Entertainment: Is this how you play music?!

Chapter 436 The Birth of the Naming Formula [Li Can Architecture]!

"So, this is the breaking news you were talking about?"

Post editor-in-chief Senger looked at the article Pech submitted, barely suppressing the urge to roll his eyes, and began to question Pech with a soul-searching question.

"Compared to the impact of the controversy on the Post, how much traffic do you think this will bring?"

"An artist shouldn't have positive tendencies. Is he truly an artist who transcends the national level and belongs to humanity? I don't think so. His biases are very obvious. He's not some great thinker. His persona has collapsed!"

Pech tried to persuade the editor-in-chief, but Senger shook his head after his eye twitched.

"You're right, but have you thought about it? We're just an entertainment magazine."

joke.

Freedom is just something people talk about; only Senger, as the editor-in-chief, knows the seriousness of the problem.

It might be possible domestically.

If you engage in some lighthearted labeling, the system will automatically provide powerful support.

But if you do these things to a foreigner, shouldn't you check who's behind them?
Besides, he was an artist invited by the White House, a genuine foreign guest.

They have close ties with the world's three major music labels.

If there were a negative impact that could significantly affect business profits, would they just sit idly by?

They'd love to have a few unlucky guys sacrificed to gain favor with others. Who knows, they might get happy and create an album for their artists, leveraging the DP band's name. With a little hype, even a pig could fly by humming along.

If something goes wrong, the powerful system matching players will really step in. When gods fight, mortals will suffer.

My small frame at home can't handle it.

"Editor-in-chief, but if..."

"Stop it!"

Sengir interrupted Pesh's spellcasting.

He remained expressionless, seemingly oblivious to Pesh's urgency.

"That's enough. Let's do some real news worth reporting and stop talking about this."

"Now, leave my office immediately."

"."

Pesci had no choice but to leave.

In the past, it would have been fine. After all, DEI was at its peak, and even the editor-in-chief wouldn't have dared to be so forceful. Only magic can defeat magic.

But once you fall on hard times and lose your value, no one will take you seriously anymore.

Seeing Pech leave, Senger curled his lip in disdain.

If Li Can really causes some serious trouble, Senger wouldn't mind reporting it and adding fuel to the fire. But if he's just trying to stir up trouble for personal reasons, the risks and rewards are disproportionate.
No one will be used as a pawn.

"So what if it gets out? Do they really think something like this will cause his image to collapse in the eyes of his fans?"

Senger shook his head.

They were just short of mocking him for overestimating his abilities.

Spending too much time in a magical world can make you feel that the power of magic is invincible.

Little did they know that the existence of the magical world was due to the needs of the physical world; if the physical world were to take things seriously, no magic could survive.

DEI?

When you're needed, you're supreme; when you're not, you're just a nobody on the side of the road.

Moreover, the fact that Li Can is a file clerk, while quite shocking in Lighthouse, would have serious consequences if it were to be exposed.

The seriousness lies not in the specific identity or the extent of the controversy.

The reason lies in the outrageous popularity and influence of Li Can and the DP band.

It might lose some fans, but many more teenage fans will just see it as a symbol of their idol and want to be as cool as their idol.

Getting the same tattoo as your idol is nothing special.

If people were to copy this approach and apply it to this field, wouldn't that cause a huge uproar?
Senger couldn't imagine what it would be like if he came home one day and his child suddenly said, "Daddy, Li is so cool. He's a file clerk. I want to join the file too."

That would guarantee that everything would go black and you'd lose consciousness.

A disturbance, but no real disturbance.

Discussions within the gaming community remain heated.

However, many players did not realize that it was only through the use of music shown in the trailer that Li Can's related content became a hot topic in the current music industry.

Leading experts have entered the field, and some papers have been viewed thousands of times in a short period of time.

Even the number of citations can reach hundreds.

Thousands of paper reviews may not seem like a high number, but only those who have worked in academia know how outrageous such a number of reviews truly is.

Thousands of views and hundreds of citations in a short period of time.

This can only be achieved when there is fundamental progress in popular disciplines, sparking an academic boom.

