GTA IV PC rumours and soundtrack

Despite rumours of an October release, there is still no official word on a PC version of Grand Theft Auto IV as the countdown for the console release enters its final week.

In the past, GTA games have arrived on PC graphically enhanced six to eight months after the console release and the same is expected this time around, despite conflicting rumours that Rockstar have no intentions of a PC release.

The soundtrack appears to consist of two electronic music based radio stations, The Journey (ambient and chill out) and Electrochoc (electro and dance).

They feature tracks from well-known electronic music artists such as Jean Michel Jarre, Boys Noize and Simian Mobile Disco.

Players hear the soundtrack through genre-based radio stations by entering any vehicle in the game.

Previous versions of GTA have featured tracks from prominent electronic music artists such as 808 State, Omni Trio and Calyx within their radio stations.

If a PC version is released, players should expect to be able to add their own music files to a user-built radio station, as with previous editions, to create a stylish Extreme Electronic Experience.

GTA IV will be available on Xbox 360 and Playstation 3 from April 29.

UPDATE: GTA IV will be released on PC on November 21.

Memorable experience 3: Half-Life

Recalling Half-Life’s iconic scenes as merely memorable experiences seems an offensive understatement. Although the sequel is ultimately the better game, my memories of the ground-breaking original from 1998 remain closer to heart.

The legendary Black Mesa tram ride and Anomalous Materials Lab, pummelling my first headcrab with the crowbar, being outwitted by the incredibly intelligent and lifelike soldiers, marvelling at the brutal yet strangely adorable aliens, gazing in awe at the stunning outdoor environments - all elements that contributed to Half-Life being so devastatingly revolutionary and eminently memorable.

Having originally played it as a wide-eyed pre-teen upon release a decade ago, I embarked on replaying it this time with ten years of shooter experience behind me and the purpose of unearthing the optimal musical enrichment. The mixed bag of resulting feelings were made up of nostalgia, of course, tinged with a disappointing realisation that I was tainting precious memories by playing a game that was long ago significantly superseded, but also an enthusiastic appreciation that Half-Life can still contribute to providing a satisfying Extreme Electronic Experience.

The dynamic nature of the game means the scope for exciting combinations is extensive. For the earlier alien-infested levels I preferred the aptly extraterrestrial sound of acid techno, while listening to twisted IDM during the fast-paced later levels left me feeling as if I had just pigged out on my favourite junk food.

The sparse and austere Xen world plays host to the games closing levels and it is this relocation that triggers a lapse in an otherwise tight and gripping experience. Nonetheless, music similarly eerie and barren, such as ambient and minimal techno, conjured up a cruel uneasiness.

With the Source update adding a much-needed gloss to proceedings; it won’t hurt to enjoy a rerun of this earth-shattering shooter, this time armed with your iPod.

An early level

Interview: James Hannigan

James Hannigan is a BAFTA-celebrated composer of music for games. His credits include Republic, Evil Genius, Grand Prix 4, FIFA and many others. I quizzed him on the relationship between games and music.

On the activity of combining games with music...

“I think it's inevitable and fun because in playing some games you are partially shaping your own experience, which is unlike passively watching a film or TV.

But there are games which are manipulative and tell a story as you progress through them, and it's for those I think you need still need composers and more of a universal/pre-determined score.”

On which styles of music suits which games...

“If a game is attempting to be cinematic the language of film music tends to come into play as it is so widely recognised and understood.

There are parts of the games industry more self-contained and self-referential and I do think there is music still identifiable as 'games music' at first listen.

This used to be the case more often than now, as the sound of the underlying technology was part-and-parcel of the sound. Since digital audio levelled the playing field and brought about all this convergence, there's been a blurring of the lines between many forms of music and markets in general.

Games music means different things to different people now and I think the industry in general will continue to fragment.”

On whether the importance of music in games is underappreciated...

“Not entirely. Many games succeed with or without good music in business terms, so I think games may be less reliant on music than, say, films – at least in terms of how much music is thought of as part of games design.

In other words, people may still buy games and be satisfied by them when the music is bad or even absent in some cases. But this isn't to say music isn't becoming increasingly significant and integral to the experience.I think the function of music in games differs in that it may be less emotionally manipulative than film music a lot of the time, in order to immerse the player in a convincing reality. And it may also exist less for narrative support and more for atmosphere, as players are often in control of the 'story' themselves.

But it's hard to discuss music in blanket terms when games are so diverse in genre and purpose these days, spanning action/adventure, sports, simulations and so on.”