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Hitoshi Sakimoto to score Western games
Here is the official press release:
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Huh, interesting. As I've stated many times, I'm not a Sakimoto fan, but I think this is a good move for him nonetheless. Sometimes I think his music is more suited to non-linear Western RPGs anyway.
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Meh, on the bright side of things however, maybe Eastern publishers more afford to pay for an orchestra.
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Interesting! I'm always fascinated by western and eastern composers working on the opposite side of the pond; it doesn't happen much. And, as a Sakimoto/Basiscape fan, it's excellent news.
A lot of big-budget Western games have been scored with live instruments lately; I hope that Sakimoto/Basiscape becomes attached to one and is able to turn out a full album of VGM on live instruments. Romeo x Juliet showed what's possible in that arena with great success. |
As I said last week when this news was actually announced, I'm not impressed. As Opoona and Romeo X Juliet show, Sakimoto's best work comes when he is actually producing something different and innovative. However, Western developers will probably mostly request more Final Fantasy XII and Valkyria Chronicles like music.
I've found so much of Hitoshi Sakimoto's music after Final Fantasy XII to be homogeneous and this seems to accelerate his status towards being an epic orchestral composer and nothing else. I really miss his days before he decided to expand Basiscape with wonderfully individualised works like Final Fantasy Tactics Advance, Gradius V, Legaia Duel Saga, and Vagrant Story coming out. The other reason I don't like the news is that I don't know where it'll leave his employees at Basiscape. Will they be given the chance to lead some Japanese projects as I long desired or will they be forever overshadowed by Hitoshi Sakimoto who composes the odd main theme here and there between his epic Western productions and anime projects. I can partly understand why Hitoshi Sakimoto decided to do this. He's been involved in so many Japanese flops it's untrue -- Opoona, Deltora Quest, Coded Soul, and Elminage to name a few. One press release was very funny -- it just listed FFXII, FFT, FFT: The Lion's War, and FFTA2 as if he was some resident employee. I guess that is because his recent non-Ivalice works have largely been flops. |
I think the problem is more the rapid pace that the projects have been done than any fault of the composers. You can't do eight or more 100+ minute VGM albums in the space of a year and expect them all to be exceptional. And while projects like Deltora were musically disappointing, others like Odin Sphere and Opoona show that there's plenty of life left in Basiscape yet.
I think it's unfair to criticize the deal based on what we think western developers want, and if a lot of recent Basiscape scores have been attached to poorly-selling games, it's natural to branch out to a new market. Romeo x Juliet shows that it's entirely possible for Basiscape to produce a product that's filmic and traditional while at the same time creative and enjoyable. Incidentally, I think that in time the other composers may branch out into solo work. By way of comparison, Hans Zimmer had many composers working collaboratively with him in a similar way and many of them left after a time to pursue their own careers. |
I was talking about the games being financially unsuccessful. In fact, all of Basiscape's recent works are solid with the exception of Grim Grimoire. I especially liked Opoona, Odin Sphere (though not Sakimoto's works), Elminage, and Deltora Quest.
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Concerning Sakimoto's career / Basiscape's status, it may or may not be a good move, mainly because of what has been mentioned so far. But it's still an experiment, not a complete and permanent change of practice.
From a VGM identity point of view, this is great news. I believe interesting, yet different, things are being done in each geographical regions. With composers from the East working on Western titles, or vice-versa, this can influence producers and local composers positively by willing to try new ways and directions in what the music should be like in games. Plus, it might also influence certain VGM fans into becoming more open to soundtracks that are not associated with popular Japanese series/developers. Hopefully he'll get to work alongside one (or more) Western composer on a collaborative project. I'd be intrigued by the result. |
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With Sakimoto being represented by Four Bars Intertainment, there is absolutely no chance of Soule and Sakimoto collaborating, although I'd really enjoy it.
I'm looking forward to Sakimoto's work in the United States. I think this is great news. I think we'll be seeing more Japanese composers making their way to the Western market in the future... |
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Four Bars Intertainment: The world's largest provider of music for games Jack Wall + Hitoshi Sakimoto would be the most polarised pairing since Hiroki Kikuta + Kenji Ito in terms of musicality. :p |
I have a buddy who is currently represented by 4 bars entertainment.
Anyways, this is a great step for Sakimoto in reaching out to a wider Western audience, particularly gamers who aren't as knowledgeable about the eastern scene and the riches that it contains. Should be awesome! |
Hitoshi Sakimoto has betrayed the motherland. Working for the foreign devils? I will not listen to his degenerate Yankee music. Anything that is not 100% authentic Japanese is not fit for my ears.
