have a huge role this time around, I still consider it one of my favorite projects to work on simply because I couldn't believe how amazing it was to be writing music for this franchise."

[embed]251947:48212:0[/embed]

"Writing for the zerg let me be really experimental with my music. There was a definite dark slant to it, although not necessarily horror. I did some fun things like taking the sound of an insect, slowing it way down, pitching it down a few octaves, and then using it as a percussion bed. Another fun one was taking the sound of a heartbeat, reversing the sound, then lowering the pitch again and adding a touch of distortion. I used this sparingly as a percussive hit. These kinds of things felt in line with how creepy, weird, and insectoid the zerg are.”



Evan T. Chen (Blizzard Entertainment)
Role: Sound Design Lead
Selected Past Works: Diablo III, Starhawk, Killzone 3, Dawn of the Dead, Futurama

On the scale of StarCraft II’s sound design and the unsung heroes who undertake it

“I'm just one of many sound designers on this project. The other members of the StarCraft audio team did all of the heavy-lifting with the support of the audio department at Blizzard and a myriad of other amazing talent. Here's a sound design montage that offers a glimpse of our collective work, which includes contributions from sound designers Jonas Laster, Ed Cerrato, Pedro Seminario, JP Walton, Paul Menichini, and Alex Ephraim.

[embed]251947:48213:0" data-vidtitle="

Meet the StarCraft II: Heart of the Swarm sound team Maybe you played StarCraft II: Heart of the Swarm. Maybe you enjoyed the soundtrack disc that came packed in with the collector's edition, or perhaps you simply enjoyed it in-game. With this expansion focusing on the Zerg, I ...  
Full story

" data-purl="meet-the-starcraft-ii-heart-of-the-swarm-sound-team-251947.phtml" data-vidsummary="" data-remodal-target="watch">StarCraft II Music photo
StarCraft II Music


Derek Duke (Blizzard Entertainment)
Role: Composer
Selected Past Works: StarCraft series, WarCraft III, World of Warcraft, Diablo III

On being the “Zerg” guy and his contributions to Heart of the Swarm

“Helping Glenn out with this one was a lot of fun. With so many other composers dipping into zerg territory, it really forced us to clarify a lot of what’s at the heart of zerg music. Glenn wanted to build off of the Queen’s theme, as heard in the zerg rollout trailer and in various incarnations in Liberty. Sharing certain scales and chord voicings that are particular to the zerg was also cool. It’s not always just strange sounds and textures that make zerg music.

We spent time each week for a while specifically creating zerg music textures and source at my home studio, using all means of analog and digital music paraphernalia... analog modular synths, vintage synths and hardware effects, alternate controllers, and so on. We got some great 'music design' source material from those sessions.

We were also able to expand upon the electric guitar vocabulary. We had the opportunity to involve guitarist and composer David Torn, who has a very unique and extraordinarily musical approach to the guitar. In contrast to the guitar and Dobro stylings used in Wings, David was in our 'infested' guitarist.”

On his exclusive audio sample

[embed]251947:48208:0[/embed]

“This comes from a piece called “Corruptors,” written for the Skywalker Symphony Orchestra and David Torn. You’ll hear the zerg Queen’s theme featured and various nods to the zerg music from the original StarCraft. I was unable to attend the session—always a challenge—so having conductor Eimear Noone there at the podium worked out great for the music. She had also conducted for Wings, and really 'gets' a lot about my musical language.”



Russell Brower (Blizzard Entertainment)
Role: Composer / Audio Director of Blizzard Entertainment
Selected Past Works: World of Warcraft series, StarCraft II, Diablo III

On his contributions to Heart of the Swarm

“Since Glenn Stafford founded the Blizzard sound department and, along with Jason Hayes and Derek Duke, defined the sound and musicscape of StarCraft and StarCraft: Brood War, my own musical responsibility—as the “new guy,” relatively speaking—continues to focus on staying true to the series’ roots wherever I have influence, and to suggest ways to evolve things where it makes sense in context. As composers, we also strive to cast ourselves into roles that are the best fit for our individual strengths. In the end, every Blizzard game to date contains the art of multiple composers—I believe this is part of the 'secret sauce' that makes Blizzard’s music and games timeless.

For instance, on StarCraft II: Wings of Liberty, I had the opportunity to write a couple of themes that covered new territory or expanded character development: specifically, melodies for Jim Raynor, Zeratul, and the 'space opera' main title piece, which was a special request from Chris Metzen. I also had a hand in suggesting that we add to the terran music vibe with virtuoso, legendary live players—Tony Levin, Jerry Marotta, Jesse Gress, and others. The terran musical composition, production, and DNA, however, are 100% Glenn, and stay very true to StarCraft tradition. In fact, the majority of the Wings score was written by the original StarCraft composition team; I wrote what made sense for me to write, and wore my administration hat for the rest of that project.

