Factory songs have many influences: synth, techno, heavy metal, and industrial music. One sure progenitor of the videogame factory song is Raymond Scott’s “Powerhouse,” composed in 1937 and used in Looney Tunes as early as 1943. Madcap and sinister, “Powerhouse” has become synonymous with satirical representations of industry. Most videogame factory music strikes a similar tone, though often much darker.
“Bonetrousle” deserves a spin in the spotlight. It’s a bop and, unlike “Megalovania,” not a bummer. Without going into too much detail, the narrative context of “Megalovania” captures Undertale at its darkest. The situation is macabre, as good death metal tends to be. “Bonetrousle” is relatively uncomplicated fun. It makes me wanna dance.
It’s the only song the Spirans get, and they are obsessed with it. By limiting the diegetic music in Spira to a single song while making the game’s non-diegetic music rich and varied, Uematsu succeeded in conveying the bleak monotony of Spiran life while still evoking a complexity of emotions in the player.
My brother was a wicked child: a class-ditching, prank-pulling, kegger-throwing hellion. At 38, he’s calmed down, but Castlevania gives an outlet to the wicked child in all of us, with its blood, bones, mummies, torture chambers, haunted clocktowers, and Death himself.
“Pyramid Peril” is an appropriate song to spotlight, not only because it’s Maddigan’s favorite but also because it speaks to the game’s opportunities—and its perils. For an indie game, Cuphead has had an amazingly wide reach, which is sure to continue growing.
We think video games are literature, and so why shouldn't there be literature about video games? That's the question we're hoping to answer here. Read more.
