Well since Desturctoid was down last week, there was no Noctis Juke Box! So you know what that means? That’s right! 6 pieces of awesome gaming music was you to enjoy! Because at this blog we remember that great video enhances the playing experience!

Title: Stage 1: Colony Ruins
Game: Journey to Silius
Platform: Nintendo/Nes

http://www.youtube.com/watch?v=iwn-9IiO3MM&feature=related

A piece from a rather unknown side scroller is our stating piece for this entry. The Colony Ruins is an adrenaline pumping rocker that perfectly complements the pace of the game. The spacey of the lead synch helps maintain the sense of being on another world, playing well the imagery in the game. The bass thumping keeps the follow of the song and the gamer blood pumping, while the drums keeps the gamer’s heart a beating!

Title: Lamenting And A Promise
Game: Wild Arms
Platform: Playstation

http://www.youtube.com/watch?v=1enQCa2qDuI&feature=related

Now for this jukebox it’s time to head out to the west, or rather the fictional west. Wild Arms is the game I’ve only being able to play a little of, but it has quite the soundtrack. The piece is rather sombre affair, and rather interesting in its arrangement. Starting as a slow piano that morphs into an acoustic ballad, before shifting in a when the strings come in. Its oddly memorable piece that just grows and grows until it reaches its climax.

Title: Intro/Title Music
Game: Panzer Dragoon Saga
Platform: Sega Dreamcast

http://www.youtube.com/watch?v=50Xi-Orj2fg

Now here’s an RPG I have fond memories for. Panzer Dragoon Saga was one of the only games that made me seriously consider buying a Sega Saturn. The intro invokes the image of a mighty creature soaring through the skies, the crash of the symbols the beat of its powerful wings, where as the flute suggests a beauty to the animal. Its great piece that certain gets the player pumped up to play the game. The title score is suitably sweeping score, with the orchestra and choir convey the sheer majesty and epicenes of the game. This is who you use an orchestra well, take note game designers!

Title: Zoness
Game: Star Fox 64/Lylat Wars

http://www.youtube.com/watch?v=JOoQJHgMw34

Ah, memories... Anyway, magnificent Star Fox series has always been well known for having excellent soundtrack. But under the great tune like Corneria or Venom, there are some nice little pieces that are worthy of another look, such as today piece! Lylat Wars had something of an odd soundtrack, not quite as rocky or metally as Snes classic Star Wing, however, it did offer great atmosphere for certain levels that was still memorable and core to the experience. The water planet of Zoness, starts with a simple intro, which plays very fittingly with the aquatic theme of the world. Then it horns come in and the piece begins to swell, building up and up into its release – which is perfectly timed in the game’s level to show the player the full extent of Andros’s damage to this once thriving planet.

Title: Conditioned Reflex
Game: Sega Rally Championship
Platform: Sega Saturn

http://www.youtube.com/watch?v=1vcKFwTg8Go

Speed, dirt, roaring motors, and tight arcade racing, those are but a few things sega racing games are known for delivering. On the surface Conditioned Reflex may seem like a typical rocker, which is certainly true, but it captures the intensity and thrill of the race. The blazing solo and thundering rhythm really provide a head banging pulse that is perfect for racing!

Title: Aquamarine Bay
Game: Ecco the Dolphin: Defender of the Future
Platform: Sega Dreamcast

http://www.youtube.com/watch?v=I2sS51m1s3k&feature=related

The Ecco games have always had gorgeous soundtrack, but song for the first level is particularly noticeable. The strings accompanying the keyboards, creates a powerful score that is relaxed, yet playful. It’s impossible to not jump in and out of the waters in the game, a weave between the coral beds. This truly was a wonderful game, with some truly excellent music. This is one of the more angelic piece, so sit back and relax and think of the ocean.

This is a blog I started a while back, but I’ve been slowly gathering data and doing a few re-writes, as well as trying to do my uni work. I hope you enjoy it.

The debate around the credibility and quality of game reviews and the critics that write them as well as the fans that lap them up. It's been discussed by Jim Sterling, Patrick Garrattt, and even mocked by Mega64.