This brings us to StarCraft II: Heart of the Swarm: With the focus squarely on the zerg, Glenn and Derek built on their established musical vocabulary, as they’ve described, and created a spine-tingling score... and that’s really the heart of this particular musical swarm."

[embed]251947:48209:0[/embed]

"My musical contributions to Swarm happened in two waves. During the earliest recording sessions, the Skywalker Symphony Orchestra was so good, we realized that we were going to run out of music to record before the sessions were over, and it was too late to cancel the unneeded time. Gasp... ka-ching! This afforded me an awesome opportunity and challenge: I wrote about six minutes of additional music to leverage the remaining session time, with the clock ticking, in the control room—all while Neal Acree’s cinematic scores were booming live over the speakers. With pencil, paper, and an iPad piano sound in headphones, I wrote fast and furious during the sessions. No pressure! I’m proud of those two pieces, affectionately and nonsensically titled 'Zergs in the Banana Patch' and 'The Protoss Take Kiev.' These cues found their way into some of the later missions, and, yes, they’re big and loud... I couldn’t waste a world-class 87-piece orchestra!

As the later missions’ gameplay matured, we found some opportunities for additional music, to which I contributed. Jason had rejoined the team by then, and he and I finally got to collaborate in person, on purpose, after all these years. A personal highlight is a piece called “Overdrive,” which was composed and produced by Jason and arranged for orchestra by me from his piano demo—It was such a blast to truly create something together. That experience pretty neatly sums up why I find Blizzard to be such a unique place to work, collaborate, and create."

Jason Hayes (Blizzard Entertainment)
Role: Composer
Selected Past Works: StarCraft, WarCraft III, World of Warcraft



On his return to Blizzard Entertainment

“Being back at Blizzard is like coming home for me—I couldn't be more thrilled! And yes, it was especially exciting to arrive during the final push on Heart of the Swarm. Working on StarCraft again is so cool.”

On his exclusive audio sample

[embed]251947:48210:0[/embed]


“I came up with the idea for 'Overdrive' while thinking of the past between Arcturus Mengsk and Kerrigan—his unquenchable thirst for power, and hers for revenge. As I was coming up with ideas, a musical theme from StarCraft: Brood War occurred to me. This was in the intro cinematic, where Admiral DuGalle abandons a group of confederate colonists to be overrun by the zerg. There seemed to be a symmetry between this and Kerrigan's situation—after all, she was also abandoned to the zerg by Mengsk.

I found that by taking this musical idea and punching it up with a militaristic insistence, it could help to frame some important events to come. Collaborating with Russell on the arrangement was a lot of fun—after years of indirect collaboration with him on a number of pieces, it was great to work with him in person.”



Neal Acree
Role: Composer
Selected Past Works: World of Warcraft series, StarCraft II, Diablo III

On being the king of cinematics and contributing in-game tracks as well

“First of all, it was an absolute thrill to be involved in helping tell the continuing story musically through the cinematics. So many talented people put their hearts and souls into making them what they are, and getting to write music to that is a dream come true. What made it even more fun is that the story runs the gamut of emotions and stylistically asked for some very different things from I had done before. I felt a huge responsibility in taking on the cinematics, but it was ultimately a lot of fun and I'm really proud of the final result. Getting to work with the Skywalker Symphony Orchestra and choir was a thrill as always. They are some of the best musicians in the world, and I never get tired of recording there. I wouldn't say we did anything too wild with the orchestra but we did hire an extended low brass section for an absolutely massive sound. See if you can spot those moments in the soundtrack.

As for in-game music, I had done a bunch for World of Warcraft: Cataclysm and Mists of Pandaria, so I was familiar with the process, which is quite different than writing for the cinematics. Though I very much enjoy the process of writing to picture, writing without it can be a very freeing experience. Writing for the cinematics takes a lot longer because the music tends to evolve as the cinematic evolves due to the collaborative process. This can result in some really cool stuff that none of us had necessarily envisioned when we started out. In the case of Heart of the Swarm, Glenn wanted me to write some in-game music that would incorporate some of the stylistic and thematic DNA of the cinematics, which was a lot of fun. I got to blend a lot of orchestra with synthesizer and get really experimental, which is the most fun part for me—there’s definitely a lot of zerg-specific stuff in there.”

