Hitoshi Sakimoto to score Western games

Here is the official press release:

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FINAL FANTASY XII composer to score for American video games.

Tuesday, 20 May 2008

Veteran video game music composer Hitoshi Sakimoto is in collaboration with Four Bars Intertainment to bring his acclaimed style of music to video games produced outside of Japan.

Having composed the music for the multi platinum hit Final Fantasy XII, as well as other titles from the Final Fantasy franchise, Sakimoto's career has spanned over 2 decades, and has so far worked on over 150 projects for Video Games and Animated Series.

“I’ve been wanting to explore international opportunities for quite a while now, and Im happy that we were able to create this business collaboration”, Sakimoto said.“I’m hoping that from this, I’ll be able to bring a new creativity to match these games, which can require a different approach, compared to Japanese based titles.”

Four Bars Intertainment, who have represented composers such as Jason Hayes (World of Warcraft), Inon Zur (Fallout 3, Crysis), and Jack Wall (Myst series), will now be representing Mr Sakimoto in most regions outside of Japan.

"For many years, our composers have praised the music of Hitoshi Sakimoto”, says Bob Rice, CEO of Four Bars Intertainment.“We are all so very proud to now represent Hitoshi Sakimoto to the game companies in the United States, Europe and Canada.”

Sakimoto will continue to compose for video games and anime within Japan, as well as continuing his role as president for the music production company 'Basiscape'.

Most recently, Sakimoto has composed the music to the anime series The Tower of Druaga, as well as SEGA's new RPG Valkyria Chronicles.

Hitoshi Sakimoto’s new English website will launch very soon: Hitoshi Sakimoto Official WEB Site

Jam it back in, in the dark.

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.

There's nowhere I can't reach.

Meh, on the bright side of things however, maybe Eastern publishers more afford to pay for an orchestra.

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Hitoshi Sakimoto’s new English website will launch very soon: Hitoshi Sakimoto Official WEB Site

I wonder how many of his veiled yet presumably numerous works after FFXII (or works done around the same time, e.g. Kind of Wands) will finally be revealed with this launch.

This thing is sticky, and I don't like it. I don't appreciate it.

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.

I am a dolphin, do you want me on your body?

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 was speaking idiomatically.

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.

How ya doing, buddy?

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.

How ya doing, buddy?

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.

How ya doing, buddy?

Originally Posted by Rimo

Hopefully he'll get to work alongside one (or more) Western composer on a collaborative project. I'd be intrigued by the result.

Now that would be fascinating. Sakimoto and Soule...sounds like a law firm

Jam it back in, in the dark.

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...

How ya doing, buddy?

Originally Posted by orion_mk3

Now that would be fascinating. Sakimoto and Soule...sounds like a law firm

Here is a list of their major works:

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.

This thing is sticky, and I don't like it. I don't appreciate it.

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!

I am a dolphin, do you want me on your body?

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.

I was speaking idiomatically.

Originally Posted by Mr. X

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 agree with Blah on this. What makes you think that Sakimoto is going to quite being innovative?

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.

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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.

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).

How ya doing, buddy?

Originally Posted by Mr. X

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.

I think Elminage and Deltora Quest are as average as Grim Grimoire. It really is the kind of low, uninspired works I can't stand, coming from Basiscape. They all sound the same: weak and boring orchestral music with few good moments. Please, Mr Sakimoto and your crew, don't do this anymore!

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.

What, you don't want my bikini-clad body?

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.

Jam it back in, in the dark.

Originally Posted by Mr. X

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.

You could be right. Then again, I am not making assumptions indicating that it will be a bad fit. Nor am I attempting to pigeonhole Sakimoto into why he CAN'T and SHOULD NOT try to write for Western video game music. You assume it will not work. You are assuming a great deal more than I.

Originally Posted by Mr. X

Despite the correct assumptions of my general anti-Americanism, it's not really much to do with East vs. West.

I think it has more to do with this than you are admitting. You started and ended this particular bit of text in a way which contradicts itself. If you don't like what Western VGM is doing, and are 'Anti-American' by your own admission, then it very much becomes a question of east vs. west, though I agree that it shouldn't ever enter the equation for this discussion.

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.

Originally Posted by Mr. X

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).

My ideas of music are not necessarily static and neither are my opinions. I have the capacity to change my ideas about the way things work. Even so, I don't agree with basically anything you are saying in this thread, so I fail to see the significance of bringing this up.

