New Game +: Desktop Dungeons!

(Don’t forget the Rafflecopter giveaway of a free game of your choice! Or do it on Another Gamer’s Blog Facebook page!)

I wanted a catchy catchphrase for when I review a new game, but the fact of the matter is, that happens so seldom that I just picked “New Game +” and left it at that. You’re only going to see it once in a blue moon, so don’t let the lack of originality keep you up at night.



The goat on its logo is very important.

First of all, let me invite you to watch the trailer for the game here:

If you don’t get what’s going on in the end, go watch 2001 Space Odyssey, or at least the end of it.

Anyway, nuff said.

So, there’s a lot of stuff I want to cover about the game. First off, it is a ROGUELIKE. For the uninitiated, there was this one game a long while back called “Rogue,” and it was cool and people have been imitating it since then.

The qualities of Roguelikes are varied, but they do have some in common:

1. You die a lot. Hooray.

2. You learn stuff by dying, or otherwise accomplish objectives that aren’t undone by your death.

3. You have to start from the beginning when you die.

4. The levels are procedurally generated, meaning you never go through the same dungeon twice.

People have called Dwarf Fortress a “roguelike,” but certainly games like The Binding of Isaac, Rogue Legacy (making a named tip of the hat), and the free Spelunky all fall into that category. If you play any of these games, you will see that the qualities that make a roguelike in no way dictate the qualities of the gameplay, story, or difficulty of the game.

Having said that, most of the time they’re pretty flippin’ hard. See rule #1.

Desktop Dungeons is a roguelike, through and through. You enjoy small trysts in procedurally generated tile-based dungeons in a delightfully old-school setting. And you die.

Over and over and over.

Having said this, the gold you collect by your successes (and the lesser of your failures) can be used to buy upgrades in equipment, character classes and other devillishly delightful things. That is the essence of the game. Simple to learn, difficult to master.

There are also puzzle challenges that test your efficiency with different obstacles, equipment and powers. I should mention that I seriously like this bit, because the only way to beat these difficult problems is to use said equipment in the “proper” way. This means that it’s an underhanded education (underhanded because you DIE SO MUCH) in the finer mechanics of the game.

Having said that, the game is exceedingly difficult, and here’s why. It plays like a much faster game. There aren’t many animations, and damage appears to be dealt and healed instantly. However… revealing tiles restores health (yours and the enemy’s), you can destroy spells for permanent racial stat boosts, and health/mana potions are extremely limited. If you’re a gamer and you’re putting the pieces together, you should have this next bit figured out.

It’s a puzzle game.

Sorry to disappoint. The fast-paced action-y aspect of it is really cool, but as you get past the first levels, you’ll find that “preparing for a boss fight” doesn’t mean killing enemies until you’re strong enough, it means squeezing every last experience point, item, healing point and special ability out of the randomized level so that you have enough resources to take this guy on. It’s one huge puzzle, and unfortunately it takes a while before you can see if you’ll be able to solve it. It’s a well-constructed game, but I feel like it was marketed as something other than it is. This is particularly ironic because, well… it’s a lot more similar to “Rogue” than most of the roguelikes out there. I guess I’ve been spoiled.

But alas. It does mention that you die a lot.

It’s worth mentioning that the game is fantastically sarcastic. Goats, banking vampires and other ironic dungeon denizens abound, and the biting (literally with the vampires) humor makes it enjoyable, even when you die. The retro graphics and nifty soundtrack keep it from getting boring, and even though it IS a puzzle game, eventually you begin running into the same situation enough that the pace of the action begins to increase as you get ahead of the (steep) learning curve.

It’s fifteen bucks, and in the experience I’ve had so far (which is really, really just the tip of the iceberg), I’m gonna say that it’s worth it.

But don’t trust me! Play a (rather awesome) demo on their website! (Unity’s required but hey, that’s free too!)

Let me know if you folks cave and buy it! Other than that, see you Monday!



Are video games worse than the NSA?

WASHINGTON, D.C. – “What do we want?!? PRIVACY!” The third-graders screamed and waved signs. “When do we want it?!? AFTER RECESS!”

Tensions are high in one Washington, D.C. elementary school after children were fed the totally objective and unbiased information that the data from their time spent playing video games was – *gasp* – being collected by the boogeyman, Satan, and perhaps some various video game companies that make the former two bad guys pale in comparison.