On his exclusive audio sample

[embed]251947:48211:0[/embed]

“This is a standalone version of a theme written for Kerrigan and Raynor that underscores some of the cinematics in Heart of the Swarm. It's a slow-building piece that is somber and tragic with an epically heroic yearning... I hope that's not reading too much into it. It's not your typical love theme, but this isn't your typical love story. My inspiration for it was the story and the characters who have a lot going on beneath the surface. It was really cool to be able to write something like this for a game. It also features vocals by Laurie Ann Haus, who was a big part of the Kerrigan sound on both Wings of Liberty and Heart of the Swarm.”



Cris Velasco
Role: Composer
Selected Past Works: God of War series, Darksiders, Borderlands series, Soul Calibur V

On being brought on to contribute to Heart of the Swarm and his love for StarCraft

StarCraft is one of my all-time favorite games. I cannot even begin to count the number of hours I put into the original one. A couple of friends and I used to pull all-nighters, just building our units up, and then having a massive 3-way battle that would ultimately crash the computers. So even though I didn't have a huge role this time around, I still consider it one of my favorite projects to work on simply because I couldn't believe how amazing it was to be writing music for this franchise."

[embed]251947:48212:0[/embed]

"Writing for the zerg let me be really experimental with my music. There was a definite dark slant to it, although not necessarily horror. I did some fun things like taking the sound of an insect, slowing it way down, pitching it down a few octaves, and then using it as a percussion bed. Another fun one was taking the sound of a heartbeat, reversing the sound, then lowering the pitch again and adding a touch of distortion. I used this sparingly as a percussive hit. These kinds of things felt in line with how creepy, weird, and insectoid the zerg are.”



Evan T. Chen (Blizzard Entertainment)
Role: Sound Design Lead
Selected Past Works: Diablo III, Starhawk, Killzone 3, Dawn of the Dead, Futurama

On the scale of StarCraft II’s sound design and the unsung heroes who undertake it

“I'm just one of many sound designers on this project. The other members of the StarCraft audio team did all of the heavy-lifting with the support of the audio department at Blizzard and a myriad of other amazing talent. Here's a sound design montage that offers a glimpse of our collective work, which includes contributions from sound designers Jonas Laster, Ed Cerrato, Pedro Seminario, JP Walton, Paul Menichini, and Alex Ephraim.

[embed]251947:48213:0" data-vidtitle="

Meet the StarCraft II: Heart of the Swarm sound team Maybe you played StarCraft II: Heart of the Swarm. Maybe you enjoyed the soundtrack disc that came packed in with the collector's edition, or perhaps you simply enjoyed it in-game. With this expansion focusing on the Zerg, I ...   full story

" data-purl="meet-the-starcraft-ii-heart-of-the-swarm-sound-team-251947.phtml" data-vidsummary="" data-remodal-target="watch">  Watch Video

Meet the StarCraft II: Heart of the Swarm sound team

Maybe you played StarCraft II: Heart of the Swarm. Maybe you enjoyed the soundtrack disc that came packed in with the collector's edition, or perhaps you simply enjoyed it in-game. With this expansion focusing on the Zerg, I was most lookin...   read

 
 
Halo 4 soundtrack, but did feel it was a bit too cinematic. It contained only a fraction of the in-game soundtrack and was meant to tell the story of the game through sound. That makes Volume 2 the perfect place to explore the amazing atmospheres that Neil Davidge and Kazuma Jinnouchi were able to create for the game. This album is much darker and much more atmospheric, featuring lots of orchestral elements with interwoven electronics.

Half of the tracks are provided by Jinnouchi, who was mostly absent from Volume 1. His opener, “Atonement,” will have you thinking of Halo soundtracks of old with its use of choir, and he even goes as far as to remix a past Halo track. From there, we launch into chugging electronics with heavy-hitting bass in percussion in “Intruders,” “Mantis,” with added glitchy percussion, and “Gravity” with its ominous pulsating bass synths.

Davidge returns with similarly-cool soundscapes. “Kantele Bow” and “Pylons” give off a very bad ass vibe along with “Convoy,” which really gets down to business and reminds me of some of my favorite Halo moments. I love the siren-like sounds in “Escape,” the reverberating electronic tones in “Swamp,” the familiar tribal percussion in “Push Through,” and the Metroid-esque ambiance of “Foreshadow.” Finally, “Aliens,” my favorite track on the album, sports deep bassy tones and exotic female chanting.

