There will be music from such iconic titles as The Legend of Zelda, Shadow of the Colossus and Final Fantasy VIII, with conducting by Robert Ames, co-artistic director of the London Contemporary Orchestra. Subtitled “From 8-Bit To Infinity”, the event promises a gold rush of pixelated nostalgia. They are one of the musicians who will gather to celebrate the art of the video game score at the Royal Albert Hall, which hosts the first ever Gaming Prom today, further evidence that video game music is finally being given its dues. Ten years on, Haines, who is non-binary, has gone on to compose the soundtracks for indie games such as The Curious Case of Timmy McRover. “It pulls you into a world,” they recall. That it proved such a lifeline was largely thanks to its soundtrack: a haunting mash-up of folk, electronica and Spaghetti Western guitar. The experience was traumatising, and over the weeks and months that followed, seeking comfort, they turned to the fantasy adventure Bastion. When Haines was in college, they were awoken by a burglar creeping through their college dorm room. And no one knows this better than composer Cee Haines. It is central to the experience – in ways thrilling and also healing. But amid the eye-popping visuals, epic storylines and vibrating controllers, the importance of the music is too often overlooked. Video games are one of the great art forms of our machine age.
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