Home > Gaming, Music > Anatomy of VGM #5 – Mibibli’s Quest (Windows)

Anatomy of VGM #5 – Mibibli’s Quest (Windows)

mibibli's quest

Described as the author as having gameplay and a plot that will “make you cry”, Mibibli’s Quest strikes a tenuous balance between Mega Man clone and waking nightmare in all things, including its music.

Well, I say that, but to be entirely honest the soundtrack of Mibibli’s Quest leans more towards the former than the latter, with many a track hearkening back to the late ’80s NEStalgia that’s so pervasive in our culture even if it’s mostly hawked by people a few years older than I… and given that I’ve written my fair share of chiptunes, perhaps myself as well. The ideas are out there, in more than one way, but the tension between various elements is very much a defining element.

For the most part, the strangeness or lack thereof is kept discretely separated between tracks, which for the most part are either deliberately weird or more conventional and rarely somewhere in between. There are some notable exceptions in the second hub world, which has arguably more abstract tracks without going off the deep end. Another sign of this separation of concerns comes from the very instrumentation itself. Most of the tracks in Mibibli’s Quest are chiptunes. They’re mostly faithful to the limitations of the NES’s various soundchips, but I don’t think perfect accuracy was a goal. Some of the percussion and instrument layering leads me to believe that the tracks were put together on a more conventional digital audio workstation, though I wouldn’t rule out the use of emulation entirely.

The actual songwriting seems to be based primarily on rock music tropes. It makes sense even when you consider the chippy sounds used to illustrate these – rock is literally a form of popular music, and it’s one that doesn’t necessarily require a lot of simultaneous instruments to pull off. It should help explain why you’ll hear plenty of the stuff in chiptunes; it’s obviously not the only influence, but a good deal of it filters into Mibibli’s Quest. It’s especially notable in the introductory “Art Zone”, for instance. Beyond this, Ryan Melmoth’s most notable technique as a composer is arguably how he approaches harmonic/melodic construction. There’s a lot of progressions in these songs that are, to put out bluntly, kind of out there, at least by the rock music standards I’ve recently tried to convince you were relevant. Luckily, they’re not so overused as to be listener fatiguing, but they do help to contribute to the unique characteristics of this soundtrack. Barring that, there’s also the occasional unsettling soundscape to keep you awake, but Melmoth’s got enough pop sensibility in these tracks that they’re both accessible and hooky enough for a mass audience.

Needless to say, once this officially gets released on Steam, there’ll probably be a swarm of remixers on it like flies around vinegar. In what is becoming something of an internal obligation, I have contributed to this. Mibibli’s Quest does not, however, store its music in easily editable MIDIs or tracker form, at least not that I’m aware of. Still worth the time and effort.

 

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