Halo fans who didn’t appreciate the Halo 4 soundtrack last year will want to give this album a try. It more effectively combines the old and the new quite nicely, and having played the game, I knew these moments were in the game despite not appearing on the soundtrack album, so I’m happy to be able to enjoy them outside of the gaming experience.



FINAL FANTASY XI: Seekers of Adoulin Original Soundtrack
Release Date: March 27, 2013
Price: 2,000 Yen ($21)
Availability: CD Japan
Artist(s): Naoshi Mizuta

[Official soundtrack samples]

We posted about this album a few weeks back, and with its lovely packaging and over 50 minutes of new music, I have to say this is the most excited I’ve been for new Final Fantasy XI music in a while.

After an upbeat orchestral opener titled “A New Direction,” the album launches into a number of playful tunes including the adventurous “Breaking Ground” with its funky slap bass, the fun rhythmic pizzicato strings in “The Pioneers,” the prehistoric vibes of “Into Lands Primeval – Ulbuka” with its bongos and bell tones, and the relaxing tropical escape, “Mog Resort.” My two favorites are “Water's Umbral Knell” with its abstract use of water drops and metallic bell tones that are dark and unsettling and the decisive and foreboding “Hades.” Two bonus tracks, likely from content updates between major expansions, are also appreciated inclusions.

This price is right with this one. Naoshi Mizuta continues to grow with the series and shows off some of his best.



Magical Chase Original Soundtrack
Release Date: February 26, 2013
Price: 2,625 Yen ($27)
Availability: CD Japan
Artist(s): Hitoshi Sakimoto and Masaharu Iwata

[Official soundtrack samples]

Get ready for a history lesson. Back before Hitoshi Sakimoto and Masaharu Iwata became known for their orchestral RPG scores for Ogre Battle and Final Fantasy Tactics, they worked together on this PC Engine shmup title that earned quite a following for its vibrant visuals and upbeat and bubbly soundtrack. Yes, Sakimoto and cute videogame music.

If I had to pick a title that this music most closely resembles, it would be Fantasy Zone, which I also love. From the incredibly catchy chorus section of the first stage theme, “Rampish Chase” to the playful “Ripple’s Theme,” there’s lots of sticky sweet melodies to enjoy. Then there’s the rambunctious “Azure Way,” the decisive “Waltz of Meditation” that hints at the Sakimoto/Iwata that would appear in later years, the chippy final stage theme, and boss themes that will have you bopping your head. The ending theme is also incredible.

And that doesn’t even touch on the 26 minutes of arranged and unused tracks provided by Basiscape Records to commemorate this album. There are five arrangements in all, updating the retro sound of the originals with orchestral or electronic sounds, although Sakimoto’s Sakimoto-esque version of “Ripple’s Theme” is probably my favorite. The undiscovered tracks are similar to other tracks found on the album, so no biggie.

I’d always heard about this game and soundtrack. After listening and watching some gameplay videos, I want to play it. If you’re a fan of Hitoshi Sakimoto and Masaharu Iwata, you need to pick this up. It’s a piece of history and it’s amazing that it’s finally out there.

Other Releases

[embed]250730:48106:0[/embed]

Alter Ego Dreamwalker OST
Release Date:
 March 21, 2013
Price:
 Name Your Own Price
Availability:
 Bandcamp via Ubiktune
Artist(s):
 Ken “coda” Snyder

Yogurtbox is back. Well, at least half of it. We’ve featured coda a few times here on Destructoid, and this time he’s bringing his chiptune magic to a game soundtrack courtesy of Ubiktune. In addition to providing some upbeat and pumpin’ chiptune action with a swagger (the pop-oriented and super catchy “Sweet Home” and powerful epic final stage, “Void,” being my favorites), there are also some fantastic remixes from other artists including the amazingly talented kulor, Madbrain, Blitz Lunar, and DJ Bouche. All for name-your-own-price, so do it now.

[embed]250730:48107:0[/embed]

Fly’n OST
Release Date: November 9, 2012
Price: $4.99 EUR
Availability: Ankama Shop
Artist(s): Guillaume Pervieux

We need to give Ankama’s Guillaume Pervieux some love. He wrote a lengthy and amazing score for the beautiful Islands of Wakfu a couple years ago, and his latest work for Fly’n will also surprise you with its eclectic and abstract electronic soundscapes. 

The meandering and gamey opener, “Adcoffe,” hints at aural joys to follow which include the tense yet playful “Andndamm,” the bassy chill-fest “Yservat,” the Radiohead-esque “Sonwide,” the comical and mischievous “Fucus,”and the dreamy and psychedelic “Oysicide" and “Carbonic.” There’s lots of gamey stuff and other more serious electronic music, but it’s all great, and there’s nearly two hours of it. Check it out.