Looking at the entire academic paper industry, papers that have achieved tens of thousands of citations and hundreds of thousands or even millions of views over a decade or so are practically unheard of.

Even these papers often require a huge amount of time to develop.

This wasn't even a paper published by Li Can himself; it was purely for analysis.

The author of the analysis is no stranger to those in the industry.

Rudolf, a veteran game music composer who has been working in the industry for decades.

The paper is titled "A Study on the Application of Thematic Interactive Music in Games from the Perspective of Video Game Music Communication Theory—Taking the Narrative Role of Continuously Upgrading and Iterating Game Music under Li Can's Holistic Artistic Thinking as an Example."

The title is long, but there is no fluff or filler text.

The article begins by outlining Li Can's philosophy and progress in game music.

It started with Bury the Light, which used visual elements to illustrate the gaming experience.

The aesthetic design of the game scenes in "Mad Dragon", the artistic system of "Holy Sword Ludwig" that is permeated with musical notes, and the deep connection and multiple metaphors of "Fart" in the cultural background in "Black Monkey"

The author then proceeded to conduct a simple and direct detailed transcription and analysis of the six sections of "Nocturne" in this cyberpunk game, and combined this with the information already revealed to make some corresponding speculations, dissecting its implications for the literary quality of the plot, the overall background, and the trajectory of individual fates.

Finally, let's get to the point.

It discusses the many possibilities for game music.

The dissemination of excellent music will inevitably rely on more mediums in the future, and games are one of them. The interactivity of game themes will greatly increase the ideas and concepts of music professionals when facing game music.

Although the paper appears to be a summary article.

However, the analysis of the core concepts is incredibly detailed, going straight to the heart of the matter and outlining the progress made by pioneers in this area, which is of immense reference value to the entire industry. Many of the bold speculations and analyses even left many industry insiders completely bewildered.

Because such behavior is far too hasty.

While there is already an industry consensus on the music of released games, there are still many works where the game plot is not fully finalized, and some music is not even complete. As an industry giant, Rudolf's move is really too risky, and even has a sense of impulsiveness.

But everyone already felt a chill run down their spines.

On some music academic forums, people have already begun to discuss the paper.

It's no wonder Mr. Ruddows was a little anxious; based on the information available, this application was truly avant-garde.

[Great! Following the overall evolution of the art style, music is gradually becoming more integrated into the narrative expression of game literature.]

[A brilliant idea, and a strong ability to interpret.]

In the development of music as an abstract art form, people have continuously attempted to truly grasp its essence through various methods. Musical interaction, starting with these two approaches, has begun to be expressed in multiple ways through various mediums. In the process of visualizing music, film and games have deepened this interactivity. The future of music dissemination greatly needs thoughtful papers like this.

If these comments were posted online and shown to ordinary netizens, they would likely be criticized as "human-machine interaction."

Because it's a bit too serious, even a little too sweet.

But in reality, these comments were all made by people in their forties or older, mostly professors.

As for graduate students, they can definitely understand it, and even undergraduates can understand it. Li Can's philosophy emphasizes simplicity and ingenuity. The material is very simple, but the integrated thinking is very unrestrained.

They were hesitant to comment, and most of them just held their heads in surprise and exclaimed, "Holy crap, I didn't know it could be like that!"

For academic papers to be applied to real-world applications, it may take a long time for them to spread.

But this refers to papers on science and technology.

In practical applications, academic papers on music, which are literary and artistic in nature, sometimes do not require a long wait.

A producer who is inspired by reading a paper will immediately want to give it a try.

Even musicians who are only engaged in academic research and not in creative work will constantly analyze and deconstruct the material, disseminate it, and even discuss it with each other to generate more ideas.

It only needs to spread slightly.

Then all sorts of wonderful ideas can begin to emerge.

The first to take action was Fujii, the composer of "Little Days".

Japan has a highly developed gaming industry and a highly developed music industry, which leads to intense competition and makes industry insiders quite anxious.

Within the Japanese entertainment industry, Fujii is not considered a superman; he is merely somewhat well-known.

