It has been two decades after Guitar Hero first launched across the Atlantic, offering players everywhere the means to become a rock star. Not literally, though you'd be hard-pressed convincing someone who's nailed the epic four-minute instrumental break before a packed living-room audience.
Created by the developers, Guitar Hero provided users with a guitar-shaped controller to match on-screen cues scrolling down the display in time with the music. Each riff corresponded to particular chords, creating the feel of an authentic live show.
The studio had already experimented in the music genre before partnering with the publisher, which was acquired by the gaming giant in 2006. Collaboratively, they established the groundwork for a surprising billion-dollar series that had a remarkable impact on numerous musicians included, introducing decades-old groups to a new generation of younger players.
Michael Dornbrook, former COO from the developer, remembers the early budgetary hurdles of licensing the songs – despite the fact initial releases primarily featured rerecorded tracks.
“We reproduced all the music because the cost was so high,” he says. “Despite having the necessary permissions by themselves, it proved extremely difficult. We failed to secure bands like the Who – the publisher was operating on a shoestring budget, and our team was pretty convinced the project would flop. But once the game took off, album purchases airtime were going up, everyone wanted to participate.”
He adds: “One of the amazing things was how many mothers and fathers reached out and thanked us for exposing their children to the music they loved. It became an intergenerational thing.”
Irish blues-rock band the Answer included Never Too Late in the 2008 release the popular installment. Lead musician the artist recalls the way the game revived older hits to the forefront: “Guitar Hero offered a larger, younger audience. Typically such music was seen as music that was past it, however when it was included in the title and teenagers were finding it, suddenly it was cool. That legitimised the genre, eliminating the ‘dad rock’ tag. It provided all our music renewed popularity.”
At that time, the Answer’s debut album remained unreleased in the US, meaning Guitar Hero served as a primary platform for exposure for the band as they went on US tour opening for the rock giants. “The roadies were playing the song on the tour bus, and some of them recognized us from Guitar Hero,” he notes.
Music's biggest acts soon took advantage of the game's success, including bands like Aerosmith, Metallica and Van Halen starring in specialized game editions centered around each band’s catalogue and associated lore, imagery and rock’n’roll mythology. For example, the Aerosmith edition, it was said earned the band more money compared to their studio albums. It sold well over 500,000 units in its first week, while demand for Aerosmith’s music saw an increase significantly during an era as the industry was already collapsing.
The series continues to inspire quick-handed dedication among its fans. Recently, an online personality achieved an impressive attempt featuring the challenging track – a notoriously difficult power-metal song made popular by Guitar Hero – on Clone Hero, a no-cost alternative with similar gameplay and extensive personalization features. This track is challenging enough on expert mode, not to mention played at double speed and without missing every one of its near 4,000 notes. The streamer stated requiring nine months to accomplish.
“Guitar Hero offers a, imaginary experience. Just as with other games, that doesn’t mean you ought to pick up actual weapons and go to war,” says musician the artist.
The band previously wrapped up a profitable run before Through the Fire and Flames was featured on Guitar Hero III, yet he explains it made them widely recognized. “I remember the record label calling to tell me that our selling albums like crazy,” he says. “Popularity surged when we next toured, and we were playing just before top acts on the Mayhem festival.”
Indeed, DragonForce’s exposure via the game proved so vast that it threatened to overshadow everything else the band has done. Recently, the song was used in promotional material for Despicable Me 4. “Previously I felt differently, but I’ve made peace with it,” he admits. “If you only listen to one DragonForce song, it’s totally cool – each person has their own path in music and I’m glad we played a role of people’s lives”.
The best promotion, be it for cars, apparel or games, goes further than selling something – it evokes a desire. Was the game able to harness this? “That’s exactly what our team trying to create,” Dornbrook says. “That thrill of being a rock star in the spotlight. From day one, the creators felt that there’s an instinctive human desire to make music, and their goal was to use technology to allow people to participate”.
The majority installments were released over a mere five-year period from 2005 to 2010, featuring derivative titles such as the DJ version, complete with a spinning deck, and the band-focused game. Subsequently, corporate focus in plastic instruments died down, aside from a brief comeback several years later.
Titles such as the fan project and newer releases have kept the community active, and there’s expectations of something from the founders in development. Recently formed developers has begun work on its debut rhythm-based title. The initial creators are both involved in advisory roles. Is the world prepared to welcome another game following Guitar Hero?
“We thought those games could be like Madden allowing annual releases,” Dornbrook says. “With abundant new music it could remain evergreen, thus I remain optimistic. There’s no reason why it can’t persist with new generations.”
Liam is a professional esports analyst and gaming enthusiast with over 10 years of experience in the industry.