“After backlash,” of course.

You heard it here first, folks. Businesses will try to fuck you over if they can get away with it.

It has nothing to do about keeping the lights on.

Eh, I don’t think the series would be as bad if it didn’t have his coke-addled ass dictating which direction it should go.

I agree. Modern developers use technology to cover up for creative bankruptcy.

I’m noticing music is having the same drawbacks as graphics in video games.

People keep “adding more” just because they can, not because it’s necessary or improves the final product.

Anime also has this issue with most modern animes having music playing 90% of the time because they can afford it. It reduces the integrity of the art down to that of a slapstick comedy.

The music for Spyro was great because they hired someone with professional experience in the industry, Stewart Copeland of The Police.

More often than not, great music in video games comes about from paying composers appropriate salaries and letting them do their thing.

It’s easy to hire Joe Shmoe for a bargain who will just put in “drums of war,” which is what most developers end up doing.

Maybe this is true, maybe it isn’t.

I know that video game music has gotten significantly worse as technology has improved. Something can sound “professional” because it has an actual orchestra, but the the composition leaves a lot to be desired.

Jim Sterling put it best when he said the music for Stranger of Paradise was just “vague orchestral walls of noise.”