Gaming music takes center stage on the festival circuit, expanding its reach

dDid you know that soundtrack concerts are the most popular orchestra tours? A third of the Royal Philharmonic Orchestra’s first-time audiences have come to the concert hall through their favorite series, films, and video games. It is a huge cultural growth field and may not be recognized by the public.

“Now it’s impossible to ignore video game music,” says Tommy Pearson, founder and artistic director of London’s first soundtrack festival. “The creativity and artistry of the game are incredible and it’s fascinating to see many composers blossom in the genre.”

As one of the lead architects behind the festival, Pearson was keen to create space for video games as part of the celebration, not just as an “add-on” to television and film soundtracks, but also as an equality in art forms. “When we first thought about what we would do at a festival, including that music in the game isn’t easy, it must be there absolutely, along with film and television music. It has an audience of very dedicated fans, and the music is as good as what is written in any genre.”

Tommy Pearson, artistic director of the London Soundtrack Festival. Photo: London Soundtrack Festival

The festival from March 19th to 26th will consist of live performances, panel discussions, screenings, Q&AS and masterclasses. One of the important events The cutting edgea composer who won a Grammy and Iver Novello Award for his work in Video Game Music by the Royal Philharmonic Concert Orchestra, Masterclasses of Stephen Burton and Gordie Herbs, and a work in Star Wars Jedi: Survivor.

Why is 2025 the best time for the first soundtrack festival in London? “We watch millions of streams of game soundtracks every day,” Burton says. “Instagram and Tiktok have a huge amount of social media content, not to mention the world of Twitch where streamer playlists are a big part of their identity. The record industry is keeping up with this.”

“You can see streaming numbers climbing in real time, but you can feel it anywhere, beyond the data,” adds Haab. “Game music is not limited to consoles anymore. It is woven into everyday life. For example, my nie and ne have purely rotated gaming soundtracks for pure fun. At game events, I know notes on these themes. I stand on my own as film music, as legitimate art forms.

“Fans know these themes. Photo: Kojima Production

Composers Rudig Forsell (Stronging of Death), Harry Gregson Williams (Metal Gear Solid), Stephanie Economy (Assassin’s Creed Valhalla: Dawn of Ragnarok), and Borislavslavov (Gate 3 of Bardur) are all part of a panel discussing game music before participating in the evening performance.


“It’ll be hard to find someone who can’t sing a song from Super Mario Bros., Final Fantasy, Hello, or The Legend of Zelda,” says Econow. “Video game music is common because video games are common. The industry itself is more profitable than the combined film, television, and music industries, so when people think that popularity is suddenly rising, all I can think of is getting more recognition and celebrations in the sphere that has finally been released.

“The London Soundtrack Festival is a great opportunity to celebrate the differences and diversity of media music,” adds Forssell. “Video games may still be Brock’s new kids, but in a way they will definitely stay here. And as composers, we hope that we will always have a unique approach to music in general, including movies, TV, video games, pop, rock, music.”

Pearson and the team of composers he framed are watching the event as a celebration of the state of video game music. “These are all amazing, highly respected composers who have produced amazing, exciting scores that have been extremely successful in the games and concert halls,” says Pearson.

Can non-game audiences accept video game music as much as television or movies?

“It’s always going to be a bit silly when it comes to media music,” Pearson says. “But it isn’t as close as it used to be.

Source: www.theguardian.com

“We will not venture into Ravenholm”: Unveiling the backstory of Half-Life 2’s most legendary stage

aIn Valve’s Half-Life 2, the seminal first-person shooter that celebrates its 20th anniversary this month, taciturn scientist Gordon Freeman finds himself trapped in a dystopian cityscape. Armed soldiers patrol the streets while innocent civilians wander around dazed, without purpose or future. Dr. Wallace Breen, Freeman’s former boss at the scientific “research center” Black Mesa, looks down from a giant video screen and defends the virtues of humanity’s benefactors, an alien race known as the Combine.

