Uematsu is hands down my favorite video game composer ever. He’s done so many fun and interesting soundtracks. His tracks have style, they’re catchy, they’re emotional, they’re memorable, they speak. FF9 or 8 were his best.
Yeah, I mean those ones end up just getting lost in the noise with no completely discernable tracks and melodies. There are a few stellar movie soundtracks that break that mould line the blade runners but that’s not what some games are trying to emulate.
He’s right! Video game music has been absolutely mental since the start, whether Japanese arcade machines, the early 90s German demo scene, JRPGs, etc etc. Just getting a session orchestra in to riff on Holst and Wagner is boring.
No offence to Tetsuya Nomura, I love a lot of the titles he worked on, but he doesn’t have a single independent thought in him. Everything he makes feels like a remix of something else, like his entire legacy is loosely copying Hironobu Sakaguchi’s successes.
It’s taking over everything that corporations touch. Despite all their attempts to hide and distract from their problems, they only keep mounting because they refuse to accept the fundamental truth that it is literally impossible to strictly control the entire population the way that their systems are designed to work. Computer technology and the Internet have ironically actually solved our problems, not by controlling what people do, but rather by accelerating the enshitification process to a pace where their bullshit becomes abundantly obvious to everyone.
I get what he’s saying. Game music used to have a much bigger “job” in fleshing out the world that the game presented to you. I remember for example songs like Final Fantasy VII’s Gold Saucer, Chrono Cross’ Termina (Another World) that set the tone of the place you’re visiting: busy, active, crowded and festive. If you take the music out, you have a beautiful yet static, almost frozen landscape - it comes alive with the music. Nowadays the visuals can be so detailed, the worlds so big and busy that the music seems to be an afterthought: it’s just ambient music for the already immersive world of the game. And I believe that has lead to a lot of composers settling for just that: ambient music.
I think on Twitter I once messaged Gareth Coker, the composer for Ori and the Blind Forest, about how beautiful the music on that game is and how there’s a big emphasis on melodies. He replied that the studio specifically pushed for melody-heavy songs, rather than just ambient music that only complements the action. That makes a huge difference.
Part of the reason I enjoy games is for the soundtracks. Modern games that come to mind are Persona 5 and Nier Automata which has do much memorable music. The soundtrack creates an Identity. So many games feel like the sound team doesn’t care if I play my own music instead.
I would say that a lot of this has to do with survivor bias. Most of the shitty soundtracks were forgotten and buried. Only the really good ones had staying power. So it is easy to convince yourself that the past was so much better because you remember the good and a lot less of the absolute trash that existed back then and compare that cherry picked past to today’s mix of good and bad.
Really depends. Orchestral pieces can fit certain games, or certain parts of a game. A set soundtrack with a few variations for changes of pace can work if it’s a good fit for the game in general.
If it’s a constant wall of music that’s not really well integrated, sure it can be a bit annoying, even if the music itself would be very good in isolation.
But on the contrary some games have adaptive music, and interestingly it’s a bit more like John Williams’ view on movie soundtracks : it’s made to adapt to what’s happening in real time. When it’s done right it’s everything but boring.
But on the contrary some games have adaptive music, and interestingly it’s a bit more like John Williams’ view on movie soundtracks : it’s made to adapt to what’s happening in real time. When it’s done right it’s everything but boring.
Elite: Dangerous does this extremely well (IMO it has some of the best sound designs out there, not only music but everything else, too, including the dynamic range). The music is never this generic bombastic horn sections, and it’s different in different environments and situations, always somberly haunting at the edge of consciousness and enhancing, not overpowering, the gameplay.
Yeah hard disagree with Nobuo on this one. I remember firing up Halo CE for the first time and being blown away by what I was hearing throughout the game, and to this day I can see a screenshot of that game and my brain immediately starts rocking out to that level’s sound track.
It can be utilized poorly for sure, but a videogame with a cinematic sound track done right goes straight to my favorites.
In my experience lots of games go for this “generic movie-like” style, which sounds high production value, but where the composition is just unmemorable filler that says nothing.
Halo was great in this regard, so I don’t think that’s what he’s going for here. Hell, I’m instantly getting Halo ost playing in my head while writing this.