Such a small degree of fame is basically in an awkward position where large factories don't value it, and small factories think it's too expensive.

Fujii, who was already eager to produce a work to further his career, was greatly shocked after seeing the paper. He couldn't wait to try it out and spent eight whole days in Ryuba studying it before starting to put it into practice.

At the time, he was collaborating with an indie game, so Fujii thought, "I'll take this opportunity to give it a try."

A pixel RPG game designed based on Jungian psychology.

The protagonist has multiple routes and endings. The theme is the kind of dark fantasy setting that I like the most: a hero fights a demon king to save a princess. Unsurprisingly, the demon king is actually an innocent girl, the princess is the demon king, and the protagonist is a clown.

As the game progresses and information is uncovered, different pieces of information lead to different endings.

In Fujii's view, this could indeed be used to experiment with Li Can's "artistic approach to in-depth textual narrative."

"The truth that is being concealed is that what you see is only what others want you to see. Therefore, I need a tonic C, and I need to hide the tonic C to show that the melody uses as little C as possible, with other notes as the main ones, to express that the melody is actually fake. The tonic C should be hidden around the core of the melody, and hinted at with unchanging harmony."

"Coincidentally, the constant repetition of the same sounds and tones can also stimulate the player's irritability, thus enhancing the slightly depressing atmosphere of the game itself."

"This leads to a thematic motif and the corresponding harmonic approach."

"Next, the story will develop around the theme motif. As the plot gets closer to the truth, the true C tone will appear more and more in the theme motif, and the harmony built by the C tone will become more and more resonant."

"Different themes are constructed based on different endings, while the overall melodic structure remains unchanged. However, in the variations, whether the C note is used as a harmony to create a mournful low murmur, a high-pitched roar or scream, or added to the main melody as an ornament, or even finally becomes a true C note melody, it all depends on which ending is being played!"

The more Fujii imagined it, the brighter his eyes became, and he was extremely excited.

Li Can's approach led him to a design concept he had never even considered before.

It looks very formulaic, and the template is easy to use. But when the music is actually made, it still amazes Fujii with its ingenious concept and clever design.

This is even just a simple attempt.

It's entirely possible to go even further and more complex.

What if we focused on the melody instead of just the sound? Could the two-way correspondence of the theme, with one truthful and one false within the melody, reveal different content based on the player's interactions and different endings, create a more aesthetically pleasing and impactful experience?

Players may not understand the intricacies of the game, but they can grasp the underlying implications.

After the background music is played, most players can vaguely sense whether it is the true ending or the bad ending, and can also distinguish the different musical melody hints in the game.

After personally conducting the experiment, Fujii exclaimed in amazement.

"Si Guoyi, Li is really too strong. The artistry of this design concept has even permeated the entire art form."

If an idea is incredibly sophisticated but difficult to imitate, it will likely be regarded as an exceptional case and admired in the academic field.

Li Can might have acted this way in the past.

But it's different now.

When everyone can imitate it and it looks incredibly sophisticated, everything changes!
Such a person, placed in any industry, would be the pioneer of an industry's school of thought.

In the industry, there are many musicians like Fujii who continuously practice this approach.

Although the speed at which they produce their work differs, one statement is quite true.

No matter how fast you are, there will always be someone faster!

This was just one month after Rudaus's paper was published.

As a result, many similar game music tracks began to appear on the market.

The approaches and focuses are completely different, and the thoughts and designs they present seem to be varied, but a careful analysis of their essence reveals that they are all based on the same principle.

The more you try and the more you delve into it, the more you can see the scientific nature of this combination of sensibility and rationality in thinking.

Because the use of allusions and repetitions in thematic narratives requires scientific rationality.

On an emotional level, one can certainly differentiate oneself through rhythm and instrumentation.

perfectly worked.

With the rise of such popular design concepts in the industry.

Just like in the scientific community, formulas named after people, such as Fourier series, Euler's formula, Joule's law, and Bernoulli's equation.

The "theorem" has also begun to emerge in the game music industry.

It's named the "Li Can Architecture"!
(End of this chapter)