What are some retro games that famous non-game dev people were

Just to get it out of the way: Michael Jackson's Moonwalker

File: am.jpg (364KB, 610x458px) Image search: [Google]

364KB, 610x458px

Also let's not forget Harlan Ellison's I have No mouth and I must scream game
https://www.youtube.com/watch?v=lmkX0koTAN4
https://www.youtube.com/watch?v=q_rjo-IRsqs
>Harlan makes Pinky and the Brain reference

>>3368498
Practically every jRPG has a celebrity guest whether they be artist, musician, or writer and sometimes all three.

>>3368498
Y'know, I always wondered what happened with Dark Seed 2. I mean, I'm not talking about the fact that Mike Dawson didn't make 2 (which is pretty fucking obvious considering how the game depicts him). I'm talking about how the game depicts him.

You get the sense that Raymond Benson or someone on the development team really really hated the shit out of him. It almost goes past funny and into disturbing. What did Mike Dawson do to Raymond Benson to make him hate him so much?

>>3369089
Im more surprised they went and made a game where the protagonist is such a total loser that the player wouldn't even wanna support him
Just change the protag and mock mike from a distance as an NPC or something

Ryuichi Sakamoto worked on MOON I think.>>3369207

>>3369089
Mike Dawson was only a producer (Not a designer or programmer, he didn't even voice himself for the CD release) for Darkseed 1, and that game had a pretty big habit of self inserting names and locations related to Cyber Dreams staff (Klug's general store, the address on Delbert's card coinciding with the address of Cyberdreams' office). He left after that game to do television work.

Darkseed 2 is a pretty interesting case, it has quite a bit of interesting lore, but sadly the ending kills the experience, although debatedly any hope for a good ending is shattered when Mike beats up an FBI agent. I think they were more or less going for a much more psychological horror thing with the second game, along with making it sort of like Twin peaks, because every mystery story in the 90's taking place in a small town has to be Lynchian.

Off the top of my head, NiGHTS into Dreams had its controller tested by Steven Spielberg, and Quake's music and sounds were designed by Trent Reznor.

File: 140865-Toonstruck_(CD_Windows)-3.jpg (87KB, 640x763px) Image search: [Google]

87KB, 640x763px

This game wouldn't as awesome as it is without Christopher Loyd

File: Panzer_Dragoon_Art_01.jpg (81KB, 484x467px) Image search: [Google]

81KB, 484x467px

Moebius art for Panzer dragoon.

Spielberg produced the first Medal of Honor.

Raymond Feist and the Krondor games.

>>3368498
-Trent Reznor and Nine Inch Nails did all the sounds for Quake
-Megadeth did a cover of Grabbag when DNF was supposed to be released around 2001
-David Bowie participated to a Dreamcast game called Nomad IIRC
-A shitload of techno artists made the soundtrack for the Wipeout series

>>3372135
>-A shitload of techno artists made the soundtrack for the Wipeout series
that's more licensing than anything else

>>3369050

I don't know if every JRPG did that, but the Mother series is a clear example, Shigesato Itoi was famous in Japan as a writer and copywriter, and Keiichi Suzuki (who did the music on Mother 1 and 2 along with Hirokazu Tanaka from Nintendo), is a famous musician since the 70s with the band Moonriders.

>>3369517
Sakamoto also did the Dreamcast startup sound.

>>3369886
Didn't knew that about Spielberg, bizarre. He tested the in-game controls or the 3D controller? Is his name on the credits of the game?

Michael Jackson helped compose the music for Sonic 3

There was an arcade on the rails shooter featuring Journey

>>3372135
>>3372143

If we're talking techno, there's Ghost in the Shell.

Hands down, best techno soundtrack in any game.

Has all-original (not licensed from previous works) new tracks.
Produced by j-techno legend Ishino Takkyu, and has artists from the best of the mid 90s german techno scene, like Westbam and Hardfloor.
The actual vinyl release of its soundtrack, called Megatech Body, is kind of sought after, more by fans of techno, rather than fans of video games or ghost in the shell.

https://www.youtube.com/watch?v=ZWYt-P7yJ1k

>>3372149
is it a bunch of songs or a score? I'm a racing game fan and I have a real problem with licensed soundtracks. Songs are just very different from scores. Even if it's just minor differences like wipEout XL playstation vs. windows soundtrack. The latter is just by cold storage, but it sounds far more consistent and game-fitting then the "contemporary techno" of the ps variant. With other racing games it's even worse, when they license rock songs with lyrics and verse structure, instead of doing theme focused tunes

File: wVkbkpr.jpg (269KB, 1500x1003px) Image search: [Google]

269KB, 1500x1003px

Dennis Hopper voiced a guy in the extremely weird Hell: A Cyberpunk Thriller for PC/3DO in 1994.