Halo’s opening theme on the OG Xbox is so iconic I guarantee you if you did the chants in public several random dudes (and even a few women) will join you. Iconic
… I agree it’s great but it’s exactly what is criticized here. It’s the typical bombastic movie epic theme song. It would fit just as well into any Sci-Fi block buster. There is nothing about it that gives away that it’s for a game as opposed to a movie or tv-series.
Music is integral to build the game’s overall atmosphere. At least indie studios still get it: Look at Cuphead, Hollow Knight, Hades, Vampire Survivors, etc.
I still listen to the FF8 soundtrack daily. It’s absolutely beautiful! Most games these days have very forgettable music. I actually can’t remember most of it.
The problem is not orchestral music vs 8 bit, it’s the industry being driven only by money and profits. This guy is an insider they should know better.
Right now profits seem to be the only goal, back then they probably aimed at releasing quality products that would sell well in the market. You won’t find the peak of music in videogames anyway
Lets get one thing straight: it was always about profit. The only thing that changed is that they figured out that they dont need to put in as much effort to get the same financial result. They are the corporate equivalent of someone realizing they get paid the same wage whether they just barely meet expectations or spend 60 hours a week working their ass off. If gamers want them to put in the work, they have to give them a reason to and right now they’re not.
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He’s not wrong, Sony is a bit guilty of this; but Elden Ring soundtrack is goated.
Elden Ring had a soundtrack?! Now I need to play it again. I think I had the music volume off.
Uematsu is hands down my favorite video game composer ever. He’s done so many fun and interesting soundtracks. His tracks have style, they’re catchy, they’re emotional, they’re memorable, they speak. FF9 or 8 were his best.
9 and 10 for me
Yeah, I mean those ones end up just getting lost in the noise with no completely discernable tracks and melodies. There are a few stellar movie soundtracks that break that mould line the blade runners but that’s not what some games are trying to emulate.
Flashbacks of how lit the Queen of the Damned soundtrack was.
He’s right! Video game music has been absolutely mental since the start, whether Japanese arcade machines, the early 90s German demo scene, JRPGs, etc etc. Just getting a session orchestra in to riff on Holst and Wagner is boring.
Most often it’s not even a real orchestra, but Vienna Symphonic Library.
I miss the radio stations in SimCopter.
He’s not wrong, but blandness is king in the AAA space.
No offence to Tetsuya Nomura, I love a lot of the titles he worked on, but he doesn’t have a single independent thought in him. Everything he makes feels like a remix of something else, like his entire legacy is loosely copying Hironobu Sakaguchi’s successes.
Cmon, he put lots of belts and zippers on things and gave us the not at all convoluted plot of Kingdom Hearts, that’s gotta count for something
Just kidding, Nomura and his enablers are the worst thing to happen to JRPGs
Lulu was rocking, though. So happy for Wakka.
It’s taking over everything that corporations touch. Despite all their attempts to hide and distract from their problems, they only keep mounting because they refuse to accept the fundamental truth that it is literally impossible to strictly control the entire population the way that their systems are designed to work. Computer technology and the Internet have ironically actually solved our problems, not by controlling what people do, but rather by accelerating the enshitification process to a pace where their bullshit becomes abundantly obvious to everyone.
Absolutely. Final Fantasy 6 is so enjoyable, with the music being a big part.
I get what he’s saying. Game music used to have a much bigger “job” in fleshing out the world that the game presented to you. I remember for example songs like Final Fantasy VII’s Gold Saucer, Chrono Cross’ Termina (Another World) that set the tone of the place you’re visiting: busy, active, crowded and festive. If you take the music out, you have a beautiful yet static, almost frozen landscape - it comes alive with the music. Nowadays the visuals can be so detailed, the worlds so big and busy that the music seems to be an afterthought: it’s just ambient music for the already immersive world of the game. And I believe that has lead to a lot of composers settling for just that: ambient music.
I think on Twitter I once messaged Gareth Coker, the composer for Ori and the Blind Forest, about how beautiful the music on that game is and how there’s a big emphasis on melodies. He replied that the studio specifically pushed for melody-heavy songs, rather than just ambient music that only complements the action. That makes a huge difference.
