Those of you who follow me on Twitter (or irl) know that I have been playing a ton of FTL lately. I just bought it during the Steam Summer Sale for something absurd like $2.50 (<3) and it has maliciously taken over much of whatever free time I have to burn.
For those that don’t know, FTL is a real-time strategy game by Subset Games that was crowdfunded on Kickstarter to a release last fall (2012). While it is very fun and comes highly recommended – and not just by me, evidenced by its Metascore of 84 –, it is extremely unforgiving and has done nothing but pain me at great lengths. Still, I will on, determined to beat it someday…
But my excruciating experiences with the game are not why I write today. I come to speak of the soundtrack, of course—a soundtrack that has received high praise from a variety of sources. The accolades that composer Ben Prunty has listed on the front of his website are as follows:
- IGN: Best Overall Music and Best PC Sound of 2012 (nominee)
- Kotaku: Best Video Game Music of 2012
- The Game Scouts: Top Ten Video Game Soundtracks of 2012
- Complex: Top 25 Best Video Game Soundtracks on Bandcamp
- NeoGAF: Official Game Soundtracks of the Year 2012
That’s pretty great. Based on his webpage, Prunty has only composed for a few projects so far, so kudos to him for getting that kind of recognition so early on in his career
I will start out by saying that I was instantly attracted to Prunty’s music. The title theme, “Space Cruise” is easy to like. The beginning certainly screams “OUTER SPACE,” from the tone choice, to the chord that bends and fades, to the seemingly eternal amount of space between that first chord and the second. Hearing those elements from the very beginning immediately puts the gamer in the mood to play a space-themed game.
Another great thing about the open beginning is that it sets up the next section, which one can still consider spacey, but in a different, more light-hearted and fun way. Prunty introduces more electronic instruments with different tone colors that fill in the voids that are left between the first two chords. What you hear is a pretty typical layered build-up that is meant to lead into a climax at 0:57.
This climax features a swifter pace that comes about by way of new, swirling rhythmic sounds and notes with shorter durations. It doesn’t last too long, though, as it hits a breakdown at 1:16 that signals the beginning of a devolution back to the more open feel of the beginning. Essentially, the other two-and-half minutes are filled by a variety of melodies and rehashing of ideas from the beginning of the tune in that open feel.
While I enjoy the piece, I do have some criticism for it More