Hyperdimension Neptunia Victory Sounds of that other Gamindustri
Release Date: March 21, 2013
Price: Not for Sale
Availability: NISA Online Store (Sold Out)
Artist(s): Nobuo Uematsu

I admit that my primary draw to this game was its soundtrack by Final Fantasy composer Nobuo Uematsu. I’ve since found myself interested in the game’s world and characters more so than the music!

What you have is a lot of bubbly electronic music and typical JRPG rock themes. That’s fine, as that’s what we know and love Uematsu for, but this isn’t his most inspired work. The upbeat tunes fit the game’s visuals and quirky sense of humor perfectly, but the sticky-sweet melodies lack substance and memorability. Aside from several character theme remixes from previous titles (“Rom's/Ram's Theme ver. V” is particularly cool), you’ll mostly want to keep your ears peeled for the Japanese-flavored “The Rock Garden” and the Earthbound Papas rockfests, “4th Dimension” and “Invader 1960,” but I wouldn’t feel too bad if you missed out on this one.

[embed]250730:48108:0[/embed]

The Mystic Quest For Metal
Release Date: July 12, 2012
Price: $4
Availability: Bandcamp
Artist(s): Daniel Tidwell

Final Fantasy: Mystic Quest is one of my favorite games (ridicule all you want!), and that’s in large part due to the game’s amazing soundtrack. In fact, one of the highlights of my many years writing about game music was an interview with the composer about this game.

It’s heavy metal rock in game music at its best, and Daniel Tidwell (previously of Lords of Thunder) has given it a fitting tribute with some amazing guitar solos and great metal production work. You get the game’s three battle themes as well as the epic final dungeon and rockin’ “Lava Dome." Thanks to Nubuwo for turning me on to this one.



NanoSweep 15 / overdrive hell 9: Hizumi Tengoku Moeru Maharaja
Release Date: December 31, 2012
Price: 500 Yen / 325 Yen
Availability: Limited
Artist(s): SuperSweep

Here’s another round of original electronic music from SuperSweep Records.

In what’s probably my favorite NanoSweep to date, I loved the hell out of the dreamy chillout track, “Focus,” and the super funky “Oscillation” which features some great rhythmic electric piano. Ayako Saso’s appropriately-titled “Patchwork” combines a lot of different ideas, the most interesting of which is a modified female vocal section that reminds me a lot of The World Ends With You, while Hosoe himself closes out with “Killing Terramorphous,” a hammering electronic track that gallops along with mind-crushing bass synths.

Overdrive Hell 9 yields an ethnic experience focusing on what sounds to be Indian music. Lots of vocals abound with the lovely “Ethno Vibration,” which is pretty tame by overdrive hell standards. “Curry Burns,” “Screaming Yoga,” and “Go Go West” get back on track, however, with crazy effects on the vocals and throbbing bass drums that never let up.

As always, these are hard to come by as they’re sold at events in Japan, but they do exist!

[embed]250730:48109:0[/embed]

Sidetracks - Music from Sidescroller
Release Date: June 25, 2012
Price: $9.99
Availability: iTunes
Artist(s): High Frequency Bandwidth

This month concludes my look back at the PixelJunk franchise. Sidetracks is similar in style and even borrows a few tracks from PixelJunk Shooter (including an even more laidback version of “Fotographik,” my favorite track from that album). There’s the grungy opener, “Dog is No Hero,” which combines rock and electronic elements, but aside from this and the glitch rock track, “Zodiac 3 Arts Klub” with its catchy male chorus section, it’s mostly an icy trip-hop affair.

“More or Less” is a perfect example of chill hop with its snazzy hip hop stylings, while “Planet Thanet” brings in alien-sounding synths, “Ghetto World” gets funky bass and percussion, and “MNP” goes for a spooky vibe with lots of weird sound effects and organ. The two remixes featured of “Planet Thanet” and “More or Less” get more icy ambiance and reverb, and are nice additions.

As my favorite tracks from Shooter are also presented here, this is definitely by favorite PixelJunk soundtrack to date. We’ll see what the future brings!