Freeman stumbles through the first few levels of Half-Life 2, as players become accustomed to the terrifying future unfolding before them. It’s not the most cheerful atmosphere, but there are some friendly faces (guards Barney, Alix, and Eli Vance), and a beaked face named Lamar, Dr. Isaac Kleiner’s pet. There are even moments of humor, such as an eating alien running amok in a lab. I feel safe. It will make you feel happy. It feels nostalgic. There’s also a crowbar! And that omen. “That’s the old passageway to Ravenholm,” Alix Vance tweeted during a tour of Freeman’s Chapter 5 Black Mesa East facility. “We’re not going there anymore.” I feel a shiver run down my spine. you know You’ll end up going there.

“[Ravenholm] It was a completely different environment than anything players had ever been in before,” said level designer and member of the unofficial City 17 Cabal, a group within Valve that worked on Half-Life 2’s most famous levels, Dario Casali. “This is an outlier in the map set that survived from a very early build of the game, and was born out of the need to give the newly introduced Gravity Gun a place to shine.”




“Ravenholme was a completely different environment to anything the players had been in before.” Photo: Valve

The lack of ammunition for Freeman’s traditional weapons is what propels Ravenholm and Half-Life 2 into the realm of horror games. Ravenholm, an old mining town previously hidden from the Combine, is now a desolate place, shrouded in darkness and its inhabitants corrupted by the heavy bombardment of Headcrabs (face-eating aliens). “We used the confined space to slow down the zombies. [headcrab-afflicted people] It can actually get closer to you,” Casali reveals. And players will no longer be able to blow them away with machine guns or pistols. You will have to rely on your heavy gravity gun to pick up whatever is around and throw it at the monsters that are closing in on Freeman. Pots of paint, pieces of wood, and even corpses became ammunition for players.

Like most of Half-Life 2, Ravenholm is a cinematic experience, taking cues from horror films like Saw and 28 Days Later. When the Combine forces attack Black Mesa East, Freeman escapes through a dark tunnel leading to Ravenholm. Immediately, a sudden change in atmosphere hits the player like a chill. A gloomy set of dark buildings, faint and almost non-existent music, two crashed headcrab rockets, and the sound of something swinging from a barren tree. When I looked closely, I discovered the lower half of my body, which had been pecked by a crow.

A headcrab zombie appears out of nowhere and screams in pain. But soon, Freeman has little to worry about. Designed to fit within the map, Ravenholm’s “fast” zombies climb drainpipes and run across rooftops, leaving adventurous scientists with little safe haven. Freeman also has to contend with hunched creatures that throw poisonous headcrabs at him.




“A desolate place.” Photo: EA

Fortunately, Freeman is not without help. Soon, he encounters Father Grigori, responsible for Ravenholm’s saw-like traps, and passionately redeems his “flock” with a shotgun. Casali said: “In my opinion, this man was slowly losing his mind due to the Headcrab and the zombification of his followers. Ravenholm was so isolated that he didn’t even know about the Combine invasion. , I imagined they thought the devil had come to town. Father Grigori and the zombie horde were the perfect excuse to double down on the creepiness.”

Freeman follows Grigori throughout Ravenholm until the final climactic battle in a (appropriate) graveyard. “I thought Ravenholme really needed an action-packed ending, worthy of a horror movie,” says Casali. “What better place to do that than in a cemetery?”

The final encounter between Freeman and Grigori, besieged by an army of zombies and headcrabs, releases some of the tension built up while exploring the spooky streets of Ravenholm, but this level is difficult to play It still leaves a lasting impression on those who did it. Changes in tone and style. This segment has essentially been around since the beginning of Half-Life 2’s long development (a version appeared in Valve’s famous 2003 E3 demo), and evolved into the final game’s ammo-starved spooky fest.

