Noone is a big deal, video game music is a big deal now, and orchestras are frequently commonplace in big-budget games, but the path to today begins in Japan, in the 1980s, at gaming giants like Capcom, Konami, Taito, Falcom, and so on.
Turn Back Time
It’s in this time, and in these places, where groups of women composers, often some of the earliest sound team hires, laid the harmonic foundation for many of video gaming’s most enduring franchises with their infectious earworms.
Most were recruited fresh from college and set to work at breakneck paces, on hardware and software that at best could be described as crude yet byzantine by modern conventions. Women like Manami Matsumae composed the three-channel melodies and effects for dozens of games and legendary 8-bit heroes like none other than the Blue Bomber himself, Mega Man.
Their work filled living rooms, and their soundtracks