I know which one scares me most.

I know which one scares me most.

If you’re unsure of what I’m talking about, NPR recently released an article detailing how the scumbag video game companies collect your children’s data (never mind their souls). First, I’m going to rail on how poorly the article was written.

1. The picture spread across the top has a child playing MineCraft, made by the Good Guy Greg of indie game development: Mojang. Originally not multiplayer, MineCraft’s huge modding community and regular updates come at no extra cost to the player, and are inspired not by suspicious clandestine data collection, but by an actual grassroots support base that encourages development in a fantastic game that has had applications in every field from music to engineering. Saying it addicts kids to video games (while perhaps true…) and collects their data to make the game more addictive and convince children to spend extra money on it — although it was only implicitly mentioned by the article — is patently false, annoying, and ignores a huge third dimension of quality that exists in game development.

2. The next mention of video games comes with a parent who is unable to control their child’s video game intake. Sorry, your poor parenting skills aren’t newsworthy. If your child is 13 and playing 12 hours of Call of Duty every day on his Xbox, don’t blame the developer. Blame yourself. Blame yourself a lot, because I quite frankly dislike being called a faggot  by him over voice chat every time I snipe him from my intellectual (and virtual) pedestal.

3. It goes on to group CoD (while implying EVERY OTHER VIDEO GAME is in the same boat) with the people behind Zynga’s freemium disasters and Candy Crush. It’s like grouping every burger joint with that one seedy McDonald’s in the ghetto where people go to distribute methamphetamines. And I feel like I’m insulting the meth dealers here.

4. Not only have you totally lost control of how much your child plays video games, but that tween Belieber you gave a smart phone to is now spending your money on microtransactions?!? And it’s the fault of the game developers. No. See number 2, only accompany it with the sound of my head hitting my keyboard in mind-numbing acknowledgement of your absolute failure to regulate your child’s interaction with… well, EVERYTHING. If your solution isn’t to take the goddamn smart phone away, then I have no sympathy for you at all. Let them cry. Let them wheedle and whine, but those boundaries are better set late than never, and believe me, if your child is (without your permission) buying things for Farmville or Candy Crush, you are LATE in setting those boundaries.

These people. You're them.

These people. You’re them.

Okay, done with that nonsense. Journalists, let me make an unequivocal demand of you as clearly as I can: update your views of the video game industry. Talk to game designers. Talk to people who know a lot about games (as in not the people who play CoD for 12 hours). Talk to me. Do this before you write your article, and you will make much less of a fool of yourself than you currently are in this day and age. Stop being tonedeaf and learn a bit about the industry you purport to be reporting on.

The real purpose of this post wasn’t to pointedly point out the pointless points of this journalistic “epic fail,” however. The data collection of video game companies is an actual issue that needs to be discussed, and as a person with absolutely no credentials in marketing, formal debate or pretty much anything else, I feel qualified to deliver my opinion.

First of all: let’s take a brief step back from this whole “data collection” buzz-phrase. If you’re in the USA (or Germany… sorry, Germans) then you’re probably shockingly aware of the NSA’s breach of what many consider to be a fundamental human right: our right to privacy. I’m going to avoid using the word “Orwellian” (damn, just used it), because if you’ve read 1984, I’m sure the scenarios spring to your mind upon hearing this stuff. We get it. We’ve been violated as a nation, and as individuals. It’s in the forefront of our minds.

The reason I say to step back from it is because the sensationalism of this article and the reality that our data IS being collected is based mostly on the fact that our privacy feels “violated.” The fact of the matter is game developers are not insidiously collecting incriminating data on play habits; they’re simply following a more effective version of the tried-and-true marketing that makes us as consumers want to buy a product. That they’re marketing to kids is irrelevant, as long as you still have some control as a parent on what your child purchases. Am I really saying this? Am I really suggesting there is a lack of parental control in what a TEN-YEAR-OLD buys?

