Garry Schyman has been an awfully busy man this year. In fact, both Bioshock 2 and Dante’s Inferno were released on the same day. Coincidentally, both games were treated with a fair amount of skepticism and derision at the mere announcement of their respective developments. Whilst Dante’s Inferno was deemed a game that could not possibly be anything short of ludicrous based on its source material, Bioshock 2 was deemed needless; the sequel that had no business being made. Much to the dismay of the nay-sayers, Bioshock 2 – by most accounts (including my own) – has proven itself to be very deserving of being made and could very well be a GOTY candidate.
From the phonographs and radios pumping out oldies tunes to the highly regarded “Cohen’s Masterpiece”, the music of Bioshock was integral to creating the world of Rapture and, subsequently, the game’s incredible artistic success. Often times in games, the same composer is not brought on to score the sequel. Most developers (and filmmakers, for that matter) often have someone else play on the themes written by the previous composer. Equally often, the original’s score is forgotten about and a whole new score and set of themes are written for the sequel (read: Army of Two: The 40th Day). In this case, 2K Marin chose to keep Mr. Schyman and have him lead us all back to Rapture.
Was it a good move? Does Schyman manage to rekindle our love for Rapture? Click the jump to find out! (more…)
