The composers responsible are Peter Hajba and Alexander Brandon.Īs well as PopCap, Hajba has also worked with Remedy on the first two Max Payne games and Alan Wake as well as with Epic Games on Unreal Tournament. You know, the era of Richard O’Brien ushering yuppies around Channel 4’s The Crystal Maze on the telly, while a state-of-the-art Commodore Amiga sat underneath awaiting the end of the show and the latest “start the fans please”, more-pieces-of-silver-paper-than-gold endgame disappointment for the latest team with mullets, bubble-perms, big glasses and garish jumpsuits.Īnyway I love it, it’s a bit Jean-Michel Jarre and a bit Tangerine Dream and it fits the aesthetic perfectly, elevating a simple ‘match-three’ puzzle game into something grander and more atmospheric. The satisfying click and crash of brightly coloured precious stones is backed from start to finish by a selection of rich, glassy synthesiser tunes that recall the late 80s/early 90s. The first Bejeweled was released 13 years ago and has since been iterated upon several times, ported to many different formats and played by many millions of gamers, many of whom quite probably wouldn’t refer to themselves by that collective noun. Notorious cribbers PopCap hopped on the road to success by taking wholesale established, usually Japanese arcade puzzle concepts and polishing them until they dazzled. My hunch is that the music of Bejeweled 3 was developed under laboratory conditions, using algorithms that specifically and subliminally target whatever parts of the brain it is that trigger the neurotransmitters dedicated to the pleasure of sliding and connecting like-coloured digital gems.
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