金屬樂團進軍遊戲領域之戰

The intersection of metal music and video games is becoming increasingly significant, as various metal bands seek to carve out a niche within the gaming industry. Sean Long, the guitarist for the Sheffield-based metalcore band While She Sleeps, frequently encounters fans who inquire why the band does not create music specifically for video games. He notes that the blending of heavy music and gaming is not surprising, as both can be seen as interests that appeal to those who feel like outsiders. Sean reflects on his own experiences, recalling late-night jam sessions in his bedroom where he loses himself in the music, drawing parallels to the immersive worlds found in video games. He describes this experience as 'positive escapism,' and expresses a desire to compose music for a video game, although he admits he is unsure of where to begin. Similarly, Scott LePage and Clay Gober, members of the Texas-based rock band Polyphia, identify as avid gamers. Scott has a particular fondness for the challenging Dark Souls series, while Clay enjoys titles from renowned game developers like Hideo Kojima. The duo is eager to find opportunities that allow them to merge their musical talents with their passion for gaming. Despite their success as musicians, with a combined total of over two million monthly listeners, they have yet to break into the gaming industry. The connection between music and gaming is evident, but there remains a gap in understanding how to bridge the two worlds. A significant opportunity arose with the indie game Cult of the Lamb, which features adorable cartoon animals intertwined with dark themes. The game, released in 2022, became a hit for developer Massive Monster and publisher Devolver Digital. They commissioned Sean, Scott, and Clay to produce a series of heavy metal cover tracks for the game's soundtrack. The resulting six-track EP, titled Cult of the Lamb: Hymns of the Unholy, features contributions from other notable bands such as Killswitch Engage, Trivium, and Monuments. The thematic elements of the game resonated with the artists, and they were excited about the creative possibilities it presented. Sean emphasizes the importance of soundtracks in shaping the gaming experience, particularly for younger players who become deeply immersed in the worlds they explore. Scott views this project as an opportunity to experiment with different styles of rock music, broadening his creative horizons. Both bands are hopeful that this collaboration could pave the way for future projects within the gaming realm. In a more ambitious move, Dan Tompkins, the frontman of the progressive metal band Tesseract, has taken the initiative to develop a video game inspired by his band's fifth album, War of Being. During the COVID-19 pandemic, Dan began live-streaming on Twitch and experimenting with virtual reality performances. This experience motivated him to collaborate with a programmer, designer, and concept artist, while also teaching himself to use the Unreal 5 game engine. The game allows players to navigate a world based on the album, unlocking segments of a song that culminate in a complete listening experience. Since the early access version of War of Being was released, it has received positive feedback, and Dan has observed a significant increase in the band's following. He believes that this project has enabled Tesseract to forge valuable connections within the gaming community. Recently, the band recorded an end credits track for the Wild West-themed shooter Soulslinger, and Dan anticipates that collaborations like this will become more common in the future. He views the game as a means for bands to cultivate and maintain a dedicated fanbase while rewarding their supporters with unique experiences. Dan envisions War of Being as a way for fans to engage with Tesseract's music in a 'visceral' manner. The relationship between video games and alternative music has a long history, dating back to early titles like Doom and extending to popular franchises such as Tony Hawk's Pro Skater and Guitar Hero. Today, video game soundtracks are increasingly recognized by mainstream organizations, including the Grammy Awards, and live performances of these soundtracks are gaining popularity. As the costs of touring rise and streaming revenue diminishes, many bands are exploring gaming as a potential avenue for financial support. Scott acknowledges that it is gratifying to receive royalties from various projects, but he believes that pursuing opportunities solely for monetary gain can detract from the artistic integrity of the work. Sean concurs, emphasizing the importance of maintaining a balance between commercial success and creative fulfillment. He encourages artists to ensure that they allocate sufficient time and energy to their primary projects, driven by a genuine passion for music. When asked about their dream projects, Scott expresses a desire to collaborate with From Software, the creators of Dark Souls, while Clay mentions his admiration for Ken Levine and the Bioshock series. Sean reflects on the original Tomb Raider soundtrack, expressing a wish to create music for a new iteration of the game, humorously offering to do so at a discounted rate. The evolving relationship between gaming and music presents exciting opportunities for metal bands, and they are eager to explore the possibilities that lie ahead.