Side A: Ronafure, Gustaberg, Sarutabaruta, Vana'diel March. Limited release only available from the Japanese Square Enix e-store. Side B: March of the Dreadnoughts, Sulyya Springs, The Yaschas Massif, Will to Fight Side A: Prelude to Final Fantasy XIII, Saber's Edge, Serah's Theme / Overseas Version, Fighting Fate. W/F: Music From Final Fantasy XIII ~ Gentle Reveries

Side B: Chocobos of Pulse, Dust to Dust, Blinded By Light, Ragnarok: Sans Pipe Organ (exclusive) Side A: Nautlius, Fang's Theme, The Sunleth Waterscape, Can't Catch a Break. Limited to 1,000 copies on clear red vinyl. Sold on the official Rockstar Games website. Picture disc available originally only at Blizzcon 2010, and then released to other retailers.

The soundtrack was printed onto a picture disc resembling a Data Disk from Tron Legacy and limited to 200 copies. This soundtrack was created by Sascha Dikiciyan. All first pressings are signed by the cover artist and numbered. There are 5 pressings, the first pressing was limited to 555 printings, 150 of which are printed on a clear yellow vinyl. Included with the Special Edition of BioShock 2 I Am Rapture, Rapture Is Me (Official BioShock Score) Limited release only available at Comic-Con 2009 Side Two: 'Spit Game' Radio Version, Street Version and Instrumental.Ĭhaos Theory - The Soundtrack To Tom Clancy's Splinter Cell: Chaos Theory Side One: 'Rising to the Top' Radio Version, Street Version and Instrumental. Ghost In The Shell - PlayStation SoundtrackĪlbum sampler. For Western collectors, additional difficulty is imposed by the cost of importing albums from Japan where the majority were produced during the 'golden age' of the 1980s. Due to the limited nature of modern releases, many albums are considered highly collectible, with some regularly selling in excess of $100 USD.

Additional considerations for collectors include archival and preservation aspects for older games, examination and recontextualization of the music as a means to expand or further explore the game, and curiosity among audiophiles unfamiliar with video gaming music as a genre. In addition, the practice has been adopted by the cult and Indie game scenes, with its proponents citing audio quality, interactivity, artwork, nostalgia, unique content, and the fact that vinyl albums represent tangible aspects of intangible ( digitally distributed) products as key elements to what makes vinyl soundtrack albums attractive. The 2000s-2010s revival of interest in this medium has been characterized by releases in limited numbers and promotional albums only available at special events or as pre-order bonuses. These concerns were later repeated by Jamie Crook of Data Discs, and although he has joined Mondo's Mo Shafeek in arguing that the vinyl medium itself and the related revival is in no way a fad or bubble, in 2017 Kotaku reported concerns from dedicated video game soundtrack labels that pressing plants were scheduling their manufacturing runs last in order to favor traditional labels. In a 2015 article, music journalist Mike Diver suggested that 'this scene within a scene is experiencing boom times', however he noted that some in the music industry, including Invada manager Redg Weeks, were concerned by the risk of over-saturation of the market. The vinyl revival of the 2010s has itself been attributed to inspiration in younger music buyers from video games, and it has led to the establishment of video game soundtrack oriented vinyl record labels like Black Screen Records, Data Discs, Brave Wave, and iam8bit, and shifts toward similar releases for labels like Ghost Ramp, Ship To Shore Phonograph Co., and Mondo Tees. The trend away from vinyl discs continued in the 2000s as fan-made remixes also began to be produced, however by the 2010s the trend reversed and the practice of producing video game soundtracks on vinyl experienced a revival. The 1990s saw many fewer commercial releases and a shift to promo releases with increasing use of video game samples in rap and hip hop. In 1984, Haruomi Hosono released the first generally recognized video game soundtrack album, Video Game Music, and the practice experienced its 'golden age' in the mid-to-late 1980s with hundreds of releases including Buckner & Garcia's Pac-Man Fever, Namco's Video Game Graffiti, and Koichi Sugiyama's orchestral covers of the Dragon Quest series. Vinyl recordings of video game music find their origins in the 1970s with early experiments by Kraftwerk and albums such as Yellow Magic Orchestra's self-titled 1978 release sampling electronic music from the games Circus, Space Invaders, and Gun Fight.

Botanicula soundtrack vinyl