I’m going to ponder a little bit on current games reviews and why reviewers need to be more critical in the way they look at games and evaluate them, and why fanboys need to STFU. This is going to be quite extensive, so extensive in fact, that I won’t be doing it all here, but over several vlog/blog (vlog coming soon). For this first article what I’m going to be discussing is the idea of approaching reviews in an objective. In the next one, I’ll be expanding upon thoughts and point discussed in this blog. The next one I’ll be looking at the importance of critics, and why the state of any entertainment industry would be a worst place without them. In the final one, I’m going to tackle the fans and why they need to be more critical in their enjoyment of a game. But that’s not for today, no for today I want to discuss the idea of objective reviewing.

As I alluded to in my article concerning Destructoid’s own Jim Sterling, gamers tend to be far too precious about reviews and, ironically enough, probably care about them far more than the companies which made the games do. If you’ve spent enough time on the internet you’ve probably run into the phrase “(Insert subject here) is serious business” - this is sometime that a lot of the more obnoxious, not to mention loudest, member within any community take very much to heart. However in regards to our preferred medium, “Vidya games” are serious business and there is nothing more serious than bragging rights to your favourite console.



Having said that, however, it’s worth noting that the fans are only part of this problem, the other part of it, stems from game reviewers, and supposed critics. The alleged critics of this medium rarely help matters, often displaying surprising abilities, such as only being able to count from 8 to 10 when certain exclusive franchises are brought into the mix, having little to no understanding of gaming history, its processes, and, worse of all, a low expectation of this medium that they supposedly love. It’s quite sad to see that there isn’t really much difference between paid, professional reviewers, working for sites like Gamespot, IGN, and Blistered Thumbs, and the fanboys who write reviews on sites like Amazon, with the possible expectation of the former having a better grasp of basic English and higher production values.

Now I’ll admit that comes across as confrontational, I have basically just stated I believe that most games site/”critics” (finger quote) are hacks. Perhaps, but honestly, with the exceptions of sites like Gamecritics , and certain writers such as Simon Parkins (who wrote one of the only honest reviews of Uncharted 3), and Destructoid’s own John Holmes and Jim Sterling (most of the time), most videogame reviewers are not that good at their job.

When I say this people response with the following rebuttal, “it’s their opinion”. This is a phrase that has become very potent on the internet. Ironically enough, “it’s my/his/hers opinion,” is often used as means to deflect criticism. While I will concede in some cases that this is true, within creative disciplines such as movies, literature, theatre and games, it isn’t quite so simple. There are methods and theories formed through empirical data that go into the principles of the craft, defining that craft and its creative process.

Let me put that another way, if it really were just case of opinion, then everything would count as an excellent example of any given medium. There would be no gold standards, there would be no laws or principles, nor would there be countless books written on the process or the elements that go into making any creative venture. There wouldn’t be university courses teaching the factual principles, nor would there be any discussion, there would be no need for them. There would be no rules, no metrics, or data to draw factual conclusions from in order to create the foundation which are then passed onto the next generation of creative minds.

Yet there are rules, standards and metrics to everything, which precisely how we build things and progress. Look at it this way, if it were just a case of opinion, then movies like Transformers: Revenge of The Fallen, The Room, Cool as Ice would be comparable to movies such as Se7en, Alien, China Town, Jaws, Star Wars (original trilogy - unedited), Citizen Kain, Casablanca, Clockwork Orange, Godfather, Akira, Ghost in the Shell, The Taxi Driver, Bladerunner – you get the idea: and if you really don’t Snake on a train would be comparable to Snakes on a Plane.

We know that isn’t the case, we know that the latter movies are better than the former movies. The stories are better, the characters, the pacing, the cinematography, the mood, the atmosphere, the tone (very important) are all vastly superior. These movies do what they set out to do, either really well, or raise the bar of the collective medium. They do this by presenting their visions with their own unique voice, which is why they’re held up, studied, and discussed in academic ways.

Finally, there is such a thing as a misinformed opinion and an ignorant opinion; we acknowledge that. Remember opinions are formed though experiences and knowledge: put simply the more you’ve experienced, and the more knowledge you’ve gain, the more you are able to reference when forming new opinions or re-evaluating existing opinions.

