It has been two decades after Guitar Hero hit the market in North America, providing players everywhere the tools to feel like a rock star. Figuratively speaking, but try convincing someone who's mastered the epic lengthy instrumental break in front of a packed living-room audience.
Developed by the developers, Guitar Hero provided users with a plastic guitar peripheral to match coloured notes moving along the display synchronized to a song. Every sequence mimicked particular chords, creating the feel of a genuine performance.
Harmonix had already tried its hand in the music genre before partnering with RedOctane, later purchased by the gaming giant during the mid-2000s. Collaboratively, they laid the groundwork for a surprising massively profitable series which made a remarkable impact on numerous of the artists featured, showcasing classic groups to millions of gaming enthusiasts.
A former executive, ex-chief operating officer of Harmonix, recalls the early budgetary hurdles of licensing the recordings – despite the fact the first two games mostly used rerecorded tracks.
“We rerecorded all the music because the cost prohibitive,” he explains. “Even with the necessary permissions alone, it was nearly impossible. We failed to secure acts such as the Who – the publisher was operating on a shoestring budget, and our team was fairly certain the project would flop. But once Guitar Hero became a hit, and record sales airtime were going up, everyone wanted to be in.”
He adds: “Among the amazing things was the number of mothers and fathers got in touch expressing gratitude for exposing their children to the songs they loved. It evolved into a multigenerational thing.”
Classic Rock Finds Younger Fans
Irish group the Answer had Never Too Late in the 2008 release Guitar Hero World Tour. Lead musician Paul Mahon recalls how the series revived classic rock back into vogue: “The game offered a larger, younger audience. Typically this had been considered music that was past it, but then once it got included in the game young people were finding it, abruptly it was cool. That legitimised the genre, eliminating the outdated label. It provided all our music a new life.”
In 2008, the Answer’s first record remained not available in the US, meaning the game was a key medium for exposure for the group during their a North American tour supporting the rock giants. “Their crew were playing Never Too Late on the tour bus, and several knew us thanks to the game,” he notes.
Rock’s Heavyweight Titles and Lasting Impact
Music's heavyweight names quickly capitalised on the game's success, with Aerosmith, Metallica and Van Halen featuring in dedicated game editions centered around their music collections and associated stories, imagery and legendary status. For example, the Aerosmith edition, reportedly earned the band greater revenue compared to their records. It sold more than 500,000 units in its first week, while demand for their songs saw an increase of up to 40% at a time as the industry was already collapsing.
The series continues to inspire nimble-fingered dedication within the community. Recently, a streamer completed an impressive attempt of DragonForce’s Through the Fire and Flames – an infamously tough anthem made popular by Guitar Hero – on Clone Hero, a no-cost alternative with almost identical mechanics but an array of customisation options. This track is difficult enough on the hardest setting, not to mention performed at increased tempo while hitting every one of its near 4,000 notes. They claimed requiring nine months to accomplish.
“The game is a fun, fantasy thing. Just as with Call of Duty, it doesn't imply you ought to use actual weapons and enlist,” says musician Herman Li.
The band previously wrapped up a successful tour when Through the Fire and Flames was featured on Guitar Hero III, yet he explains it made them a household name. “I recall the record label informing us that we were records were moving rapidly,” he shares. “Popularity surged on the subsequent tour, and we were playing just before top acts on the Mayhem festival.”
In fact, DragonForce’s exposure from Guitar Hero was so immense that it has risked eclipsing everything else the band has done. Recently, the song was used in a trailer for Despicable Me 4. “In the past I thought differently, but now I accept it,” Li says. “Should you just hear one DragonForce song, that's fine – each person has a unique musical journey and I'm pleased we’ve been part of people’s lives”.
Enduring Impact from the Iconic Controller
The best marketing, whether it’s for cars, apparel or video games, extends beyond mere transactions – it evokes a desire. Was the game able to tap into that? “That’s exactly what we were trying to create,” he confirms. “The excitement of performing as a rock star on the stage. Since the beginning, the co-founders felt that there’s an instinctive human desire to create songs, and their goal was to leverage innovation to allow people to participate”.
Most of Guitar Hero games came out in just a half-decade between 2005 and 2010, including spin-offs such as the DJ version, including a spinning deck, and Band Hero. Subsequently, corporate focus on peripherals waned, except for a short-lived revival several years later.
Games like Clone Hero and newer releases have maintained the community alive, with expectations of something from the original publisher on the way. A new studio has entered production on its debut rhythm-based title. Original co-founders are participating in advisory roles. Are gamers prepared to welcome a new entry in the spirit of Guitar Hero?
“Our team believed those games could be like Madden allowing annual update every year,” he remarks. “With abundant new music that it could be evergreen, thus I remain hopeful. It's entirely possible for it to persist with new generations.”
