2009 Archives - The Greatest Game Music

Harry Potter and the Half-Blood Prince Soundtrack – Review

Harry Potter and the Half-Blood Prince Soundtrack, James Hannigan, 2009

Harry Potter and the Order of the Phoenix turned to be industry veteran James Hannigan’s breakthrough work – a delectably luscious orchestral game score that topped Jeremy Soule’s previous contributions to the franchise and could proudly sit aside John Williams and Patrick Doyle’s Harry Potter soundtracks. It’s no surprise then that Hannigan’s Harry Potter and the Half-Blood Prince soundtrack doesn’t change the winning formula. Hannigan’s follow up work is as riveting as Order of the Phoenix, but it does introduce a few noteworthy changes.

The most important thing first: Half-Blood Prince once again features near-symphonic depth in its orchestrations and counterpoint. And of course, once more its melodies are gorgeous, full-bodied creations. Like Order of the Phoenix, it’s a work that sits very near the top of orchestral game soundtracks. The most significant difference between Half-Blood Prince and Order of the Phoenix is a greater sense of scope and scale. Outside of its roaring battle cues, Order of the Phoenix mostly pivoted between light-hearted mischievousness and hushed nocturnal wonder. The Harry Potter and the Half-Blood Prince soundtrack tips the balance in favour of a sweeping sensation of adventure.

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IL-2 Sturmovik: Birds of Prey Soundtrack – Review

IL-2 Sturmovik: Birds of Prey Soundtrack, Jeremy Soule, 2009

IL-2 Sturmovik: Birds of Prey arrived at the tail end of the World War II game genre’s huge popularity. As such, game music fans had witnessed many different approaches to underscoring this most devastating of armed conflicts. Especially Michael Giacchino‘s oeuvre had been a potent display of how to put war into music in various ways.

Jeremy Soule hadn’t worked on a WWII game before Birds of Prey and the same year’s Order of War. However, his fantastic action material on Total Annihilation had a militaristic ferocity and soaring momentum that made him a logical choice to score a flight combat game such as Birds of Prey. True, the game itself didn’t add anything new video games’ depiction of the clash between Allied and Axis forces. However, Soule’s IL-2 Sturmovik: Birds of Prey soundtrack found an approach both novel and rooted in the composer’s previous works.

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The Path Soundtrack – Review

The Path Soundtrack, Jarboe / Kris Force, 2009

One effect of the resurgence of the indie game scene from the second half of the 2000s onwards was the proliferation of titles that questioned the received knowledge of what actually constitutes a game. An early example of this emerging type of work was The Path, a reframing of the Little Red Riding Hood tale. The Path turns the classic fairy tale into an exploration of female sexuality and the painful process of growing up.

Particularly the former story aspect makes The Path a fascinating addition to the world of games, given how depressingly rare nuanced depictions of sexuality are in video games. In the game, the player takes charge of six girls of various ages and leads them to their grandmother’s cottage. If you stay on the path though, the game will tell you at the end that you’ve failed. Players can only unlock The Path’s mysteries by walking off into the woods, where the wolves lurk.

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‘Splosion Man Soundtrack – Review

‘Splosion Man Soundtrack, Matt Chaney / John DeBorde / Joshua Mosley, 2009

You’ve just got to appreciate titles like ‘Splosion Man that take one particular, fun aspect of video games and build their entire gameplay around it. In this case, that common video game element is – of course – explosions. No matter if you’re trying to solve the game’s platforming puzzles, kill enemies, or simply jump – all it takes is an explosion from the game’s self-combusting protagonist.

In an unusual move, Twisted Pixel Games ended up dividing soundtrack duties along game mode lines. Joshua Mosley wrote the ‘Splosion Man soundtrack’s single-player cues, while John DeBorde wrote the multi-player tracks. The game’s audio lead Matt Chaney also contributed and performed ‘Splosion Man’s light-hearted ukulele theme song “Donuts, Go Nuts!” Both Mosley and DeBorde joined the project with a background in composing for various types of media (games, TV, movies).

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