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I think you are making too much of way too little. I also think Sakimoto has achieved enough commercial success and has worked with enough valuable IPS to hold the reins to do what he wants musically for each of his projects. The connotation that he is going to "lose" his innovative musically while writing for Western games is completely unfounded. See if you still don't feel this way after he has actually released a soundtrack. Otherwise, you are simply talking through your hat. He's a versatile composer and I very much doubt he is going to betray the instincts which make him an individual voice. |
Despite the correct assumptions of my general anti-Americanism, it's not really much to do with East vs. West. I actually support a lot of Western game music and don't make the bold generalisations that it is all orchestral film music imitations. It's nevertheless encouraging most people are being so positive about this. I guess Sakimoto hate isn't as prevalent as I thought.
My main problem is that Four Bars Intertainment specifically caters towards efficient production of high quality orchestral music. Furthermore, Western developers are almost certainly going to be familiar with his orchestral productions but less his versatile work on commercially unsuccessful games. As a result, I think it's almost inevitable that his American affiliations will result in numerous more requests for epic orchestral scores along the lines of Final Fantasy XII and Valkyria Chronicles. Despite the assumptions of RainMan, Sakimoto generally likes to conform to the requests made from companies and it's usually them that decide on the approximate style of music to be adopted. He's generally not arrogant enough to argue with a large developer's usual worthwhile image of a game. :p While the quality will surely be good and the use of proper orchestras will enhance his music, I don't think there will be as much musical innovation as what I consider to be Sakimoto's glory years (1997 - 2004). I still like Valkyria Chronicles, but it was more him reusing old tricks rather than him doing something new. I think he's done a good job in 2007 of maintaining a high-quality output (aside his contributions to Odin Sphere and Grim Grimoire), but there have only been two works that I've seen anything especially novel from him -- Romeo X Juliet and Opoona. Overall, though, I don't expect to see much musical creativity just high-quality high-throughput orchestral music. If Sakimoto were a one trick pony, I wouldn't mind, but it's evident Sakimoto can still do more. BTW, RainMan, do you realize how your opinions have radically changed with the flick of a light switch. I can definitely remember you stating that you found Western game music commercialistic and homogenous (to which I argued otherwise) and that you found Sakimoto's work on Final Fantasy XII mostly uninspiring (to which I argued otherwise). |
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Opoona not only was an excellent soundtrack, but it also proved that Basiscape was capable of creating a really innovative and refreshing soundtrack that is probably one of the best I have heard in a while. From this collaboration with Four Bars, I would like Sakimoto to show that he is capable of much more than simply composing weak FFXII-like music over and over. I truly enjoyed Valkyria Chronicles, though. |
The only benefit I can extract from this, really, is that greater exposure of Sakimoto and his musics in the states might bring forth an Opoona soundtrack release! Opoona's way awesome, Hitoshi; do more of that.
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Seeing some of your earlier text, I think it's very clear what you were attempting to say but I don't think this really needs to get into a debate over something so trivial. Quote:
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And now I anticipate a load of provocative responses where you continue to make major inaccurate assumptions about my points. |
Bringing in a Japanese name into a Western game will attract more weaboos in investing their dollars in Japanized American media.
Good business move. |
Here then... This is not going to become a crap fest, X.
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However, whatever you say of this, I think you already know that you don't like western vgm music as much as it's eastern counterpart. Quote:
Sakimoto will do fine here. Quote:
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HOWEVER, I later went back and examined your post after Blah's post. I really don't know if you think this is being helpful or not, but I surmise that you might have better things to do than waste valuable time bickering about such useless points. It makes you look a bit peevish. Quote:
I think you are trying to entrap me into saying something foolish, but I really see that you are hurt that I no longer share a similar view with you in all of this. I am seeing a complete lack of maturity in you, to be quite honest. Quote:
I think it's a positive thing, ultimately, but only time will tell. |
It's clear that this disagreement will only escalate if I respond in detail to this post. However, I will say that if I have been 'a bit petty and defensive for no real reason' (probably true), this can be magnified tenfold for you. You clutch straws, spew rubbish, use capital letters, unintentionally agree, act hypocritical, and make insults. I miss the days before you joined GFF when you were actually a rational and intelligent poster. I try not to troll you like all the others here, but when you jump down on my throat for being defensive to a post in response to Blah I never made, it's difficult to stand back. You'll never be a convincing GFF bully.
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GOOD ONE BLAH, LOOK AT WHAT YOU'VE CREATED
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Just so you guys know, my post wasn't directed at anyone...
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Let me give ONE comment about Mr Hitoshi Sakimoto. Perhaps, for once, this is in favour for Mr X.