The third graders write about how addicting video games are (I’m temporarily suspending my crusade against the word “addicting,” as I’ve resigned to the fact that the perfectly good word “addictive” has been chucked into the meat grinder of illiteracy). They are naturally offended that their data would be used to fuel that addiction! However, I’m going to be brutally honest and say that our world is full of temptation, and it has been for thousands of years. A rare Bible quote from the Lord’s prayer: “Lead us not into temptation, but deliver us from Zynga.” It’s a problem that we have to deal with. If you, the parent, in your smart-phone-buying frenzy, have opened your child up to a world of temptation, then it is YOUR job to teach your child how to deal with it in a responsible manner. If you give your 14 or 15-year-old alcohol, it is not up to your child to decipher how to not become an alcoholic. We do not accuse food companies of foul play when they do flavor studies on how to make their food the tastiest (even if it involves drowning our children in a sea of fat, sugar, childhood obesity and diabetes). But somehow the accountability has been shifted from parents to game developers.

The other half of this issue comes again with the two-dimensionality that journalists, parents, and even some gamers tend to think of the game industry with. The majority of PC and console games available today (not counting Xbox Marketplace or whatever the PS version is) do not involve microtransactions (aka buying with real money powerups, new skins, new weapons, or extra lives). This means that your child is spending 12 hours a day playing a finished product. Many indie game studios like Mojang update their game FOR FREE. Any data collection that goes on by these companies is for the purpose of gauging how well their game went, what parts are good and what parts can be improved upon. They are taking opinion surveys that you don’t even have to fill out. They are doing what every game developer SHOULD do, that every gamedev has a RESPONSIBILITY to do, even: paying attention to how people play their game. If you fail to do that, you are like a car company failing to consider how the driver will feel inside their vehicle. The very nature of the artistic medium in which you’re creating something in forces you as a game developer to recognize how your game interacts with players and vice versa.

Even if you’re from Zynga. Even if you’re trying to get people to buy lives in Candy Crush. Even if you’re just a nice guy trying to make the sequel to your game better than its predecessor. That data is much more valuable to you from a development perspective than it is to the third-graders who don’t like being addicted to games. Gamedevs aren’t the NSA. They don’t single out people, they don’t assemble profiles to incriminate players they don’t like, and they don’t collect data simply for the sake of having it. It’s a business, it’s marketing, and if you don’t think it’s facilitated games being created at a higher level than they would otherwise, I’d suggest you take a page out of the American government’s book and start collecting some data of your own.


P.S. Don’t forget to visit this post I made about signing up to win a free game! The raffle ends just over a week from now, so get the maximum chance to win by visiting and sharing daily. Small price to pay (much smaller, in fact, than the price of a handy-dandy new game)!

Free Games?!? I’ll take ’em!

Hey, folks! As an added treat to the loyal readers (and opportunity-seizing video game enthusiasts) of my blog, I’ve teamed up with’s affiliate, to sponsor a video game giveaway. No pyramid schemes, no strings attached, just free stuff! Here’s how you enter:

1. On the widget (fantastic link below), log in with your Facebook or email account.

2. Quickly browse through CheapDigitalDownload’s vast selection of PC games (they’ve seriously got a ton…) and choose the game that you want to win. Get the Game URL and paste it on the box provided in the link below. Don’t forget this part: without the URL, they won’t know which game you want if you win (and you can’t enter).

3. Like and Follow their Facebook and Twitter pages to gain entries. To get more entries, just

share and tweet about this giveaway. The more entries you have, the more chances you also

have in getting the game of your choice! Super easy! Get the word out!

This giveaway will officially end on November 20, 2013 and the winner will be announced on the same day. An initial email will be sent to the winner, who then has 24 hours to respond, before a new winner will be selected. Please read full Terms and Conditions of this giveaway, found on the widget (in the link) below.

To join other fun and exciting giveaways, visit the Sponsor’s giveaway blog and join!

Best of luck!

(You can also visit the sponsor’s giveaway site to join more giveaways. If you like. If you like free stuff, that is.)



(Keep being awesome, readers.)


P.S. I’ll be posting this link in every post I write from now till the end of the promotion, but if you’re super-duper-über committed to doing it every day, I’d only ask that you do go through my site to get to it (don’t just bookmark like a meanie-face).  Alternatively, you can just go visit my Facebook page here! Enjoy and thanks for being so awesome. 🙂

It’s time for you to make a game.

Hi, folks!

In the past year (in which I hadn’t been blogging much), I learned to program. I don’t mean that I learned complex sorting algorithms and the most elegant solutions to NP-hard problems that keep the Big-O costs of my programs low while solving for the trillionth digit of pi.

