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AG OST
I couldn’t resist to post another track for Dreamfall ,the game is full of many remarkable and unforgettable ones .
This one is heart-breaking . Dreamfall - The Hospital Room
Did you ever wonder with all the talk about how frustrating and difficult Sierra’s adventures were what is most difficult of them all? the answer is; if we put Woodruff aside as its not developed by Sierra but only published by ,then with no doubt and from me (who I can claim to be) a Sierra’ freak , its Codename: ICEMAN .
Codename: ICEMAN is a great adventure that holds many genres melt within (mostly all the gaming genres) ‘partially’ ,you can find (bedside the great adventuring mode); Simulation (the Submarine part) ,Action (the Shootings parts) ,RPG (the diving part which needs guiding our hero into being ready and capbale for it) ,Strategy (the life guard saving part at the beach).
James Walls games always had taken different approache than all the other ‘designers’ ones from Sierra at Codename: ICEMAN ,speaking of his gameplaying style that featured text parser ,the syntax of the common ‘Verb+The-Object’ was different for him; typing LOOK upon entering a new room doesn’t hold the usual replay of describing the surroundings ,instead it was concerned over the object/subject the protagonist facing/standing-next to; For example while standing next to a ladder the program understands CLIMB UP, when at similar games from Sierra it only would understand “CLIMB-UP-The-Ladder” ... and so on.
The game was released 1989 one year after Police Quest II , three things I noticed obviously WERE very similar and common at both; Shooting ,Diving and opposing some fanatics-extremists-Muslim-Wahabi’-Qaeda-terrorists’ ,but what is more noticeable is that time the game (1989) released ,it was still far from the 9/11 incidents, which shown/and-mostly-created the world’s awareness (propaganda) for this sect/cult ,so mostly it seems that Walls as an Ex-Policeman had personal experience(s) or at least interest toward these issues, not to mention diving all the same.
Mark Seibert had created a very strong remarkable soundtrack for this game likely pretty feels similar to his previous work forPolice Quest II: The Vengeance which I had posted earlier.
Codename: ICEMAN - Full Soundtracks Compilation REALLY worth listing to especially when keeping in mind the release date, Mark Seibert was and always to be remembered as the master of the MIDI especially when it comes to the Roland MT-32 ‘sound’.
Ambient Music is intended to induce calm and a space to think , to evoke an ‘atmospheric’, ‘visual’ mood quality ,it must be as ignorable as it is interesting ,its hardly music by-itself or even to enjoy listening to without visualization .
Here is Lilly Looking Through - Full Soundtracks Preview
I tried to find any music there ,that accommodate level of listening attention ,but I couldn’t .
Composed by Chris Beazer.
I will also (in the next days) try to cover the other four adventures listed at 2013 Aggie Award Nominees to the Music award.
Jessica Curry is a composer for Amnesia: A Machine for Pig . Mainly writing the sad stuff. She has two strong points she mainly shines within through the soundtracks; Strings and Piano .
Haven’t played the game so I can not tell ,how well the soundtracks immerse with the gameplaying .
Amnesia: A Machine for Pig - Edwin and Enoch
Amnesia: A Machine for Pig - Mandus My favorite so far.
The Whole Soundtrack consists of 51 tracks , can be listened to and bought ,Here
I posted The Raven Ost before The Raven Chapter II Ancestry of Lies - The Egyptian Museum ,#127.
I am sorry , I have to say it ,but Benny Oschmann’The Raven - Main Theme is a rip-off of Francis Lai’s Love Story (1970 film) soundtrack .
Either no know how is Love Story OST sound’s like or you all just so boring.
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I listened to the whole Beyond Two Souls - OSTs , and I swear that its fabulous ,tremendous ,amazing ..ooh la-la . But then I stopped for a min wondering how long the ghosts of adventure games ‘merely adventures’ will rule the scene .. thats not good ,not good at all.
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Added: Ok lets get this over with it ,but I promised myself I wont bring in any games I don’t quite like .