This is why I disagree with people like Jim Sterling and other reviewers who say can’t be objective; you can be, it just might require a bit of knowledge. I realise that might sound dismissive and I’m not going to pretend that personal tastes and influences don’t colour ones opinion or perspective. However, regardless of that inescapable fact, the dissection of a video game, can be handled in a largely objective way. Of course this would require some reading and understanding theories. But for now, let’s break it down to simple elements: genre, mechanics, visuals, story and innovation.

First off, what’s this game’s genres and how well does it compare to other games within that genre? Is it an RPG? A Shoot em’up? An FPS? Is it a blend? Once that’s been established, think to what you know of that genre. For example, if it’s a colourful, cartoony, platformer, either 3D or 2D, it’s going to be compared to certain Mario games. Why? Because Mario is the gold standard, it’s the benchmark; it does everything that needs to be done and has been the primary innovator in that genre. If it’s a modern FPS, set in contemporary times, usually dealing with world conflict, then Call of Duty is the gold standard (regardless of how you feel about it). By doing this you have a point of reference and comparison is, and should, happen. After all, that’s how any creative medium evolves and grows.

Once that’s been established, let’s look at the mechanics, how the games is put together and functions. What are the mechanics of this game? How different are those mechanics from other games? How are they similar? How well do they compare? How well are these mechanics represented through game play? How tight or precise is the game play? Its feel and flow? How does the game present these games? How well to keep with the tone? Remember, games, being an interactive medium, use their controls and mechanics as a means to convey mood and story (we’ll get to that later). How’s the game set out. What are the levels like? Are they well layout? Are there puzzles? Are the puzzles engaging? How well put together are the puzzles? Are they even needed?

What’s the artistic style of the game? Does it complement or detract? Does it convey the tone of the game? Look at a game like Gears of Wars. It’s trying to go for a broken, bleak, hopeless, oppressive mood. The world is in ruins. This is a grim place. The visuals of the game complement that beautifully and convey that... though the story fails to do so, for the most part. By contrast, games like Donkey Kong Country, or Psychonauts, or Little Big Planet, are going for a light hearted, abstract, and playful mood.





Is there a story? For games like Mass Effect and Uncharted, for whom the story is met to be a big draw, this is very important. What’s story about? How well is the story? Is the story told well through the game play, through the characters? Does the narrative make sense? Are there plot-holes? Is the story interesting and original or does it does it just shamelessly steal from other sources (tips hat to Mass Effect and Uncharted). Is it taken in a new direction? What is the story exploring? How well is it exploring those elements? Does a game like this even need a story? Is its tone consistent? At any point does the game play contradict what’s happened in cut scenes, something that the Uncharted series is notorious for. How well does the story measure to other creative mediums such as movies, theatre, and literature (spoiler about 95% of gaming’s narratives don’t).

Side note. Because I’m sure that last sentence probably pissed quite a few people off, allow me to expand. The reason why stories in games need to be, or should be, compared to other mediums, such as films and books, is because stories the binding aspects of which all creative work share. While there are certainly abstract and expressionist works, most creative works are means to tell a story. Ever since our ancestors painted pictures on the cave wall, we have always used what every tool with have to create, document, and re-count stories. Orally, visually, or written, we’ve always done it. Our stories, their structures, and make up are always the same: and I’m not just referring to Joseph Campbell’s “the hero with a thousand faces”. Beginning, middle, end, dialogue, character arch-types, and familiar tropes (which exist within every medium) are there because of studying and years and years of honing the craft. We love stories and legends, both as a means to pass on information or to inspire. Having said that most stories in video games are hopelessly mediocre, which just steal from better material without trying to improving or expand upon it, hiding behind the term “it good... for a video game”. Hope that clears it up for you.

Finally, does this game innovate; is this game going to change the landscape? Does it bring anything new to the table? Does it raise the bar of a genre or gaming as a collective whole? Does this game have interesting new ideas or new approaches to existing mechanics? Remember, not every game, needs to innovate, but the ones that do, and do it successfully, consider that. And I’m talking about meaningful innovation here, not just above average voice acting. I’m talking about something that is going to be studied, referenced, and incorporated into future games: like Ocarina of Time with its context-sensitive actions or lock on targeting.