This is a big reason why the new Zelda games just do nothing for me. Without Koji Kondo they’re just so… devoid of life and personality.
Conversely, the goofy coop shooter Helldivers 2 elevates the feeling you get playing the game with its over the top hero music.
Part of the reason I enjoy games is for the soundtracks. Modern games that come to mind are Persona 5 and Nier Automata which has do much memorable music. The soundtrack creates an Identity. So many games feel like the sound team doesn’t care if I play my own music instead.
I would say that a lot of this has to do with survivor bias. Most of the shitty soundtracks were forgotten and buried. Only the really good ones had staying power. So it is easy to convince yourself that the past was so much better because you remember the good and a lot less of the absolute trash that existed back then and compare that cherry picked past to today’s mix of good and bad.
Really depends. Orchestral pieces can fit certain games, or certain parts of a game. A set soundtrack with a few variations for changes of pace can work if it’s a good fit for the game in general.
If it’s a constant wall of music that’s not really well integrated, sure it can be a bit annoying, even if the music itself would be very good in isolation.
But on the contrary some games have adaptive music, and interestingly it’s a bit more like John Williams’ view on movie soundtracks : it’s made to adapt to what’s happening in real time. When it’s done right it’s everything but boring.
Elite: Dangerous does this extremely well (IMO it has some of the best sound designs out there, not only music but everything else, too, including the dynamic range). The music is never this generic bombastic horn sections, and it’s different in different environments and situations, always somberly haunting at the edge of consciousness and enhancing, not overpowering, the gameplay.
What’s that? Sorry friend, I couldn’t hear you over An der schönen blauen Donau playing while the AI auto docks the ship.
Completely agree. A movie style soundtrack has it’s place if used correctly.
Yeah hard disagree with Nobuo on this one. I remember firing up Halo CE for the first time and being blown away by what I was hearing throughout the game, and to this day I can see a screenshot of that game and my brain immediately starts rocking out to that level’s sound track.
It can be utilized poorly for sure, but a videogame with a cinematic sound track done right goes straight to my favorites.
In my experience lots of games go for this “generic movie-like” style, which sounds high production value, but where the composition is just unmemorable filler that says nothing.
Halo was great in this regard, so I don’t think that’s what he’s going for here. Hell, I’m instantly getting Halo ost playing in my head while writing this.
Halo’s opening theme on the OG Xbox is so iconic I guarantee you if you did the chants in public several random dudes (and even a few women) will join you. Iconic
Yet another thing I love about Helldivers 2. The sound track is fantastic.
Dropping into the mission
Just the song: A cup of Liber-Tea - Wilbert Roget, II
… I agree it’s great but it’s exactly what is criticized here. It’s the typical bombastic movie epic theme song. It would fit just as well into any Sci-Fi block buster. There is nothing about it that gives away that it’s for a game as opposed to a movie or tv-series.
Here is an alternative Piped link(s):
Dropping into the mission
A cup of Liber-Tea - Wilbert Roget, II
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Music is integral to build the game’s overall atmosphere. At least indie studios still get it: Look at Cuphead, Hollow Knight, Hades, Vampire Survivors, etc.
I still listen to the FF8 soundtrack daily. It’s absolutely beautiful! Most games these days have very forgettable music. I actually can’t remember most of it.
The problem is not orchestral music vs 8 bit, it’s the industry being driven only by money and profits. This guy is an insider they should know better.
Yeah, Nintendo in the 90s didn’t care about profit, they added music to their games for the pure whimsey of it. Give me a break.
Right now profits seem to be the only goal, back then they probably aimed at releasing quality products that would sell well in the market. You won’t find the peak of music in videogames anyway
Lets get one thing straight: it was always about profit. The only thing that changed is that they figured out that they dont need to put in as much effort to get the same financial result. They are the corporate equivalent of someone realizing they get paid the same wage whether they just barely meet expectations or spend 60 hours a week working their ass off. If gamers want them to put in the work, they have to give them a reason to and right now they’re not.
It was to show off the hardware capabilities and to deal with the restrictions of the hardware