This article, submitted for the TUS anniversary article contest, touches on the concept of the music heard in the Metal Gear Solid games, namely composer Harry Gregson-Williams' work.
The music of Metal Gear Solid is a topic that I feel has never been fully acknowledged in the way it should have been. With three major Metal Gear Solid titles having been released over six years, each has spawned an incredible soundtrack too, which has been pulled straight from the blockbuster releases from Konami. But who are these people, and what rewards do they seek? By understanding these people and Hollywood composers, we can begin to fully comprehend their thoughts and the minds behind these remarkable creations.
February 26th, 1999, the day of the European release of Metal Gear Solid (MGS) which some of us will probably never forget! I remember getting the game home and placing it straight into our PlayStation to explore past the encounter with Meryl, which we recall from the demo discs made so widely available. The world was blown away with the then stunning graphics and cinematic presentation, turning MGS into an international best seller, holding the number one spot for eight weeks in the UK.
But what some of us may not have instantly noticed was the in-game music, not only present whilst playing but also during some Codec calls. I feel that the music is the main element of the game that supports the player and forewarns of surprise. The music for MGS1 was actually written by a number of low-key, in-house musicians at Konami Computer Entertainment Japan. (KCEJ) Kazuki Muraoka produced the music for the original NES and MSX versions of Metal Gear in 1987 and 1990. This was the benchmark for which the MGS1 music went by, and was able to fulfil the "Tactical Espionage Action" slogan adopted previously by the team. Tappi Iwase, better known as TAPPY wrote the MGS Main Theme that was first previewed at the E3 show of 1997, and can be unlocked by completing the game three times!
The sequel to MGS1 was also an immediate success when published in 2002 in Europe. Apart from a new graphics engine and new features and gameplay, the KCEJ Sound Team for MGS returned for this title, and were able to successfully obtain a much larger budget. Sound Director Kazuki Muraoka decided that they could therefore have music "on a grander scale, Hollywood style." The problem was that he didn't know who to use. A CD of a selection of works by Harry Gregson-Williams, the Hollywood film composer, was sent to his studio after Muraoka and Hideo Kojima saw "The Replacement Killers" an action film in which Gregson-Williams composed the music for. "Flattering will get you everywhere," said Gregson-Williams, and he accepted their offer to write the music for MGS2.
The final set of compositions that Gregson-Williams created for MGS2 was sent to Hideo Kojima at Konami, where the sound team were able to successfully "make it work with the pictures," said Gregson-Williams after reviewing the arranged music in the game. This technique is called "symbiosis," a name given to placing a set of images and music together in perfect harmony. A good example of this is where Snake sneaks up on Olga and orders her to toss her gun overboard.
Gregson-Williams also remixed TAPPY's MGS Main Theme for this release, and still incorporates some highly orchestral pieces and choirs of voices in the main soundtrack. Some of the pieces contained within this OST work really well and are blended in perfectly in the actual game, so that as the player plays, the computer does not know what will happen next. Gregson-Williams had to create a host of basic melodies in order for this to be achieved, which usually consisted of light drums and atmospheres, so the mood was ready to change at a given moment.
I think the music of MGS2 easily surpassed the low standards set by MGS1, but this was due to the selection of composers that KCEJ now had available. But then again, so they should have, (!) as we all paid our hard-earnt £45 or so for MGS1, so an improvement in MGS2 sound was on the cards all along really!
Metal Gear Solid 3 was eventually released in March 2005, the usual four-or-so months after our American friends received the third instalment, well, it was a preqel to MGS1 really, if you're going to be pedantic about it!
Gregson-Williams and Japanese Norihiko Hibino returned to write the main in-game music and for the cut scenes. After MGS2, Gregson-Williams allegedly joked that he would return and write the music for a sequel if it was set in the Amazon; he was reportedly pleasantly surprised when he discovered the actual setting! As before, Gregson-Williams remixed TAPPY's MGS Main Theme once more for this new release, which again, I think has been another complete success story.
Breaking tradition however, the sound team at KCEJ chose Starsailor's "Way To Fall" as the ending theme for this MGS. Starsailor are from Chorley, England and Way To Fall was taken from their 2001 album, "Love Is Here." It was a very strange decision to not use an in-house piece of music for the ending theme, but I guess this was a careful decision of someone's, either because they had a personal interest in the band or through an outside suggestion, is what I think.
David Hayter provided his vocal talents for each one of the MGS titles destined for the UK, and I think deserves credit too. Although seemingly not a hard role, I think he must have worked exceptionally hard to get his lines correct and to provide us with a serious yet highly amusing Solid Snake, not only in cut scenes but also through the numerous Codec calls in each momentous title. Hayter has also had other vocal success, but most would not have "cottoned-on" to this one. Hayter provided his voice for the EA Sports title screen on their games too!
To conclude, I think that in any game the music is a high priority that most developers would not regards as important. But as Kojima and his team have proved, the music plays a large role in the overall success of a good game. The music of Metal Gear Solid is certainly one soundtrack that I shall remember for years to come, whether it was the first time we set the guards packing in MGS1, watched in surprise as Fortune "dodged" the spray of bullets headed her way on the bridge in Big Shell, or enjoyed the cinematic brutal torture from Volgin in MGS3, the music should always be remembered by all MGS fans, of all skill and abilities.
-- Article by Luke Salvoni, 1.11.2005