Those are just some of the basic questions reviewers should be asking themselves. All of those are objective critical questions with baseline and gold standard of which to compare. The funny thing is, truly great games, like most of the Zelda games, actually blend all these aspects together, and yes, I will be playing through games and writing blogs about them showing you how these elements are used in both the best and worst cases.

There are other factors, what consoles it’s on, how well its using that’s console’s power and resources, the time that was spent on it, the budget, its development history etc. But the list above are some of the key universal principles.



I think it would be useful if all reviewers read books like “Rules of Play: Game Design Fundamentals” or “David Perry on Game’s Design” or “The Art of Game Design by Jesse Schell” just so they have a baseline and grounding in understand some of key principles of games design, in much the same way that a majority of movie critic have high level of understanding movies, its history, its culture, its process, the overall craft, and the overall effect: in fact, quite a few of them are amateur directors/actors themselves. The games industry could stand to learn a lot from them – and it would help the medium genuinely mature. If they could take a university course to become very familiar with process and theories behind games design, you’d probably see a totally different calibre of review.



As it stands, however, the quality of videogames reviews for the most part, is pretty poor. I’m not going to dwell on the horrible double standard in the review of videogames in general, or the fact that 10 are given out way to easily and with little thought, to the point of becoming almost meaningless. I will also acknowledge that there are pressures from companies. Nevertheless I will say, that critics need to start being more critical and start approaching the games they review in more critical ways, comparing, contrasting, and analyzing. As I said at the beginning, I’ll concede that certain fans, with their sense of over-enticement, do not help. But the critics, who are paid to review games and the watch-dog for quality, are just as culpable.

Now some might say “how do you know critics aren’t doing this right now?” Honestly? Because if they were, games like Dead Space, Uncharted, Mass Effect, Dragon Age, Brutal Legend, Killzone, Red Steel 2, and many others wouldn’t be walking away with nines and tens, nor would we be seeing the abundance of tens that we are. Most of those games would be walking away with six, seven and eight – which is still above the average, in some cases (Mass Effect/Uncharted) well above the average.

I’m going to kick myself for saying this, but critics could do well to take a note from Yathzee’s and Spoony’s book. When the former isn’t trolling or fan-base pandering, he is able to make excellent critical observations and points about the games (though, by god, when he has a bias, he has a bias). Spoony’s much the same, watch his reviews of the Ultima games where he really get into the meat of what makes the games work and where they fail.

Here’s another example. If you haven’t watched them, here are two videos by Egoraptor. Now listen to what he’s saying about the design of both these games, in particular look at what he’s says about Simon’s Quest. He draws attention to its strength and then weakness, look and examining its tone, feel and design. This is the kind of thing more critics should be doing, really analyzing the game and the way it’s constructed.

Of course the experience is important. At the end of the day games are meant to be fun and entertaining. You can have the most beautifully designed game in the world, but if it isn’t engaging or enjoyable then you’re going it: same for movies, music, theatre, and literature. But what I’m saying is that reviewers need to raise their standards and have a deep understanding of what they’re are reviewing and stop pandering to fans or stir up emotions for web-hits. However, fans need to also learn to stop being so damn precious.

But those are all blogs for another time. What I’m going to do next is upload a comparison where I’ll compare two games, and discuss in greater detail, subjectivity versus objectivity. But for the sake of this sake blog, I’ll close with this. For this medium to expand and grow, the critics need to step up and deliver, they need to able approach this medium in the way other critics do. Just imagine how much richer this medium would be, if critics were able to discuss and analyze games in the way that egoraptor, yathzee, and the guys from extra credits do? We’d all be better for it.

I hope you’ve enjoyed this read and I’ll see you again with the next part.

I may be busy with uni work and trying to get the prototypes to function, but don’t think that means I’ve forgotten about the about all that great video game music. Though most of industry may have forgotten about providing memorable or moving scores to their games, this blog certainly hasn't! For this week I thought I would reach back with some classic that I’m sure everyone remembers. There will be no obscure or niche games this week. No, this weeks is a classics week!