[embed]250730:48110:0" data-vidtitle="

Halo 4 OST Volume 2 is everything I wanted out of Halo 4 Welcome back to Note Worthy, our monthly soundtrack round-up. This issue marks one year of Note Worthy, and I'm changing up things a bit with formatting. In the past, I've featured our ten monthly reviews in alphabetical orde...  
Full story

" data-purl="halo-4-ost-volume-2-is-everything-i-wanted-out-of-halo-4-250730.phtml" data-vidsummary="" data-remodal-target="watch">Latest Game Soundtracks photo
Latest Game Soundtracks
Halo 4 soundtrack, but did feel it was a bit too cinematic. It contained only a fraction of the in-game soundtrack and was meant to tell the story of the game through sound. That makes Volume 2 the perfect place to explore the amazing atmospheres that Neil Davidge and Kazuma Jinnouchi were able to create for the game. This album is much darker and much more atmospheric, featuring lots of orchestral elements with interwoven electronics.

Half of the tracks are provided by Jinnouchi, who was mostly absent from Volume 1. His opener, “Atonement,” will have you thinking of Halo soundtracks of old with its use of choir, and he even goes as far as to remix a past Halo track. From there, we launch into chugging electronics with heavy-hitting bass in percussion in “Intruders,” “Mantis,” with added glitchy percussion, and “Gravity” with its ominous pulsating bass synths.

Davidge returns with similarly-cool soundscapes. “Kantele Bow” and “Pylons” give off a very bad ass vibe along with “Convoy,” which really gets down to business and reminds me of some of my favorite Halo moments. I love the siren-like sounds in “Escape,” the reverberating electronic tones in “Swamp,” the familiar tribal percussion in “Push Through,” and the Metroid-esque ambiance of “Foreshadow.” Finally, “Aliens,” my favorite track on the album, sports deep bassy tones and exotic female chanting.

Halo fans who didn’t appreciate the Halo 4 soundtrack last year will want to give this album a try. It more effectively combines the old and the new quite nicely, and having played the game, I knew these moments were in the game despite not appearing on the soundtrack album, so I’m happy to be able to enjoy them outside of the gaming experience.



FINAL FANTASY XI: Seekers of Adoulin Original Soundtrack
Release Date: March 27, 2013
Price: 2,000 Yen ($21)
Availability: CD Japan
Artist(s): Naoshi Mizuta

[Official soundtrack samples]

We posted about this album a few weeks back, and with its lovely packaging and over 50 minutes of new music, I have to say this is the most excited I’ve been for new Final Fantasy XI music in a while.

After an upbeat orchestral opener titled “A New Direction,” the album launches into a number of playful tunes including the adventurous “Breaking Ground” with its funky slap bass, the fun rhythmic pizzicato strings in “The Pioneers,” the prehistoric vibes of “Into Lands Primeval – Ulbuka” with its bongos and bell tones, and the relaxing tropical escape, “Mog Resort.” My two favorites are “Water's Umbral Knell” with its abstract use of water drops and metallic bell tones that are dark and unsettling and the decisive and foreboding “Hades.” Two bonus tracks, likely from content updates between major expansions, are also appreciated inclusions.

This price is right with this one. Naoshi Mizuta continues to grow with the series and shows off some of his best.



Magical Chase Original Soundtrack
Release Date: February 26, 2013
Price: 2,625 Yen ($27)
Availability: CD Japan
Artist(s): Hitoshi Sakimoto and Masaharu Iwata

[Official soundtrack samples]

Get ready for a history lesson. Back before Hitoshi Sakimoto and Masaharu Iwata became known for their orchestral RPG scores for Ogre Battle and Final Fantasy Tactics, they worked together on this PC Engine shmup title that earned quite a following for its vibrant visuals and upbeat and bubbly soundtrack. Yes, Sakimoto and cute videogame music.

If I had to pick a title that this music most closely resembles, it would be Fantasy Zone, which I also love. From the incredibly catchy chorus section of the first stage theme, “Rampish Chase” to the playful “Ripple’s Theme,” there’s lots of sticky sweet melodies to enjoy. Then there’s the rambunctious “Azure Way,” the decisive “Waltz of Meditation” that hints at the Sakimoto/Iwata that would appear in later years, the chippy final stage theme, and boss themes that will have you bopping your head. The ending theme is also incredible.

And that doesn’t even touch on the 26 minutes of arranged and unused tracks provided by Basiscape Records to commemorate this album. There are five arrangements in all, updating the retro sound of the originals with orchestral or electronic sounds, although Sakimoto’s Sakimoto-esque version of “Ripple’s Theme” is probably my favorite. The undiscovered tracks are similar to other tracks found on the album, so no biggie.

I’d always heard about this game and soundtrack. After listening and watching some gameplay videos, I want to play it. If you’re a fan of Hitoshi Sakimoto and Masaharu Iwata, you need to pick this up. It’s a piece of history and it’s amazing that it’s finally out there.

