Ben & Mary Ezzell wrote:
> On 2 Mar 2007 11:39:10 -0800, WDS wrote:
> /snip/
>
>
>>Music playing for RPGs always comes off like a bad sound track. It
>>either doesn't match the specifics of the scene, is too loud when it
>>should be soft, too soft when it should be loud, makes it hard to hear
>>the players or GM, etc., etc., etc.
>>
>>This needing to have background noise everywhere baffles me.
>
>
>
> What you said.
I make specific soundtracks for all of my games, both those I play in
and those I GM, selecting tracks appropriate for the individual
characters and the setting. If I'm the GM, I also have a separate set
of tracks particularly selected for expected events and for battles.
The general soundtrack is usually played on relatively low volume,
more as a mood setter than anything else. When a specific event comes
or a battle starts I'll switch the music to the appropriate theme or
themes.
The music itself may come from a wide variety of sources. I've used
classical music, movie soundtracks, rock songs, anime or videogame
soundtracks, and others. As an example, here's sample tracks from
various campaigns.
From my very long-running ultra-high-powered Monolith campaign:
Terminus -- Main theme
From the relatively little-known computer game Terminus, this is a
dark, mysterious piece of music symbolizing the mystery that the
characters are trying to unravel. The players thought of this as being
the overall main theme of the campaign.
Tenchi Muyo -- Opening Theme, original version
This Tangerine Dream theme was called "Shadow Walking" on the game
soundtrack, and symbolizes the Amberite power of literally being able
to "walk Shadow" -- pass from reality to reality simply by moving and
changing their surroundings. A strange, dreamlike piece.
Eyes of a Stranger, Queensryche (from Operation:Mindcrime)
One of the most terrifying parts of the campaign was the final
discovery of the full power of their adversary, an entity that when
backed into a corner could literally rewrite all of reality, even
placing "you" into another life, with another face, another name,
another set of memories: "... and I raise my head and stare... into
the eyes of a stranger... I've always known that the mirror never lies..."
Experts of Justice (Giant Robo OST)
This beautiful orchestral piece, centered around a sweeping violin
theme, was the theme used for Dahnelle Gaian D'Varraine, the
princess-warrior of the country of Varraine; it also was used for her
ultimate attack, which relied upon her harmony with the universe
around her.
Fury of Godzilla (Gojira Tai Megaguirus)
An excellent orchestral version of one of the oldest pieces of
Godzilla music. Godzilla was an NPC who was strangely significant to
the players, even though the great kaiju was only seen relatively few
times in the campaign. When he was killed, to my great surprise the
players were more upset over his death than they'd been over many
others through the years (and these are players who take their
roleplaying very seriously). Perhaps it was that when he was present,
Godzilla/Gojira had a unique character; he did not speak, but
communicated almost solely by feelings and emotions, by motion and
subtle action; he was a towering, almost invincible, yet somehow
slightly tragic figure.
Duel of the Fates -- Star Wars Episode I
Theme for one of the PCs, Peter of Amber. Surprisingly dark for the
character, given that Peter was in his own way as innocent,
straightforward, and apparently incorruptible as his eventual fiancee
Prospera Barimen (and her Shadow, Dahnelle). It fit, though, for his
deadliness in battle. Master of the combat power of Ki and unswervably
focused on the defense of his universe and those he cared for, the
golden-haired son of Flora of Amber became one of Monolith's most
feared adversaries.
Wing of Faith -- Soul Calibur (Sophitia)
Combat music for Prospera Barimen, Daughter of the Unicorn, sister to
Oberon, mistress of the Golden Pattern. The opposite of her brother,
light where he was dark, innocent where he was devious, but also as
strong and intransigent as any Amberite when it came to being the
Defender of Shadow. The courtship of Peter and Prospera was...
interesting to say the least. When one of your most fondly romantic
moments is remembering your showdown in the Tenkai-ichi Budoukai
combat ring...
Waxing Elizabeth -- Young Sherlock Holmes
This choral/orchestral piece symbolizes the REAL darkness behind
essentially all events, something even darker than the Monolith
itself: the being known as the Werewolf King, Virigar.
The Four Are As One -- YuuYuu Hakusho (The Poltergeist Report Movie)
Starting with a simple drumbeat and moving into a sequence of choral
climaxes, this theme was used at the end of one of the major battles,
as it appeared that the gods themselves would wipe out the party (for
knowing too much) and would wreck Shadowkeep, Prospera's home and
fortress in Shadow. Allies that they had made a long time before and
whom they had thought lost or dead appeared just in time to give them
the chance they needed to fight back and win.
Hymn -- Vangelis
This lovely, almost ethereal piece slowly builds to a choral
celebration. It was the end theme for the entire campaign, when the
Monolith and Virigar had been finally defeated and the multiverse set
to rights by the actions and the choices of the PCs over several
real-life years.
From my wife's Gundam Wing Campaign:
Just Communication -- Gundam Wing OP
An obvious choice for the soundtrack of a campaign set in the universe.
Big Fire Appears -- Giant Robo OST
This dramatic, marching theme, focused on trumpet and kettledrum, was
the main theme for my character Jared Engelshand, youngest son of the
Engelshand family, a true Knight and believer in legends.
Tomb Raider 2 -- main theme
This surprisingly quiet, gentle tune (especially given the character
of Lara Croft) was chosen for another PC, Tansy Winters, a beautiful
girl with a truly dark past -- a genetically engineered superweapon
meant to provide the key to controlling the world, who had the bad
luck (from the villains' point of view) to encounter Jared Engelshand
and eventually fall in love with him.
Babylon 5 -- Main Theme
An overall theme for the campaign itself, which was much more focused
on politics and intrigue than on mecha and space battles.
From my current PBEM "Digital Knight" campaign:
This campaign takes place after the events in my novel, when the
Awakening -- the return of magic -- takes place, overturning the old
order of the world.
The Age of Wisdom -- Star Ocean 3 (opening)
This piece of music reflects the power and glory of lost Atlantaea,
whose existence -- and fall -- was the central driving force behind
all the events of the campaign.
Belldandy -- Ah! Megamisama OST
This short but lovely piece from the very beginning of the first A!MS
OVA is one of the pieces that best represents the true nature of PC
Samantha Prince ("Sam").
Duel of the Fates -- Star Wars Episode 1
It's not surprising that more than one player likes this theme, and
for a character who is the essence of fire and justice in combat, it's
not a bad choice at all. Player character Patrick McMillan.
Kaos/Kaos' Victory -- Yoroiden Samurai Troopers
This mysterious oriental-themed piece, ending in a dramatic fanfare,
represents the Master of the Game, the ancient Atlantaean wizard
Konstantin Khoros, who even in death manipulates the direction of the
universe.
"Open the Eye" -- Doctor Who Movie (1996)
Dark and measured, this is one of the themes for Virigar and his
court/castle, hidden in the remote location of Kurchewald.
Auron's Theme -- Final Fantasy X
This mostly piano-focused theme, with a somehow vaguely Western
flavor, was selected for the NPC James Achernar, agent of the secret
intelligence agency ISIS.
My current Hogwarts campaign, taking place during the same years as
the books (and thus clearly going to divert the course of history,
given new students such as Wednesday Addams, Jade Chan, Hadji (from
Jonny Quest), and Edward and Alfonse Elric (Full Metal Alchemist)
incorporates music from all the relevant media and a number of other
sources. The soundtrack is still evolving.
--
Sea Wasp
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I'm not sure that was due entirely to the lack of music, or
).