Title: Bomb-omb Battlefield
Game: Mario 64
Console: Nintendo 64

http://www.youtube.com/watch?v=g4TOM5Mitps

The music within most Mario games is a little bit like the keyboard hook to “Funky Town” – once you’re heard it, it will never leave you and you’ll start humming it. Taken from the revolutionary and groundbreaking 64 game, Bomb-omb Battlefield kicks things off with a grooving trumpets intro with then leading to one of the most incredibly catchy jiggles ever. Seriously, after hearing this, let’s hope that Nintendo music composers never start writing music adverts, otherwise we’d be doomed! DOOMED!!! NINTENDOOMED!!! I dare you try not to hum along.

Title: Lake of Rage
Game: Pokemon Gold/Silver/Crystal/Heart Gold/Soul Silver
Console: Gameboy/DS

Original http://www.youtube.com/watch?v=uMzC3RpYHGg

DS http://www.youtube.com/watch?v=6DuUkW-qNxs

In many respects Pokemon is an outstanding example of a perfectly crafted gaming experience. From the surprisingly deep game mechanics to satisfying adventure, it’s little wonder why it’s so beloved. However, one of the best aspect of it, is the music. Beautifully arranged, the music within the Pokemon games are able to effortlessly capture the mood of the player. From playful, to sombre and creepy, from stirring and majestic, to intense, they are always memorable. If people, I’d be happy to do a top ten for Pokemon soundtracks, as they are some of my favourites pieces of gaming music. However, for today, I’ve decided to leaving you soothing, yet stirring Lake of Rage theme.

Title: Dr Willy’s Castle
Game: Mega Man 2
Console: Nes

http://www.youtube.com/watch?v=WJRoRt155mA

What’s this? Me pandering to the gaming community with one of the best known pieces of gaming music ever? Of course not - no, no, no, no, well yes actually. But who can blame me? The theme to Dr Willy’s Castle is well known from its adrenaline pumping riff, catchy lead melody and that delicious flurry. This pieces never fails to psych players up to give Dr Willy a well deserved beat down.


On a side note. I'm looking for an editor to proof read some of my essay and reviews. With the dyslexia writing can be a bit of a problem, so if anyone would be interesting in giving me a hand, I'd be really grateful :)

Well I’ve made mention of my dissertation (still looking for testers and interviewees) but I thought I would share a little bit of what I’m building at the moment for the prototype test, so you know I’m not wasting my time. If you haven't answered the questionnaire please do, I'd be very grateful to you, and for those who have, thank you so much :)

Noctis Jukebox is back. To make up for the lack of updates last week I’ll be giving six pieces of music for this week and then we’ll be moving back to regular program of the past weeks. On a side note, I would like to say, I’m really sorry about not updating, I’ve just been really busy and I’m looking to turn this into a v-blog.


Title: New York
Game: Atomic Runner
Console: Sega Megadrive/Genesis

http://www.youtube.com/watch?v=L1I-RAeIV68&feature=related

A game I recently discovered when I and a friend brought a collection of Sega game from Ebay. On the surface Atomic Runner seems like another typical shoot em’ up, similar to games such as Probotector (Contra), Gunstar Hero, and Sunset Riders. You’d be right, but is that really a bad thing? It’s certainly a fun little game, with a fun bouncy soundtrack. These might be a little too jingly for some, but for me, I’m fine with them. This piece catches the pace of the game; the thumping bass carries the theme tune, while the melodic lead grips your attention.

Tile: Filmore
Game: Actraiser
Console: Super Nintendo

http://www.youtube.com/watch?v=FB9Pym-sdbs

A track from one of my favourite games, this piece’s pounding bass line with the soaring organ come together to celebrate the triumph return of your character, the avatar who is basically god. I really don’t feel like there is too much to say on this piece, just listen to it, listen to the epic tone is has and unstoppable feel it conveys.