And this is the last of 2013 Aggie Award Nominees to the Music award ,Gone Home - Ost
The Dig ,I played the game back in the late nineties and it had struck me at that time with good many feelings that I couldn’t put my hands earlier before replaying ,guess it was a common thing when like I enjoy something ,but after I am done it ,it doesn’t really ‘dig’ its space/place down into my memory ,like a warm breeze in a cold winter once it passes , I don’t have any recollection of how good and refreshing it was. But lets not make the impression I am being negative about the game ,surely not! , I have had replayed it very early ,but this time it struck me with a total different feeling; I felt ‘old’ (not the game ,The Dig ,still shines after almost 17 years of its release as new ,with only couple of glitches comparing to the modern adventures) ,an adventure that I had finished long time before ,when there was not any possible access to ‘walkthroughs’ like going through the Internet nowadays ,It had just given me ‘HELL’ upon my replaying . I do wish to elaborate more into this point/idea ,but I think its not the place nor the time for it here/now .
The gameplaying upon replaying made think that this is the most obscure different adventure came out of Lucasarts ,I can be positive about saying its the most difficult or even the Myst-game-like adventure that came out of Lucasarts.
I will Quote Tim post so I wouldn’t have repeat the content as he already said what there is to be ..
I noticed this thread is lacking a mention of my favourite soundtrack for any game ever.
The Dig - Mission to the AsteroidMichael Land did an amazing job with his soundtrack for The Dig, which is the main reason why the game is so atmospheric. He hit the nail on the head from the very beginning, so I picked the song that plays in the opening credits.
Also because this moment (with the voice over and the sun coming from behind the asteroid and causing lens flare) is one of the biggest goosebumps moments I’ve ever experienced in games. The soundtrack is just THAT good!
The Dig was the first LucasArts game to have its soundtrack also sold separately as an audio CD, adapted as a linear continuity of finite pieces. Michael Land played the piano and synthesizer and produced the album. He was assisted by Hans Chistian Reumschüssel (cello), Emily Bezar (vocals), and Paul McCandless (woodwinds). The soundtrack was released bundled with a CD-ROM that included demos for five LucasArts games, and was intended as a first step in cross-promotional efforts.
EcoQuest: The Search for Cetus was the 1st milestone at Jane Jensen’s career with Sierra ,by the time the second part was being made, she was not involved in it, having moved on to her Gabriel Knight series.
EcoQuest series was one of the Sierra Discovery Series production’ line of Sierra ,along with Castle of Dr. Brain ,Mixed-Up Mother Goose ,Pepper’s Adventures in Time , Talking about good childish adventures must bring in about EcoQuest adventures ,a great good example of an Edutainment; the 10-year-old boy Adam is to learn about the importance of environmental ethics.
The game was released first on floppy disk, then on CD-ROM with full speech ,In contrast to the second installment that never gotten a talkie version.
It seems to me Chris Braymen the composer of Eccoquest(s) was remarkably messing with Mark Seibert at the beginning of this EcoQuest: The Search for Cetus - Champions Welcome Home
Though I have a soft spot for Robert Holmes, I do think that Chris Braymen was the most talented composer at Sierra. His scores for Ecoquest, Kings Quest 6 and Larry 1 remake are all excellent.
And of course Aubrey Hodges, just for his excellent work on Conquests of the Longbow…..and Robert Holmes for especially the tunes of Gabriel 2…and 1…...man, now I don’t know anymore!
And of course Aubrey Hodges, just for his excellent work on Conquests of the Longbow…..
The Conquests of the Longbow soundtrack and Aubrey Hodges are both awesome (no disagreement there!) but I do want to add that Mark Seibert also deserves co-composer credit for Longbow.
In 2005, Aubrey Hodges provided my friend Tom at Quest Studios with a breakdown of who wrote which track on Longbow. That breakdown was lost on the new page during a site revamp, unfortunately, but people can still see it on the archived version of the page:
Archived Longbow page on QS, with breakdown of the composer of each track
(And here’s the current page, if anyone wants to download the OGG music files themselves.)