In my opinion, I think he creates wonderful music. We all love playing his works, recording it for him in recording studios and working together on scores. However he is a composer who can only really express his musicality in ONE STYLE. This is not a bad thing (Mozart really only had one style of his own) but in terms of soundtracks, I believe that some things can be a setback. His distinct harmony doesnt change much throughout many different genre of games or anime. So to some people, Hitoshi Sakimoto is a lesser composer than others. I think it's good that in places like this, people are able to express their beliefs. I think it creates mutual respect of each other after a "debate"... ONLY when you do so in a civilised manner. I think Mr Sakimoto would appreciate it if this thread is kept in an "academic" and clean discussion of him. |
I totally agree with seraph here.
Sakimoto's distinct harmony is the reason why I grow to love his music in the first place. The same thing found in his newest work can still be found in his oldest work 20 years ago. Actually, I came to understand this reason when I found a gamerip of REVOLTER's music and listen to the first track. :) It's good for some listeners to want change, but if you expect changes to be like Yoko Kanno or Igor Stravinsky, then you will certainly be disappointed. The beauty of Sakimoto's music lies in its continuity, just in the same case as Sakuraba's music. I love these composers because they stick to these factors. There are still other criteria to judge whether they still produce great music or not, like "whether this piece of music fits the scene or the emotion?". "Reinventing oneself" is nearly impossible for a composer in a few years' time, and the result may not always be welcome (as in Danny Elfman's case). Also, I think when a composer writes mostly orchestral music, the evolution would be much more subtle than writing in other genres. I can use Giacchino or John Williams or anyone else as an example. I myself can hear some of the differences in Giacchino's music these years, but if you want to know the EXACT thing then you need to go into an analysis which is way beyond my petty programmer's brain capabilities. ^_^ Also you would hear many people complaining that orchestral music is "all the same", etc etc. while in fact it is the exact opposite. |
Personally, I do not ask for reinvention--Sakimoto is Sakimoto, after all--but for more diversity. And, above all, for the freedom of the Basiscape composers. When they try to mimic the style of Sakimoto, I don't think this is really successful. Deltora Quest and GrimGrimoire are two good examples of that. However, when they take more freedom, it can be extremely exhilarating, like with Opoona and Coded Soul.
This may also be the developers' fault, as we have already discussed. In this case, I wish all developers were as open-minded as ArtePiazza. When I speak about diversity, I mean that I really want to hear more acoustic soundtracks (such as Legaia 2), or more electronic (such as Gradius V). I still think Sakimoto did his best works between 1998 and 2004, that is to say between Radiant Silvergun and Stella Deus: Vagrant Story, Breath of Fire V, Legaia 2, FFTA, FFXII (partly composed in 2003 and 2004), Gradius V... Although I love Romeo x Juliet and Valkyria Chronicles, I want more audacity! There is also another problem: the synthetic instruments he uses. I can't stand the brass he uses anymore. When it is orchestrated, it sounds brilliant, but when it is not... |
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I did a comparison audio edit of FF12 main theme last year to illustrate this point. FF12 Opening theme Comparison between synth and orchestral - Putfile.com In his synth version, I can barely hear the first part of the main theme half the time, but when performed by a real orchestra, it all comes together and I can hear every individual part of his texture and layered based pieces. As to the topic, I think its a good thing for Sakimoto to work on Western games. This can help him gain more regonition. I mean, other composers like him should get some lime light too, not just Uematsu. Whether or not his style will change, or for better or worse, only time can tell. |
I'd love to see Sakimoto make greater use of live instruments. One of the greatest aspects of Opoona was the exuberant use of instrumental solos, especially from woodwinds. I also think the performances on Romeo X Juliet massively enhanced his work. I am entirely satisfied with what Eminence did in these works (and Valkyria Chronicles even if budgeting probably meant they weren't used more).
Personally, I have few problems with Basiscape's work on Deltora Quest and Odin Sphere, not finding them particularly imitative. I actually thought Coded Soul wasn't that appealing, even though it was refreshing to see more use of electronica in a Basiscape work. I actually preferred Elminage. However, I agree with Zanasea on what I consider Sakimoto's glory period was. I'd love to see him revisit the obsessive orchestral style of Radiant Silvergun, the dark ambience of Vagrant Story, the lush exoticism of Legaia 2, and the vibrant electronica of Gradius V. As solid as Final Fantasy XII and Valkyria Chronicles are, I don't think there is as much opportunity for innovation by revisiting those works again and again. |
My last comments for Mr Sakimoto is to accept less work and use more time to create something great again.
Maybe one day. |
a) I sincerely hate the trumpet samples he uses in the last few years. Other than that I think it's fine. I especially like Sakimoto's woodwind and trombone/french horn samples ^_^
b) I would like to see other Basiscape members to get more publicity than they now have, too. Especially Kaneda and Abe; they are extraordinary composers and arrangers! I got fond of their styles pretty quickly. I would be really excited if someday we can hear them going solo ^_^ |
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