Ten questions with Drew Mackie, host of the Singing Mountain podcast

I've got a confession to make: although I dearly love video game music (VGM from here on out), I pretty much never listen to it when I'm not actually playing a game.

Except, that is, for when I'm listening to an episode of the Singing Mountain podcast.

The thing is, I'd likely ignore Singing Mountain just I like ignore most out-of-context VGM if Drew Mackie weren't its host.

That's not just because of the dulcet tones of Drew's NPR-ready voice, by the way. You see, he and I go way back--in a manner of speaking.

Drew Mackie and Wario

I first became a fan of Drew's around the time I launched the blog you're reading right now. He had his own blog at the time, Back of the Cereal Box--it still exists, though it's been defunct since early 2018--that not only regularly covered video games, but regularly covered the kind of games I tend to enjoy.

In the years since, we've become friends via the comments sections of our respective blogs as well as on Facebook, Instagram and Twitter.

Anyway, between our similar taste in games and my appreciation of Drew's way with words, you bet your sweet bippy my ears perked up when he announced in mid-2017 his next venture would be a VGM podcast.

Speaking of which, Drew recently agreed to answer a few questions not only about why he started Singing Mountain, but how he named it, why he likes 16-bit VGM so much and more.

The Gay Gamer: You launched the Singing Mountain podcast just over two years ago. What spurred its creation?

Drew: To be honest, I had my first podcast and I thought I might do this as a side project to draw attention to the main project--do short little episodes about VGM and then tell people at the end that I have this other nostalgia-based podcast about movies. Very quickly thereafter, Singing Mountain ended up being the project I enjoyed more and before long, I ceased that first podcast and started tinkering around with what I could do with this VGM podcast format. I actually didn't know much about the VGM podcast community and quickly had to educate myself.

The Gay Gamer: Why did you name it Singing Mountain anyway?

Drew: Chrono Trigger! The original OST for Chrono Trigger has one track that you don't hear in the game because that area ended up being omitted from the final version of the game. That's "Singing Mountain." And that name alone evoked something magical and made me wonder about what this lost area might be like. The song has since been used in subsequent ports of Chrono Trigger, but I would still like to see the creator's original vision for it.

This wonderfully beefy piece of cover art wasn't used
for an episode, but I'm including it here anyway

The Gay Gamer: What has been your favorite episode so far?

Drew: "Ric Ocasek in Moonside," an episode I liked so much I actually made it twice, just to iron out the kinks and make it as good as I possibly could. This episode is about EarthBound, but also me and the general way that music can linger in your head for years, unattached to lyrics or anything that could help you identify what song you're actually remembering. If that makes sense.

The Gay Gamer: Which episode do you think is most emblematic or representative of Singing Mountain or even of your taste in game music?

Drew: People make fun of my titles sometimes, but as a gay dude who likes pretty things, I gotta say that the most representative episode of my show is one is called "A Beautiful Place by Moonlight." A big theme throughout Singing Mountain is how I like softer, quieter, more relaxed music, and this episode was all about music that evokes the night but not in a way that's sinister or, like, dark, if that makes sense. It's about how sometimes things are prettier at night. I like thinking of a really abstract theme and then figuring out the weirdest collection of music I can get together that fits that theme. Also, the cover art made me happy.

Runner up: the one about VGM that sounds like italo disco, because I feel like people aren't aware of italo disco, generally, but would be into the idea of disco and new wave having a baby. They actually have an italo disco night at one of the gay bars in L.A. and this makes me very happy. (Not that I'm taking credit for it.)

Drew's Birdo-focused cover art for Singing Mountain's
"The Best Saxophones in Video Game Music" episode

The Gay Gamer: What is your favorite aspect of creating an episode?

Drew: Knowing that I'm my own boss and can do whatever I want. That sounds bratty, but I like that I can break format any way I want and it's OK. I've never had an in-office job where I had that much freedom.

The Gay Gamer: What's the hardest or most annoying part of creating an episode?

Drew: Trying to decide between "I can make this work" and "maybe I can't, maybe I should go in another direction." I don't like putting something out there that I don't think is worth the listener's time, and if I can't deliver the goods, then I need to go with plan B. This last week, I actually ended up not posting an episode, just because nothing was coming together. I'm hoping the time off lets me come up with a good idea.

The Gay Gamer: I always look forward to seeing the cover art you create for each episode, and I'm sure I'm not alone there. I'm guessing you enjoy it too? How long does it usually take you to make a piece of cover art? And what's your process for making one?