No sirree,  I learned to program games. What makes a game tick? How do the different elements of a game go together? What special things can I add to my game to make it more complete, more interesting, more engaging and fun for a player? These are complicated questions that have more to do with thinking about games than programming them. There are TONS (I mean seriously… tons) of examples of well-made games, starting with Pong and working your way up to the newest GTA game that everyone’s raving about.

If you’re good at putting two and two together, this post (and others in the future like it) are going to go into the nitty-gritty of game development. Today, I’m afraid I’m not going to get too deep into things, because I’m going to assume you know absolutely nothing about the development of games and the only reason you’re still reading this is out of some sick desire to learn. Sicko.

I’m not going to be your teacher, folks. I suck at teaching. I’m great at extrapolating on ideas that people have taught me (which is, indeed, the purpose of this post). But a teacher I ain’t. I teach kids piano. That’s about it.

Who WILL be your teacher, then?

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Video Games and Learning: A Non-going Process

Hey, folks! Happy Monday!

I told you all that I’d be writing periodically to tell you about the fascinating things I’ve been finding out about video games in my “Video Games and Learning” Coursera course.
Turns out, not much.

Fact of the matter is, outside of an educational perspective, I could have written most of the material for the course. Talking about the elements of game design that teach a player, how increasing complexity and introducing game elements at different times affects the learning curve, etc. etc. I know this stuff because I’m a gamer (and an attentive one, at that), but the course was written for non-gamers who think it’s a fabulous idea to use games in the classroom.

I’m not on a pedestal, I’m not in an ivory tower. Educators, USE YOUR GAMES. Use MY games! Education departments of the world, hire programmers to work full-time on producing learning games for people of all grade levels and subject areas. Imagine how AWESOME it’d be if you got to kill monsters in “Wuthering Heights: The RPG,” or create epic physics-based puzzles in “Anatomy and Physiology: Zombie Edition.” I understand that courses like this give educators a leg up when figuring out how to teach difficult concepts in a way children will react to, and I appreciate that these resources are out there to improve our education and our teachers.

But I guess I’m approaching education from a game design perspective, as opposed to approaching game design from an education perspective, and I was sorely disappointed. I’ll do a post Friday about my final thoughts on the course, but other than that… sorry, folks! Didn’t turn out to be as beneficial as I had hoped!

Here’s a picture of 9 Charmanders driving a golf cart to make you feel better.




See you Friday!


The Storytelling of Bastion: Another Look

Hi folks! Good news in the blogging world, my blog may be eligible to partner with a certain game-distributing website to offer free game promotions to my readers! If you know somebody who loves games and doesn’t read this blog, let them know! If you’re just here for the free stuff, welcome to the club 😀

I’m replaying through Bastion. Don’t ask me why, it’s like that stereotypical pop song where the dude who’s hasn’t thought about that one girl in years calls her up at 2am, only instead of calling girls I’m smashing things up and listening to the sexiest narrator this side of Sam Elliott.

Proper story's supposed to start at the beginning... got any sasparilla?

Proper story’s supposed to start at the beginning… got any sasparilla?

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Video Games and Learning: Immersion?

Life’s been hectic. Just saying. I should start all my blog posts this way. It’s inevitably true.


Video games and learning! I’m learning about video games and learning! I’m learning about video games and learning about video games and learning about video games and learning– this could take a while. It’s like a toddler not knowing how many A’s are in the word ‘banana.’


So, since I’m always short on time and I’m always passionate about video games, today’s going to be giving you a distillation of the magic of video games as a learning tool. Mostly these first couple of weeks have been about video games as they ARE. We haven’t gotten too much into the construction of lessons based on video games and such, but my cup of tea is exactly this: examining why games are such good teaching tools ALREADY, without any coercion from teachers to guide it into a lesson plan.

It’s about immersion. Duh. It’s in the title.

What do I mean? Well, the meaning is two-fold: the first half is the immersive experience of the game itself. Games present us with two kinds of problems: well-defined problems and ill-defined problems. The well-defined problems are essentially “what am I fighting/solving/traversing at this moment?” questions. Is there a ninja in your path? Well-defined problem that handy decapitation will solve! Is there a large platform that is just out of your reach? Use your handy whip/jump-boots/pogo-stick/magic-tiki-mask-of-levitation to get across. Is there a bunch of blocks in your path? PUSH THEM, YOU ZELDA-PLAYING NOOB!! You get it. The goal is clearly within sight even if it’s not within reach. A lot of games do this very well and do it throughout the course of the game: Super Metroid is my favorite example, as it shows you rooms that you cannot traverse or even access with your current equipment.

