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Roughly after a half century of the development of game soundand music, computer technology reached such a niveau that itcould bring the most fantastic and never heard sounds woveninto wholly original and subtle complexes that are fullyimmersive and ergodic. Instead of this we are experiencing alarge romantic orchestra playing in a Hollywood movie style ofthe 1930s and later. That is the gist of what I am tending tocall “the Hollywood sound paradox”. It seems there are twoclashing tendencies in game music development: onetechnologically innovative and second stylistically regressive.In this paper I am questioning the process of constructing moreand more sophisticated technologies to obtain older and oldermusic genres. Is it possible that game music loses itsauthenticity originally based on specific media sound? Thisstudy provides three short analyses to suggest main stylisticcategories of the current game music.

The Hollywood sound paradox: A regress of game music to film music origins