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Then thereвЂ™s the vast multitude of WWE and other EA (Electronic Arts) sports related games, and the endless iterations of music, dance and karaoke titles such as Rock Band, Guitar Hero and Just Dance.

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Today, like major motion pictures, itвЂ™s now a standard procedure for most established or upcoming music acts to try and get a track from one of their new or future releases included on the soundtrack of a much hyped, or highly anticipated, video game or series sequel such as racer franchises like Gran Turismo and Forza, extreme sport sims like the Skate series (the first of which featured exclusive tracks from Tommy Guerrero, XXXChange, and Z-Trip) with the music for the third instalment being partially scored and designed by DevoвЂ™s Mark Mothersbaugh.

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This is now a standard feature for games, but back then it was revolutionary, as the quality and fidelity of a home PC or game consoleвЂ™s sound hardware, coupled with the limitations of the data storage space on the specific product media (floppy disks, tape cassettes, cartridges, compact discs etc), had not made music of this quality and quantity possible to be included before.ДЄs we are now well accustomed to, many modern games even feature virtual radio stations to choose to listen to in-game (such as the vehicle stereo radio systems featured in the Grand Theft Auto series) with main themes and songs even being specially written for and only available in the games by popular music artists and composers. The tracks featured in the Wipeout series were also selectable from the menu, so that you could skip through to one that you preferred over the current tune that was pre-selected as the particular level/racetrack default. On the R: The members of Fluke (Mike Bryant, Jon Fugler and Mike Tournier).

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