Drew: Sometimes the pixel art takes me as long as the episode itself, but only because it's my favorite part. It's basically just doodling, really, because I'm taking existing, official pixel art from Spriter's Resource and then screwing with it and making it weird or taking stuff from two different contexts and making them exist together. It's weirdly relaxing, even when I'm doing it at 2 a.m. because the episode is done and I'm still trying to figure out the art.

The rad cover for a heart-pounding episode
called "A VGM Dance Party"

The Gay Gamer: You obviously have a particular fondness for game music from the 16-bit era. Is that simply because you grew up in the '90s, or is there more to it than that?

Drew: On one hand, yeah. I was born in 1982, so most of my video game playing happened in the 1990s. It's my pop culture sweet spot. However, there is a less objective reason why I focus on 16-bit stuff. Super Marcato Bros. is another VGM podcast, hosted by composers who can talk about music on a technical level. One of the hosts (I think it's Will) has said that he thinks 8-bit VGM is the pinnacle of the genre--and yes, it is a genre--because the technology with which VGM composers could make music was very limited. In order to make music sound good, those 8-bit composers had to be clever enough to work within those restraints and find was to make the technology sing. Alternatively, they could compose melodies that are so purely good and catchy that they'd sound good even being played with those limited means. Often they did both.

I totally think this is true. As video game technology evolved, the restraints gradually went away. So composers coming along later didn't have to be as clever or the melodies nearly as perfectly composed. Coming right after the 8-bit age, the 16-bit stuff is still feeling those restraints but also getting a little more wiggle room, technologically speaking. To me, 16-bit is the best, because you still had to be fairly clever but you could also benefit from a wider range of sounds and consequently do a little more. And then as you get into the PlayStation and Nintendo 64 era it kinda gets... less catchy, I would say.

Drew and his adorable pup, Thurman

The Gay Gamer: Regardless, what are your favorite 16-bit soundtracks?

Drew: EarthBound (because eclectic), Seiken Densestu 3 (which is Trials of Mana now and I'm so glad people get to hear how Hiroki Kikuta took his work from the first Secret of Mana to a slightly darker place), and Super Mario RPG (because I actually think Yoko Shimomura is the most versatile composer working today, having composed this and the original Street Fighter II and Kingdom Hearts and Mario & Luigi and a billion other things). Oh, and the Donkey Kong Country trilogy. And then Treasure of the Rudras would probably be the one less famous OST from this era. Also Lufia II is better than you might remember.

The Gay Gamer: Do you have any favorite game soundtracks or even individual songs that come from outside the 16-bit era? If so, what are they?

Drew: Samurai Shodown! Especially the first three. Because I feel like the SNK fighters aren't remembered necessarily for their music, but the composers really nailed the mood of these games. And the DarkStalkers games are where Capcom always liked to get weird and experimental and kinda gay, if I'm being honest. And that includes the music. And then Wario Land 4 is just.... fascinatingly bizarre.

See also: 'Ten questions with the guys behind the best GameBoy game you've probably never played, Tobu Tobu Girl'

Hirokazu 'Hip' Tanaka's first album is everything an EarthBound, Kid Icarus, or Metroid fan could want

I've been a fan of Hirokazu "Hip"--now apparently "Chip"--Tanaka ever since I discovered he was responsible for Kid Icarus' glorious soundtrack.

My admiration of and belief in his talents blossomed when I found out he also had a hand in crafting the music for classic Famicom and NES games like Balloon Fight, Wrecking Crew, Metroid, and the first two Mother (aka EarthBound) titles.

Tanaka now serves as the president of Creatures Inc., although that lofty position clearly hasn't caused him to turn his back on his first career.



His just-released (not to mention first-ever) album, Django, is the perfect case in point.

Its 13 tracks are everything a "Hip"--or "Chip"--Tanaka fan could want. My favorites: the chunky "Beaver" (listen to it and watch its video here), the jazzy, laid-back title tune, the ethereal "EMGR," and the blippy, breezy "Prizm."

Really, though, you can't go wrong with any of the game-inspired soundscapes offered up by Django. Speaking of which, you can listen to the whole album at chiptanaka.bandcamp.com.

See also: my '10 Most Influential Games' write-up about Kid Icarus

Five favorites: Poochy & Yoshi's Woolly World tunes

I've put a lot of time into Poochy & Yoshi's Woolly World this past week. Nearly 15 hours, to be exact.

In fact, I'm not too far from the finish line--if you consider the finish line to be completing every level. Although I've nabbed all the flowers, stamp patches and yarn bundles hidden within the game's first three worlds, I'm not sure I'll even attempt to do the same in its last three. If I do, expect it to add another 10 or 15 hours to my play time.

