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Michael's stuff is all melodic and Ellen's stuff is mostly ambient.
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I would strongly disagree. Perhaps we have different definitions of what "ambience" is, but I don't think what Bross did, particularly for MO's in-game music, was melodic in any way except for a couple half-assed action cues.
I can replicate the music for Munch's Oddysee easily by just laying half my arm on the keyboard on any soft pad synth. Add a few processed beats now and then and voila. Stranger's Wrath was a little more complex and had actual tone and instrumentation, but still fell flat in comparison to Meijers' or Gabriel's savvy. Like I said, its just my opinion.
I guess what I'm trying to say is, both scores were atmospheric in their own way but the first two games had a unique sound unlike any other. Bross's music, I feel, can be too easily replicated and stuffed into too many categories.