Next come the less-well-defined problems that the well-defined ones are nested inside: the questing, the chains of events. I think of this as the extremely long item chain in Ocarina of Time that begins with a cuckoo and ends with a giant sword. You maybe never reached the end. In the beginning, you maybe experimented and got through a couple steps of the cycle, but the end was never in sight. You could see the progression, but problem you were solving (and its solution) weren’t clear. In more free-style games like the Sims, Skyrim or Terraria (NEW EXPANSION PACK GUYS HELLO STOP THE PRESSES), the goals are particularly ill-defined: is success monetary? How about property? Popularity? Combat prowess? There are individual steps you can take to achieve each of these goals, but the game doesn’t present you with a problem that “needs solving.”

The immersive experience in a controlled environment gives the gamedevs equal ability to teach you how to solve problems the game presents, and the ability to teach you to think for yourself in solving these problems. Thinking in a straight path solves many puzzles and problems. Decapitation, block-pushing and rope-swinging will get you to your next destination. But these complex problems and conflicts give a much broader spectrum of solutions a place in the realm of possibility and promote lateral thinking. Fighting a battle in Final Fantasy has a clear goal. The preparation for that battle is a lateral thinking masterpiece. Gear, magic, healing items, positions, even strategies for individual characters are all important “thinking” battles.

Let’s talk a bit about MMOs (also heavily covered in this coursera course). They force you to work with others to succeed. It’s like a Final Fantasy team that you only control one character of, and all of a sudden have more variables like your individual talents, spell rotations, specializations and movement patterns/placement. Even things like being sociable, friendly and patient help, which are valuable social skills that aren’t exactly given a clear “reward” in the school system (but ARE in MMOs. You get invited back more if you’re nice. It’s true).

The MMO part of the course I’m less than thrilled about because I don’t support MMO culture as a complete gaming experience.

Wow, I didn’t realize how high my soapbox was. It’s practically an… IVORY… tower. Get it? Like Ivory soap? Sorry.

(I’m not sorry.)

To support my extremely haughty pedestal of an opinion, I’m going to make up a quote: “The human mind needs to be alone and with others in equal parts. To be alone too often is to not know the thoughts of others, to be with others too often is to not know the thoughts of one’s self.” BAM. Confucian stuff right there. Anyway. Gaming alone can help remove the social pressure MMOs put on you, and can give gamedevs an opportunity to present you with a storylike experience that a lot of people are enriched by.

But I digress. Games work in their experience as immersive tools for learning in how they nest their problems and can create a complex web of problem-solving experiences that leave the player better off at the end of a game than he or she was at the beginning, not only in the story they’ve been told but the way they’ve been taught to think and solve the problems they’ve been given.

Food for thought.


How I Learned to Stop Worrying and Love the Bomb-omb

Mario/Dr. Strangelove crossover? Dr. Strangeario? I could see potentially disastrous gameplay choices.

I’m sorry if you don’t get it. Google’s your friend.

I’ve been swamped this week. The Festival of New American Music is coming up faster than I’d like, and I’m having a piece premiered there (that I haven’t quite polished off all the rough edges on), and I’ve spent my entire weekend working on it. And today. And this evening, probably.

This means three things: one is that either I’ll be dead by Friday or I’ll be finished with the darned music, leaving me room and time to blog. The second thing is that (obviously) I haven’t been keeping up on the Video Games and Learning course as well as I should be, and I’ve fallen a bit behind on everything. The third thing that follows is that (obviously) today’s blog post won’t incorporate any of the delightful stuff that I haven’t learned.


All in all, I’m still a very happy guy (and you should be too, unless you’re a very happy girl… or pan-gender person). Terraria got a huge huge huge update that made me feel like I got a whole new game for free, and the 2nd game was recently announced as well. Skyrim would be engrossing if I had enough time for it, and I’ve spent a couple of minutes each day exploring the endgame content of Recettear: An Item Shop’s Tale. (By the way, I’m sure you know Skyrim is great, but Terraria and Recettear you may not have heard of. They are worth every penny and about two thousand pennies more. I promise that you won’t forget the quick wit, addictive gameplay and deep story of Recettear, and I promise that you WILL forget to do things like sleep, eat, use the restroom, and have social contact if you dig into Terraria.)