One of the standout games of the past 20 years, Half-Life 2 defined the future of video games with its innovative visuals and excellent physics engine. As part of the City 17 cabal, the activities of Casali and his colleagues were instrumental. “The desire to surpass the original Half-Life was so strong that we were constantly motivated by the quality of work other teams were doing,” he recalls. “It was magic.”

Source: www.theguardian.com

Top Theatre Streaming Options this Month: Shakespeare Vs The Tories, Mel C’s Dance Show and Beyond

The Importance of Being an Oscar

Michael Mac Liamoir’s 1960 solo show intertwined the private and public life of Oscar Wilde with excerpts from the great Irish wit’s work. Alastair Whatley, who directed The Importance of Being Earnest a few years ago, recently performed Mac Liamoir’s monologues in reading repertory. A recording of the production, directed by Michael Fentiman, is available from the original online. From July 1st.

How did we get here?

Melanie C, of the Spice Girls, has always shied away from contemporary dance: “I found it scary,” she said last year on the eve of a show at Sadler’s Wells with Jules Cunningham and Harry Alexander. But of the contemplative work the trio have devised, she urged, “Look at it with an open mind, it will make you think.” Free to watch until July 25th.

Shakes Against the Machine

In the run up to the July 4th general election, Rob Miles and the Chronic Insanity troupe Web Series combined news headlines from the last 14 years of Conservative governments with Shakespeare’s speeches to show that “the challenges we face are on the same tragic scale as some of his darkest plays”.

Bonnie and Clyde: The Musical

In a sign of continuing tough times for the theatre world, a tour of the Depression-era musical about a robbery was recently cancelled due to poor ticket sales, but a version filmed at the Theatre Royal Drury Lane starring Jeremy Jordan and Frances Maeli McCann is currently running. on demand.

Schwartz’s Song

This album is a collection of 16 carefully selected tracks from the band’s back catalogue spanning half a century, all newly recorded. Introduction to Stephen Schwartz There are three numbers from Godspell, Pippin’s Empty Horn, and The Baker’s Wife’s Meadowlark (due for a revival in 2008). Menier Chocolate Factory) and Defying Gravity will be sung by the four Elphabas from Wicked: Kerry Ellis, Rachel Tucker, Lucie Jones and Alice Fearn.

Hamlet at Elsinore

How about a location-specific play? In 1964, the BBC broadcast a film of Hamlet, shot entirely on location. Kronborg Castle It was produced in Denmark and starred Christopher Plummer as the Tragic Prince, Michael Caine as Horatio, Steven Berkoff as Fortinbras, Lindsay Kemp, and the late Donald Sutherland. On iPlayer.

Starlight Express

Andrew Lloyd Webber’s Starlight Express in London Bard – is the perfect introduction to musicals for children. Yotois an audio platform where you play “cards” using a cheerfully designed cube machine. Starlight Song card released from 1984 (each of which displays colorful graphics on the machine’s screen), with story explanations interspersed between them.

Dub

French-Senegalese choreographer and former hip-hop dancer Amara Dianore’s show is an explosive hour that explores urban dance styles from around the world. Competitive, collaborative and engaging, the free-flowing show will tour Europe this summer but has already Arte and YoutubeThe photo was taken at the Maison de la Culture in Grenoble.

Until the stars come down

Nottingham playwright Beth Steele is going from strength to strength. Following the huge success of House of Shade at the Almeida, this wedding play delighted audiences at the National’s Dorfman Theatre earlier this year. Directed by Bijan Shaybani, NT Home.

Through the cracks

Created by the Office of Everyone and English Touring Theatre, the app uses augmented reality to peel back the floorboards and see the drama unfold beneath your feet, with each story revolving around a character who, in some way, has disappeared through the cracks. In timeis a queer romance written by Sonali Bhattacharya, narrated by Ian McKellan, and starring the always-stellar Sophie Melville. Available Now.

Source: www.theguardian.com

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