Thanks to Armchair Arcade for its article discussing why new game composers should look to classic game audio for pointers and inspiration. The author argues that classic Commodore 64 composer Rob Hubbard's work "is innovative precisely because he isn't trying to mimic 'real' music or make his computer sound like something besides a computer", before arguing of newer game audio: "How did game audio composers respond to this sudden technological boon? They began to imitate. Rather than innovate, they only did what had been done so many times before." The author concludes: "What concerns me is when they ignore the abilities unique to the electronic medium. It makes no more sense for a game audio programmer to mimic a string quartet as it does for a flutist to make his instrument sound like a kazoo."
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