Home > Gaming, Music > Anatomy of VGM #4 – Gubble (Windows, PS1)

Anatomy of VGM #4 – Gubble (Windows, PS1)


To be perfectly honest with you, I still find the concept behind Gubble questionable. This PSX cover’s tagline is pretty accurate in describing the overall gameplay (mostly action, some thought required), but you’re still playing as an insane blathering alien that goes around disassembling prerendered 3D abstract landscapes with construction tools. The end result is basically a spiritual successor to Atari’s Crystal Castles, which kind of makes sense considering both games share a programmer. You’re probably wondering what elevates this game to the level of consideration you’ve come to expect from my “Anatomy of Video Game Music” series – it turns out there was a demoscene moon rising on the night Gubble was first conceived.

Gubble‘s music was written by Seppo Hurme (aka Fleshbrain), who wrote his fair share of tracker music in the early ’90s and also collaborated with the more famous Bjørn Lynne at times. The PC versions uses MIDI music; the quality of instruments in their soundtrack will depend greatly on your setup, and it might not necessarily represent the intent of the composer. When in doubt (and using Windows), install Coolsoft’s VirtualMIDISynth and your soundfont of choice. I am not sure if the PlayStation version uses sample/sequencer based audio, or if just plays prebaked recordings, but it still sounds better than, for instance, the stock MIDI functionality in recent versions of Windows.

Given the subject matter and apparent audience for the game (which is certainly child friendly and most likely explicitly aimed at a younger audience than mine), Gubble‘s soundtrack is… surprisingly nifty. There’s an even split between silly melodramatic cartoon orchestra music and electronic tracks that wouldn’t be out of place in an early 90s computer scenedemo. The former is arguably more appropriate for the game’s aesthetic, but I personally prefer demoscene techno to cartoon orchestra music. None of the tracks are particularly long, but they have their share of elaboration and interesting musical ideas. Some of them do admittedly feel incomplete; as if they abruptly conclude in what should rightly be in the middle of the composition. That’s a fairly common pitfall for video game composers, who understandably deal with different challenges than musicians writing for other mediums.

Overall, though, I’d say the OST is far more ambitious than you might initially expect given the circumstances that surround this game, and it’s got plenty of merits to keep your interest if you ever end up playing the game. Much of its strength is probably a result of MIDI/sequencer limitations; skilled composers can, after all, do especially well under such stylistic pressure, especially if you’re like Fleshbrain and you cut your teeth on module music.

P.S: Because Gubble stores its music in easily obtainable MIDIs, you get another quick and dirty track remix. People who are following my mainline musical efforts might be interested to know that I reused some instrument presets from “Superior Steel”, and thusly it sounds more like the industrial/EDM track I heard yearning to break free from the original.

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