I watched a whole playthrough while I was really hungover one day. Strangely relaxing.

https://youtu.be/qM6Qu2kIXVU?t=2349

>>3372193
but are they songs, with a definite beginning, structure, end, etc, or are they more like soundscapes and mood tunes, that can play on repeat in the background without causing trouble?
Also, damn, that's beautiful

File: gitsmegalp.jpg (52KB, 500x473px) Image search: [Google]

52KB, 500x473px

>>3372203

sorry I deleted my post, wanted to add something to it.

They are actual techno tracks and as far as I can remember they never end while they play in the game. They just loop. You can easily do that with techno.
But the tracks are not from other work, they're OC for the game, by various famous techno artists. And the whole thing was overall produced by Ishino, so the sound is consistent, even if its by different artist depending on the track.

Sorry if I made it sound more complicated than it is.

>>3372210
I fully understand they're OC, but, look at Cold Storage's wipeout soundtrack, for example. The songs are more or less OC for the games, yet they have a classic radio song structure, with an intro, a verse + chorus structure (even if just in melodies), and an outro. You can obviously play it on repeat, and it's fairly catchy for that, but it's a song. Compare with stuff from Deus Ex, where the soundtrack does not have many tunes per se. It's all mood and ambient tunes, that you can loop for an hour and you won't even notice (in a good way)

>>3372220

I actually never played Wipeout so I don't know how the music is, but In that sense, yeah it's more radio and club-friendly, hence why techno fans and DJs want the vinyl. It's not an ambient soundtrack, but it's not the regular radio song with average verse-verse-chorus-verse structure either, it's strictly techno.

https://www.youtube.com/watch?v=Y6GPrWL2uMI

>>3372251
https://www.youtube.com/watch?v=4uQnXvRndcE
for reference, one of the songs I'm thinking of. Also one of the few songs that are on both the Windows and PS version

>>3372254

Well, that sounds more video game-y, so to speak. I was just reading and noticed they used a Leftfield track on Wipeout, but it was yet again a licensed track from a different release by Leftfield, and not exclusively for the game.
The guy who did Wipeout, Cold Storage, seems to be a video game music composer.

Ishino and all the other artists that worked on GITS' soundtrack never did video game music, or worked in the industry in any way, they were techno producers.

>>3372273
oh yeah, wipEout is definitely not an example of nongame-devs. The tracks that are by others are licensed, and cold storage does games for a living. I merely brought it up as an example I had at had for song-like soundtracks, and how cold storage is (by virtue of being a game music composer) somewhat closer to something that can loop, while the licensed music, as cool as it is, produces a bit of a disconnect between the futuristic setting and the contemporary music. I was just having a bit of conversation on that stuff

>>3372276

Yeah in that sense, the GITS soundtrack is techno, but it's not a song like, for example, the soundtrack of Crazy Tazi or Tony Hawk. I think the music fits the mood of the game perfectly, you're futuristic tokyo military facilities using a spider robot listening to 90s german techno. It fits great.

Another techno guy who worked on some video game music is Ken Ishii, apparently he produced some of the music on LSD, and also contributed with 2 tracks on the Rez soundtrack, not sure if those were exclusively made for the game, but I think they are.
Rez also has some other guys from Joujouka who are a goa/psy trance outfit.

File: revolution x.jpg (22KB, 320x240px) Image search: [Google]

22KB, 320x240px

Its not a very good game, but I have some good memories of co-oping the snes version with a friend

>FEATURING AEROSMITH!!!

>>3372305
I'm under the impression Rez is far more an art project than a game. It just happens to be really playable and fun. The individual levels though, are collaborations of audio and visual artists

>>3372313

It's pretty much a rail-shooter like Panzer Dragoon, but yeah it's pretty amazing, it's also one of the few games where rumble is important. The slight bumps you can feel in your hands that go along with the beat adds another layer to the experience.

>>3372320
rumble is absolutely crucial for it. And yeah, I know its genre, it's a very solid game, one of my all time favorites.
I'm just saying, the strong focus on musicians and the stylish artwork and stuff, to me it seems as if the devs coded up a rail-shooter engine, an editor, and then went straight to the techno scene and said "here folks, try to mess with this one, make cool music, cool visuals, we'll take the 5 best and make you become bigger than you already are"