Other Releases

[embed]250730:48106:0[/embed]

Alter Ego Dreamwalker OST
Release Date:
 March 21, 2013
Price:
 Name Your Own Price
Availability:
 Bandcamp via Ubiktune
Artist(s):
 Ken “coda” Snyder

Yogurtbox is back. Well, at least half of it. We’ve featured coda a few times here on Destructoid, and this time he’s bringing his chiptune magic to a game soundtrack courtesy of Ubiktune. In addition to providing some upbeat and pumpin’ chiptune action with a swagger (the pop-oriented and super catchy “Sweet Home” and powerful epic final stage, “Void,” being my favorites), there are also some fantastic remixes from other artists including the amazingly talented kulor, Madbrain, Blitz Lunar, and DJ Bouche. All for name-your-own-price, so do it now.

[embed]250730:48107:0[/embed]

Fly’n OST
Release Date: November 9, 2012
Price: $4.99 EUR
Availability: Ankama Shop
Artist(s): Guillaume Pervieux

We need to give Ankama’s Guillaume Pervieux some love. He wrote a lengthy and amazing score for the beautiful Islands of Wakfu a couple years ago, and his latest work for Fly’n will also surprise you with its eclectic and abstract electronic soundscapes. 

The meandering and gamey opener, “Adcoffe,” hints at aural joys to follow which include the tense yet playful “Andndamm,” the bassy chill-fest “Yservat,” the Radiohead-esque “Sonwide,” the comical and mischievous “Fucus,”and the dreamy and psychedelic “Oysicide" and “Carbonic.” There’s lots of gamey stuff and other more serious electronic music, but it’s all great, and there’s nearly two hours of it. Check it out.



Hyperdimension Neptunia Victory Sounds of that other Gamindustri
Release Date: March 21, 2013
Price: Not for Sale
Availability: NISA Online Store (Sold Out)
Artist(s): Nobuo Uematsu

I admit that my primary draw to this game was its soundtrack by Final Fantasy composer Nobuo Uematsu. I’ve since found myself interested in the game’s world and characters more so than the music!

What you have is a lot of bubbly electronic music and typical JRPG rock themes. That’s fine, as that’s what we know and love Uematsu for, but this isn’t his most inspired work. The upbeat tunes fit the game’s visuals and quirky sense of humor perfectly, but the sticky-sweet melodies lack substance and memorability. Aside from several character theme remixes from previous titles (“Rom's/Ram's Theme ver. V” is particularly cool), you’ll mostly want to keep your ears peeled for the Japanese-flavored “The Rock Garden” and the Earthbound Papas rockfests, “4th Dimension” and “Invader 1960,” but I wouldn’t feel too bad if you missed out on this one.

[embed]250730:48108:0[/embed]

The Mystic Quest For Metal
Release Date: July 12, 2012
Price: $4
Availability: Bandcamp
Artist(s): Daniel Tidwell

Final Fantasy: Mystic Quest is one of my favorite games (ridicule all you want!), and that’s in large part due to the game’s amazing soundtrack. In fact, one of the highlights of my many years writing about game music was an interview with the composer about this game.

It’s heavy metal rock in game music at its best, and Daniel Tidwell (previously of Lords of Thunder) has given it a fitting tribute with some amazing guitar solos and great metal production work. You get the game’s three battle themes as well as the epic final dungeon and rockin’ “Lava Dome." Thanks to Nubuwo for turning me on to this one.



NanoSweep 15 / overdrive hell 9: Hizumi Tengoku Moeru Maharaja
Release Date: December 31, 2012
Price: 500 Yen / 325 Yen
Availability: Limited
Artist(s): SuperSweep

Here’s another round of original electronic music from SuperSweep Records.

In what’s probably my favorite NanoSweep to date, I loved the hell out of the dreamy chillout track, “Focus,” and the super funky “Oscillation” which features some great rhythmic electric piano. Ayako Saso’s appropriately-titled “Patchwork” combines a lot of different ideas, the most interesting of which is a modified female vocal section that reminds me a lot of The World Ends With You, while Hosoe himself closes out with “Killing Terramorphous,” a hammering electronic track that gallops along with mind-crushing bass synths.

Overdrive Hell 9 yields an ethnic experience focusing on what sounds to be Indian music. Lots of vocals abound with the lovely “Ethno Vibration,” which is pretty tame by overdrive hell standards. “Curry Burns,” “Screaming Yoga,” and “Go Go West” get back on track, however, with crazy effects on the vocals and throbbing bass drums that never let up.

As always, these are hard to come by as they’re sold at events in Japan, but they do exist!