That wouldn't be the worst thing in the world, of course. After all, it would allow me to fully take in the game's wonderful soundtrack.

Speaking of which, here are my five favorite Poochy & Yoshi's Woolly World tunes:



"Duplicitous Delve" is the first Poochy & Yoshi's Woolly World song that really jumped out at me. I especially like its chill vibe.



"Yoshi and Cookies," above, takes me back to the original Yoshi's Island. I mean, it's no "Athletic," but it's still pretty snazzy, wouldn't you agree?



The bouncy, jazzy feel of "Ms. Cluck the Insincere" made the corresponding boss battle (at the end of the game's third world) one to remember.

Aural Gratification #5: 'Sea City' from Kirby: Planet Robobot (3DS)

I'm showcasing "Sea City" here because it's my favorite of all the songs that have wafted through my ears in the last week or so while playing Kirby: Planet Robobot.

(In case you forgot, I recently bought copies of Kirby's latest 3DS adventure and Poochy & Yoshi's Woolly World as a reward for finishing Dragon Quest VII.)

Speaking of Planet Robobot, I've already put more than nine hours into its ample story mode. (I've also spent a good few minutes with its quest-centric "Team Kirby Clash" mode, which is surprisingly fun for something so light and superficial.)



That was just enough time for me to get all the way to and even defeat the game's final boss. I still have a way to go before I fully beat all of the stages leading up to that point, though. (I've found all of the "Code Cubes," which are needed to gain access to bosses and to unlock bonus levels, in the game's first three worlds, and I've found enough of them in Planet Robobot's later stages to earn an overall completion rate of 65 percent.)

Regardless, I've had a blast with this 3DS platformer. The "Robobot Armor" alluded to in the title probably is my favorite aspect of the game at this point, although I also adore a couple of the new copy abilities (doctor and ESP) made available to Kirby this go around.

Have any of you played Kirby: Planet Robobot? If so, what did you think of it? Also, how would you compare it to other Kirby games you've experienced (especially, say, Triple Deluxe)?

See also: previous 'Aural Gratification' posts

Aural Gratification #4: 'Snowy Fields' from Kirby's Epic Yarn (Wii)

I was reminded of this wonderfully wintry track when my friend Anne recently sent out a tweet about a similarly seasonal tune from Yoshi's Woolly World.

The reminder was much appreciated, as both "Snowy Fields" and Kirby's Epic Yarn have long had a special place in my heart.

Not only did I declare the latter my favorite Wii game of 2010, but I now work my way through it every year in the run up to the holidays.



Why? The game's "Snow Land" is a major reason, of course, but the rest of Epic Yarn's many worlds play a role, too. After all, each and every one of them look (and sound) like they sprang out of a child's toy chest.

Plus, the whole adventure evokes that same wide-eyed feeling of wonderment and awe that washed over me as a kid after I woke up on Christmas morning and first caught a glimpse of the brightly wrapped presents under our tree.

Do any of you also have fond memories of Kirby's Epic Yarn? If so, please share them in the comments section that follows.

See also: previous 'Aural Gratification' posts

Aural Gratification #3: 'Woods Land' from Don Doko Don 2 (Famicom)

I'm not entirely sure why, but Taito's Don Doko Don 2 is strangely absent from most online discussions of great Famicom and NES platformers.

Which is a real shame, as this Japan-only release from 1992 is one of the system's better side-scrollers, in my opinion.

One reason I hold it in such high esteem is it's as cute as can be. Another is that it's full of the kind of charm Taito was known for back in the day. (Don't know what I'm talking about here? Check out Bubble Bobble, Rainbow Islands, Parasol Stars, The New Zealand Story and Mizubaku Daibouken.)

Most importantly, though, Don Doko Don 2 is a blast to play. I especially like how it takes the hammer-centric gameplay mechanism of the original Don Doko Don, which basically is a Bubble Bobble clone, and puts it to use in a Super Mario-esque platformer.



Don Doko Don 2 never reaches the dizzying heights of Super Mario Bros. 2 or 3, mind you, but it's still very much worth trying if you tend to enjoy the genre.

And even if you consider it a flop from a gameplay perspective, you should still get a kick out of its soundtrack. "Woods Land," which can be heard in the video above, is my favorite of its many tunes, but plenty of others also will have you tapping your foot or bobbing your head as you traipse through the title's brightly colored stages.

So, what do you think of this Don Doko Don 2 song? Or what do you think of this Famicom game in general?

