Published On: Wed, Jun 3rd, 2020

Feature: How RoboCop’s Epic Game Boy Theme Tune Lives On, 30 Years Later

RoboCop Game BoyRoboCop Game Boy© Nintendo Life

While video diversion strain has turn some-more and some-more renouned as a years have rolled by, there once was a time when it was seen as an afterthought; a tunes that accompanied a titles we played on a home computers and consoles were mostly there simply to equivocate us carrying to listen to finish silence.

In a ’80s and ’90s, a audio hardware inside many home systems was wanton to contend a least, nonetheless a few loyal pioneers managed to utilize these common collection to emanate songs that have prolonged outlasted a games they were trustworthy to in terms of devotion and fame. One such balance is a pretension thesis to a Game Boy chronicle of Ocean’s RoboCop, that strike stores shelves in 1990. This surprisingly saddening balance has grown a life of a possess over a decades, saying use in commercials, viral videos and even a swat song.

Keen to know a bit some-more about a music, we were propitious adequate to pronounce to a composer, Jonathan Dunn, about his career in games and how he came to emanate one of a many iconic pieces of chiptune strain ever written.


Nintendo Life: Can we give us a small credentials on how we became concerned with essay strain for video games?

Jonathan Dunn: Like a lot of youngsters during a time, we was spooky with computers. It was a time when Commodore 64s and Sinclair Spectrums were everywhere. My initial mechanism was indeed a Dragon 32, yet we usually kept it for about a year. we was too sceptical of all a games being expelled on a other computers so we sole it and transposed it with a Commodore 64. we used to lay for hours during a time training myself to program; Basic during first, afterwards after public language. we was also meddlesome in music. we had a synthesizer and had taken strain lessons for a few years so we had a good simple trust of strain theory; it seemed apparent for me to mix a two.

I was during college investigate opening strain and technology, that was a code new march during a time, when we entered a strain foe in Zzap 64! Magazine. we came second yet it was a start of something and we began to get pointless phone calls from hacking groups from all over Europe. we don’t know how they managed to lane me down yet we started pity my compositions underneath a name of ‘Choroid’. we expelled my initial blurb strain for a diversion with Hugh Binns, someone we met on Compunet, an early online complement for a C64. The diversion was called Subterranea and was expelled on a Hewson Rack-It label. It was a initial time we realised that we could make income from doing something that we loved.

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