A Cairo-based editorial journal run by composers, historians, and lifelong listeners devoted to the art of video game music.
Read the StoryFan-first, research-driven, and free from affiliate noise since day one
We trace chiptune history and orchestral RPG themes back to original liner notes, interviews, and archival recordings — not secondhand summaries.
Every headline we publish reflects what the article actually delivers. We respect your time and your intelligence as a fellow enthusiast.
Our editorial direction is shaped by reader questions and forum discussions. If the community is asking it, we dig into it properly.
We treat composers as the central story — their creative constraints, their instruments, their evolution across franchises and eras.
Every retrospective cites its references — interviews, published scores, developer notes — so readers can explore further on their own terms.
No sponsored rankings, no paid placements disguised as editorial picks. Our recommendations exist because we genuinely believe in them.
I'd been casually listening to Yasunori Mitsuda for years without really understanding his process. The retrospective here on Chrono Cross changed that completely. It cited sources I'd never come across before.
Most gaming sites treat the soundtrack as a footnote. This journal treats it as the main event. The piece on Koichi Sugiyama's Dragon Quest scores was thorough in a way I didn't expect from a fan-run publication.
I shared the chiptune history series with my entire Discord server. The breakdown of the NES sound chip limitations and how composers worked around them was genuinely one of the best-written things I've read this year.