See also: previous 'Aural Gratification' posts

Aural Gratification #2: 'Ghetto' from Gekisha Boy (PC Engine)

IREM's Gekisha Boy--or Gekibo, as I believe it used to be called in Japan--is one of those games all PC Engine fans should play.

Unfortunately, complete copies are pretty pricey these days. Also, the game has yet to hit Nintendo's Virtual Console for any system (3DS, Wii and Wii U) or in any region.

Does this mean you should go grab the ROM and play Gekisha Boy--which translates to Photograph Boy--on your emulator of choice? Sure, if that'll float your boat. IREM the game-maker basically closed up shop in 2011, so it's unlikely Gekibo or any of the company's other great titles will be re-released anytime soon, so emulation is likely to be the only avenue for most folks who want to experience this weird "action photography" game.



Just be prepared to face a stiff challenge no matter how you decide to play this 1992 offering. Successfully finishing its many stages is no easy feat, as doing so requires you to control its protagonist--his name is David Goldman, according to Wikipedia--as well as a reticle using the PC Engine's directional pad.

The good news here is that all of the time you're sure to put into beating Gekisha Boy's tough-as-nails levels means you'll become well acquainted with its soundtrack. Speaking of which, my favorite of its tunes is the one showcased in the video above. I love that it's kind of spooky--like something you'd listen to around Halloween.

Have any of you played Gekibo? If so, let me know what you think of it by leaving a comment below.

See also: my first 'Aural Gratification' post about 'Salad' from Panic Restaurant (Famicom)

Aural Gratification #1: 'Salad' from Panic Restaurant (NES)

Along with Great Greed (GameBoy) and SaGa Frontier (PlayStation), I've spent a good amount of time playing Panic Restaurant for the NES in the last week or two.

This isn't my first experience with Taito's food-centric platformer, mind you. In fact, I've been a fan of the erstwhile Wanpaku Kokkun no Gourmet World for ages--since the year or so after its release.

Although I like many aspects of Panic Restaurant--its spot-on visuals, thematic dedication and pinpoint controls among them--I think its soundtrack may be the best of the bunch.



At the very least, the tune that plays throughout Panic Restaurant's third stage, "Salad," stands out for boldly bucking the trend of cheery, boppy tracks that support every other level.

In particular, I love how this track complements the nearly barren kitchen that serves as the stage's setting. It's echo-y and lilting and even kind of chilly--all of which go hand in hand with the cool hues that coat the surrounding environment.

Are any of you also fans of this piece of game music? Or maybe you're fans of the title that contains it? Either way, share the love in the comments section that follows.

Just in case you still need a little push RE: buying Pocket Card Jockey for 3DS

I've got Pocket Card Jockey on the brain, I know. Hell, it could be argued I've gone far that point since I first picked up the Japanese version of the game--called SolitiBa in that part of the world--just over three years ago.

After all, in that time I've published a review of this Game Freak-made 3DS eShop title, a guide that offers up advice on how to improve your results and a slew of other posts about it.

Something I haven't expended much text on, though, it Pocket Card Jockey's soundtrack. It's sublime--and that's not an overstatement.

Don't believe me? Check out its best tune, "Funky Monkey Style."



Pretty awesome, right? Admittedly, it's probably not what you imagined when you learned that SolitiBa-slash-Pocket Card Jockey combined horse racing and solitaire.

Go Ichinose is the man who composed it. Name ring a bell? Makes sense, especially if you're a Pokémon fan. (He's had a hand in creating music for almost all of that series' games, plus the GameBoy Advance gem known as Drill Dozer.)

Now that you're smitten, come back to this post and let me know in its comments section how much you love Pocket Card Jockey after you've spent a couple of hours (or more) with it.

(Via TronKnotts)

Nippon Ichi Software's teasing a new game, and I think it may be related to the Cladun series

Raise your hand if you had a blast playing Nippon Ichi's Cladun: This is an RPG at some point after the quirky dungeon-crawler earned a worldwide release (for the PSP) back in 2010.

Now raise your other hand if you also enjoyed that game's sequel, Cladun x2, which first saw the light of day in 2011.

To those of you who now have both arms raised: I'm not quite sure how you're going to read the rest of this post (or start the video below), but I'm sure you'll concoct some sort of solution.



To the rest of you: watch and listen to the snippet above--yes, even those of you who have yet to even think of raising a hand--which the folks at NIS helpfully and straightforwardly named, "Title Teaser BGM."

In other words, the musical numbers featured in this teaser probably are from an upcoming Nippon Ichi game.

Given the chiptune-y sound of the tracks and the character sprite revealed at the video's tail end, I have a feeling the title's related to the company's Cladun series in some way. What do you think?