Tile: Smiles and Tears
Game: Earthbound
Console: Super Nintendo

http://www.youtube.com/watch?v=_B0lkaxdjHc

As I mentioned in my first blog post Eurobound, Earthbound had a fantastic soundtrack that many people remember fondly. Smiles and Tears is a very sombre but beautiful piece. There are so many layers to this piece that all draw it together, creating a soothing melody. The warmth of the horns, the waltz-like lead, merges seamlessly into this gorgeous song.

Title: Opening Theme
Game: Spyro: The Dragon
Console: Playstation

http://www.youtube.com/watch?v=lkkD3TLaOfA

Back in the days when Sony weren’t trash talking, trying to play catch up with Nintendo, they had a magically little system called the Playstation. With Nintendo acting like a bunch of stupid, overly entitled children, Sony was able to offer huge amounts of freedom to developer resulting in some great games (and some shit one, but isn’t that always the way?). One of those games was Spyro the Dragon. Forgive me if I get a little nostalgic as I lost myself for a second. Before Spyro succumbed to “serious” story-lines, he starred a series of fun (look it up) games where he ran around the world rescuing his dragon brothers and kin who had been turned to stone. Then there was a sequel, with really annoying characters. But the music was still good and that’s what we’re here for. The intro theme is a catchy little tune that is just pure, un-apologetic fun. This theme captures that mood and feel.

Title: The Blue Mountain
Game: Rayman
Console: Playstation

http://www.youtube.com/watch?v=VGyW0FqaqZo&feature=related

Recently I was able to have a little go with Rayman origins and with that I was reminded of the classic original. After finding my old playstation (when I play retro, I play retro!) I brought this little gem out. What struck me, other than the perfectly tight consoles and the beautiful, timeless visuals, was the soundtrack. The Blue Mountain is a funky oriented piece with a slight disco overlay (sounds odd, but it works). The stab of the flutes and the pulsing bass work with the layback guitar rhythm, creating a piece that is hard to not tap your foot to.

Title: Wild Wabbit
Game: Jazz Jackrabbit
Platform: PC

http://www.youtube.com/watch?v=OzN6lmYUhtA

Other than looking like the freak love child of Bucky O’hare and Sonic, Jazz Jackrabbit is probably well known as being created by Cliff Bleszinski – yes, that Cliff Bleszinski, as in Gears of War. While fair unremarkable games, they do have some fun little tune in them. I used to play this on the PC way back in the day round a family friend’s house, it was an enjoyable enough time waster, though nothing truly memorable. However, this little tune with its sample from “The Good, the Bad, The Ugly” has enough of a groove to make it worthy of a listen.

Okay, I’ll see you all next week. By the way, if you miss it I need help for my Uni Dissertation, if you could follow this link and help me out, I’d be very grateful.

Sorry, I've been absent, I've been very busy with real life issues and uni come back with vengeance, speaking of which. I have been writing post - speaking of which, would anyone like to be a proof reader/editor?

I’m not sure if I’m allowed to do this, though I couldn’t see anything stating against it in the rules section. As you many, or many not, know, I’m a university student currently in his final year and working on a dissertation. On my course I study videogames, in both design and theory. I’m looking for data for my dissertation and possible testers/interviewees. No personal data is recorded or used in the data set or its’ analysis.

What I’m looking for is for gamers, who are 19 or older, willing to fill in an online questionnaire about aspects of their gaming experience. All submissions are anonymous. Please answer honestly. Your data will be greatly valued for my dissertation. They are mainly simple multiple choice questions, unless you want to expand on any points.

At the end is a part asking for e-mails. Let me stress that that is not obligatory. It’s there for possible testing and interviewing – meaning if you are fine with it, I may contact you and ask if you’d like to conduct an interview and play some game prototypes I’ve developed and created.

I hope you’re able to help out and I look forward to your answers. If you have any questions, please feel free to ask.

Contact me at:

If you are interested, please follow this link:

http://obsurvey.com/S2.aspx?id=686186a8-1731-4843-96a9-c88da577c3b0&obsurveytest=true

• informed consent tick box (online) signature with statement of use limitations
• UEL details re ethics considerations (statement about ‘guided by’ & contact if complaint etc.)
(include on questionnaire page)

If you could give any help, I'd be very grateful.