Per the breakdown, the split is about 50/50 of Seibert to Hodges compositions. It’s pretty cool to have the breakdown, because by comparing the style of Aubrey Hodges’ tracks to, say, QfG4 (also Hodges) and Mark Seibert’s tracks to KQ5 and Conquests of Camelot (also Seibert), you can start to hear the slight differences in each composer’s voice. It’s subtle, of course—they blended really well and made a wonderful pairing, I think.
Since Mark Seibert became music director at Sierra, the credits can be confusing about whether he was directly composing or just in a supervisory role, so I just wanted to clear that up.
Caliburn you never cease to amaze me , with your fruitful infos , I missed your contribution at the OST thread , and posts .
Caliburn,
Interesting facts. On the same site (QS) I understood some years ago it was mostly Hodges being responsible for the musical direction on Conquests, despite the fact that Seibert was given solo credits. This was apparently pretty common back then at Sierra, where the music director was in charge, but many of the compositions were created by additional composers.
I always felt that the games Seibert composed solo, the scores were lacking something, which leads me to believe that the Sierra’s better scores credited to Seibert were mostly due to the involvement of additional composers.
But I’ll check the tracklist to see who wrote the better pieces of Conquests.
Jonathan Boakes is a living Legend ,the Stephen King of horror adventure games , being involved at almost everything with the development of his games makes him one of a kind ,not to forget the way he is designing his games that they are usually based on real scenery.
The Lost Crown: A Ghost-Hunting Adventure seems to be the most hunting adventure I played ,Jonathan Boakes had offered the most scariest moments of the game through the puzzle solving ,and that was through the detecting the paranormal activities ,which amazingly was an unmatched experience for me , all the horror adventures that I ever played usually intimidated the spooky feeling either through the story telling ,the locations or by creating some sudden reflexes for the player and mostly (or always) concerning blood ,monsters and possible death situations .But with The Lost Crown: A Ghost-Hunting Adventure that was hardly the case .Inside Pulse had wrote on the The Lost Crown: A Ghost-Hunting Adventure “easily the best adventure game released…”
Jonathan Boakes did mention before through an earlier Interview here at Adventuregamers that his three favorite adventure games were Riven ,Titanic: Adventure Out Of Time and Zork: Nemesis, which can easily explain his admiration of 1st person perceptive’ ,still at The Lost Crown he offered a variation of both ,I do think that it was his 1st experiment/experience with 3rd person development ,but not sure.
The Lost Crown: A Ghost-Hunting Adventure - Open/Menu Theme
The Soundtracks of the game that he composed or I’d rather say ‘designed’ can hardly (for my taste) be listened to separately ,but hell! , they actually did the job and have had added/created a greatest spooky atmosphere to the game .
I started Ceville three times and quite before I moved on with it, first look at the game slams my head with awfulness ,“I am not going to control that idiot” my thoughts , but only a little after the start ,I was hooked badly , the game was terrific .
It was the first and the last shot made by Kalypso Media to develop ‘an adventure’ (which was only known for publishing games) to create an adventure similar to their previously published & successful Jack Keane of Deck13 ,by giving/making Realmforge Studios for this subject especially (Ceville ), butsadly the studio had to move on into more selling genres like Action ,Strategy ,Simulation ,and Role-playing later on.
The game holds out an excellent musical score ,the composing made by Andreas Veith is great ,the only thing lame about the whole soundtracks is the sound libraries used ,were kinda not up to date to the year 2009.
I started Ceville three times and quite before I moved on with it, first look at the game slams my head with awfulness ,“I am not going to control that idiot” my thoughts , but only a little after the start ,I was hooked badly , the game was terrific .
I thought the same thing when I first tried the game & just left it! I might persist now & also pay attention to the score - I tend to enjoy music in a game at the time but never remember it afterwards!
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