That pun was intended.


Video Games and Learning: an Ongoing Process

Hey folks! Sorry for not updating Monday, it’s been a heck of a week! My post today isn’t going to be anything special (which I’m sure you’re secretly cheering about, I know sometimes I can get a little on the deep and wordy side of things), but it’s just something new and exciting happening in the life of a video game blogger.

If you’ve never heard of Coursera, it’s a pretty cool place to be nowadays. It’s basically a website where professors offer free online courses and certifications in a VERY wide range of subjects. The link is included in the handy-dandy logo below. Sign up if you’ve got any free time at all! I have no free time and I’m still doing stuff.

Education for everyone??? WHAT A NOVEL IDEA.

Education for everyone??? WHAT A NOVEL IDEA.


I get the feeling that it’s very common and popular for EDUCATORS especially to utilize this fantastic and interesting tool… because Common Core is being implemented in schools everywhere (at least in California where I am), and there were about 10 courses offered about different facets of that program last time everything came out. Not that you’re interested, but I stay current on more than video games.


Point being, one of the more interesting courses that was offered (and I decided to take [hence this blog post {but you probably got that already}]) is “Video Games and Learning.” Essentially, it’s an educational approach to the way people play video games, and it takes a deeper look in whether or not video games can be used in the classroom to create a better learning environment or give kids novel ways to learn through playing. As a musician, it’s obvious to me that learning by playing has value, but this course will probably give me a much better understanding of how to do it in a classroom.

I get it. It’s more about education than video games. Trust me, I figured that one out as soon as the lecturer said “Massively Multiplayer Online Games.” Guess who the target audience is! Not gamers.

But this is absolutely something that’s relevant to game designers, because like I’ve said multiple times in my posts: modern games SUCK at teaching their players. Everything useful to them is either taught to them in a klunky tutorial with lots of “go-here” and “pick this up,” and all of the interesting fluff and lore is relegated to that awful “Journal” or “Log” tab in your menu that you just leave blinking because you’ve got 90 “New” entries to read. (Skyrim and Mass Effect excluded, as they put their lore in their game fairly well, but… Mass Effect, I’m not letting your Journal tab off easy. That crap was crazy.)

It’s also relevant to us as gamers, as we can better pick up things from our games, as well as better learning to solve problems and look at games in a more problem-oriented way. People ask how one can be “good at video games.” Apart from learning WASD controls at some point, most of what being good at video games entails is being able to anticipate and get a good idea of what the problems are like in the game you’re playing, and what skills you need to have to be successful against them. Sounds pretty simple when you break it down, but that’s video games in a nutshell.


Anyway, I’m learning lots of groundbreaking stuff already, and that’s the whole point of the post: periodically I’m going to be dedicating a blog post to whatever’s currently up in the class, and I’ll distill it to my more gamer-y audience (aka skipping the part where he explains about a WoW character as an air-quote “avatar.” Cringe-worthy).

First post on it’s coming Monday. Lots of great stuff for any aspiring gamedevs out there!


Why it’s time for a video game music Renaissance

Hum a melody from a video game that came out in the past 10 years.

Go ahead, I’ll wait.

Chances are, you can’t, unless you cheat and use melodies from a Mario remake or the Halo anniversary edition. But why is that?

Well, let’s give a brief history of video game music (again [again {again}]). You had bleeps and blips with pacman, then someone came along and invented MIDI (woohoo!). Gameboy and Nintendo had 3 wavetable oscillators (pronounced “instruments”) and a noise machine for percussion. Then you get 16-bit stuff, samples, FM synths and some pretty rad stuff with Super Nintendo, Sega, etc. etc. Playstation comes around and supports digital audio! Woohoo again! Then from PS2/Xbox/Gamecube onward, you get mostly high-quality crystal-clear audio with amazing processing, either recorded by a live orchestra or painstakingly crafted from magnificent music libraries (like the main theme of Game of Thrones. You thought it was live, didn’t you? Nope, libraries). With the most modern consoles, adaptive music has come into play that defies the very idea of a soundtrack and offers a smooth blend of music from one place to another.

Whew, that was a crash course if I’ve ever seen one. Point being, the blinders have been removed, the constraints are nonexistent, and the audio processing capabilities of the newest consoles/PCs are so powerful that it’s the compositional equivalent of a kid in a candy store. It really is that good. And therein lies the problem.

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