![]() ![]() What’s most important however, are the mental connections you make between the music in games and the memories you make in those moments. ![]() And when I think of how Episode 5 of Tales from the Borderlands began, with Rhys and Fiona falling to Pandora with no hope, I’ll never forget James Blake’s haunted coo ringing in my ears. It was the lowest point for those characters. I can feel the fear I had for Rhys and Fiona as they crashed to terra firma and lost Loader Bot to the machinations of Handsome Jack. When I hear the song Retrograde by James Blake, suddenly I am watching Rhys descend to Pandora again. Similarly, some songs remind me of the anxiety I felt at the potential direction the story was taking. Whenever I picture Max Caufield and Chloe Price, I always hear the familiar tones of To All of You and think of the tragedy of their tumultuous relationship. And because of the autonomy the player has in action out the moment, the music becomes seared into physical and auditory components of their memory. Music in games is so memorable because unlike film, most times, you are directing the action on screen as a song scores the moment. I see Max Caufield, walking into the hallway of Blackwell Academy and beginning one of the most emotionally stirring stories I have ever experienced in a game. Sometimes, if I close my eyes and concentrate especially hard, I can almost recall exactly what happened on my screen when the opening notes of To All of You by Syd Matters played during the opening moments of Life is Strange. But what I always remember most vividly is the music in games that flow throughout these special scenes, each note of the song ringing at precisely the right moment. Sometimes you feel the rumble in your controller as that big boss thunders into view, the vibrations letting you know something special is about to go down. You see the cinematics, you glance at the HUD and gauge your health and mana, and generally learn how to react to the games mechanics. You can intake the game most directly using your sight. Freddie plays Glenn Close and mixes and edits the podcast.Īshley Nicollette is our Community Manager, Brian Fernandes is our Content Producer, Ester Ellis provides additional editing and sound design, and we are on the Acast Network.In video games, we only have three senses. He was one of Forbes' 30 under 30 in 2015 and was the Webby Film & Video Person of the Year in 2014. His video work has garnered over 8 million subscribers and has been viewed over 2 billion times. ![]() Beth plays Ron Stampler.įreddie Wong is the co-founder of RocketJump and co-creator of the RocketJump YouTube channel. Listed as one of Phoenix New Times' Top 100 Creatives in 2015 and a finalist for its Big Brain Award for her play Earthlings, her works include a spoken word album (The Family Arsonist), and a short story collection (Apocalips). Will plays Henry Oak.īeth May is a writer and actor. Will Campos is a television and feature film writer whose credits include the award-winning Video Game High School, RocketJump: The Show, and Dimension 404 (Hulu / Lionsgate). Matt Arnold is an award-winning writer and director and co-founder of RocketJump, whose work includes Video Game High School, RocketJump: The Show, and Dimension 404. Matt plays Darryl Wilson. His work has been called "on par with the best of the industry" (GameInformer), "Worth taking a look at," (), and "I'm writing you out of my will" (David Burch). Anthony Burch is a writer for video games (Borderlands 2, League of Legends), comics (Big Trouble in Little China: Old Man Jack, Rocko's Modern Afterlife), and webseries and television (Hey Ash Whatcha Playin', RocketJump: The Show). ![]()
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