[embed]250730:48109:0[/embed]

Sidetracks - Music from Sidescroller
Release Date: June 25, 2012
Price: $9.99
Availability: iTunes
Artist(s): High Frequency Bandwidth

This month concludes my look back at the PixelJunk franchise. Sidetracks is similar in style and even borrows a few tracks from PixelJunk Shooter (including an even more laidback version of “Fotographik,” my favorite track from that album). There’s the grungy opener, “Dog is No Hero,” which combines rock and electronic elements, but aside from this and the glitch rock track, “Zodiac 3 Arts Klub” with its catchy male chorus section, it’s mostly an icy trip-hop affair.

“More or Less” is a perfect example of chill hop with its snazzy hip hop stylings, while “Planet Thanet” brings in alien-sounding synths, “Ghetto World” gets funky bass and percussion, and “MNP” goes for a spooky vibe with lots of weird sound effects and organ. The two remixes featured of “Planet Thanet” and “More or Less” get more icy ambiance and reverb, and are nice additions.

As my favorite tracks from Shooter are also presented here, this is definitely by favorite PixelJunk soundtrack to date. We’ll see what the future brings!

[embed]250730:48110:0" data-vidtitle="

Halo 4 OST Volume 2 is everything I wanted out of Halo 4 Welcome back to Note Worthy, our monthly soundtrack round-up. This issue marks one year of Note Worthy, and I'm changing up things a bit with formatting. In the past, I've featured our ten monthly reviews in alphabetical orde...   full story

" data-purl="halo-4-ost-volume-2-is-everything-i-wanted-out-of-halo-4-250730.phtml" data-vidsummary="" data-remodal-target="watch">  Watch Video

Halo 4 OST Volume 2 is everything I wanted out of Halo 4

Welcome back to Note Worthy, our monthly soundtrack round-up. This issue marks one year of Note Worthy, and I'm changing up things a bit with formatting. In the past, I've featured our ten monthly reviews in alphabetical order, giving each ...   read

 
 
Chainsaw Pogo Gorilla photo
Chainsaw Pogo Gorilla

I-Mockery's next game is Bionic Chainsaw Pogo Gorilla

Last year, fans of I-Mockery's irreverent brand of pop culture humor were treated to Abobo's Big Adventure, a mashup of all things NES starring the muscle-bound Double Dragon boss Abobo. As hilarious as Abobo's Big Adventure was, I was just...   read

 
 
Planescape OST photo
Planescape OST
  Watch Video

Torment: Tides of Numenera OST sample just for you

Maybe you've been following the slew of information being released by inXile Entertainment about their recently-funded title, Torment: Tides of Numenera. While the release date is quite some time off, we've got something to whet your a...   read

 
 
Edge of Twilight photo
Edge of Twilight

Edge of Twilight has a new iOS prequel in the works

Edge of Twilight developer Fuzzyeyes has revealed to Destructoid that it will release a second Edge of Twilight iOS game following Athyr Above, which launched yesterday. This game will be a prequel, and aims to explain the game's racially c...   read

 
 
PlayStation 4 photo
PlayStation 4

Blacklight dev: 'Sony is really in to win this one'

Sony revealed several more indie titles last night during the Game Developers Conference that are set to hit the PlayStation Vita, PlayStation 3, and even PlayStation 4. Sony has been showing a lot of support to smaller developers, and even...   read

 
 
PlayStation 4 photo
PlayStation 4
  Watch Video

Blacklight: Retribution is coming to the PlayStation 4

[Note: The images used in this article are from the PC version of Retribution.] Developer Zombie Studios has announced that its free-to-play first-person shooter, Blacklight: Retribution, will be coming to the PlayStation 4 as the first P...   read

 
 
 photo
8===D

Four Swords makes Shovel Knight dev's brain 'go electric'

Warning: Sean Velasco of Yacht Club Games doesn't want you to get your hopes up. Shovel Knight had a great showing at PAX, and is chugging along on Kickstarter, but the game is far from done and there is no way of telling what features (bey...   read

 
 
Jonathan HolmesFeatured blogger

"Where do dreams end and reality begin? Videogames, I suppose."- Gainax, FLCL Vol. 1 "The beach, the trees, even the clouds in the sky... everything is build from little tiny pieces of stuff. Ju...

 


 


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I was just thinking that season 2 of Star vs the Forces of Evil was lacking compared to the first, then I watched the most recent Things are about to get a whole lot more interesting!

 
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Yoooo shiny When I look for shinies I never get them, but when I just want a decent IV mon I get shinies left and

 

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