Originally Posted by Mr. X

It's nevertheless encouraging most people are being so positive about this. I guess Sakimoto hate isn't as prevalent as I thought.

Hitoshi Sakimoto is one of my favorite composers and will continue to hold that distinction based on the work he has created up to this point. Regardless of how his integration into a more western vgm role plays out, I'll continue to support Sakimoto by listening to his music. I believe if anyone can make such a switch without surrendering their musical vision, it's Sakimoto.

There's nowhere I can't reach.

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I think Elminage and Deltora Quest are as average as Grim Grimoire. It really is the kind of low, uninspired works I can't stand, coming from Basiscape. They all sound the same: weak and boring orchestral music with few good moments. Please, Mr Sakimoto and your crew, don't do this anymore!

I think I like Elminage and Deltora Quest because they're both quite well-characterised. Elminage was quite a mature Celtic work, Deltora Quest whimsical and childish. I thought Elminage wasn't full of highlights, though, and some of Kaneda's ideas in Deltora Quest could have been more thoughtful. I'd probably give both a 7/10 whereas Odin Sphere and Valkyria Chronicles are more like 8/10 material.

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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.

I'm with you on both of these points. I guess we've had similar experiences while extensively listening to Basiscape's 2007/2008 output.

Originally Posted by RainMan

You could be right. Then again, I am not making assumptions indicating that it will be a bad fit. Nor am I attempting to pigeonhole Sakimoto into why he CAN'T and SHOULD NOT try to write for Western video game music. You assume it will not work. You are assuming a great deal more than I.

You're making very wild assumptions about my opinions even though I've made my opinion quite firm. I think Sakimoto's scores for Western games will be excellent, but I'd prefer him to focus on non-epic projects for the sake of creativity and novelty. The Western market can provide this, but based on Four Bars Intertainment and his reputation from Ivalice Alliance, I don't expect it will. This isn't the same as the peculiar pigeonholing you accuse me of.

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I think it has more to do with this than you are admitting. You started and ended this particular bit of text in a way which contradicts itself. If you don't like what Western VGM is doing, and are 'Anti-American' by your own admission, then it very much becomes a question of east vs. west, though I agree that it shouldn't ever enter the equation for this discussion.

Again, it comes across as a contradiction because you're making desperate assumptions. My anti-Americanism is to do with political and social factors, not musical ones -- I like a lot of American game music. There is some correlation between my fears of commercialism and expectations of derivative music. However, this applies to East and West.

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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.

'Despite the correct assumptions of my general anti-Americanism' was clearly intended as a trivial ironic statement in response to a trivial ironic post. You wrongly assumed it was something I considered relevant to the debate.

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My ideas of music are not necessarily static and neither are my opinions. I have the capacity to change my ideas about the way things work. Even so, I don't agree with basically anything you are saying in this thread, so I fail to see the significance of bringing this up.

I don't understand how the two clauses in the last sentence are related. However, I brought it up because I think you are not actually sure of your opinions but wanted a random debate. I find it really erratic that you posted after Blah despite making a post prior to that.

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Hitoshi Sakimoto is one of my favorite composers and will continue to hold that distinction based on the work he has created up to this point. Regardless of how his integration into a more western vgm role plays out, I'll continue to support Sakimoto by listening to his music. I believe if anyone can make such a switch without surrendering their musical vision, it's Sakimoto.

I ask you: Have you actually heard his 2007 and 2008 works? I'm near-certain you haven't so I'm still not convinced of the foundation of your oh so sincere and complete unpretentious opinion.

And now I anticipate a load of provocative responses where you continue to make major inaccurate assumptions about my points.

This thing is sticky, and I don't like it. I don't appreciate it.

Bringing in a Japanese name into a Western game will attract more weaboos in investing their dollars in Japanized American media.

Good business move.

I am a dolphin, do you want me on your body?

Here then... This is not going to become a crap fest, X.

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Sakimoto's best work comes when he is actually producing something different and innovative.

What right do you have to actually claim what is different, innovative or even how this plays a part in detailing the quality of his best work? Why this is note-worthy is that you use these 'findings' to place limitations upon Sakimoto in a way which is quite pessimistic and short-sighted.

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However, Western developers will probably mostly request more Final Fantasy XII and Valkyria Chronicles like music.

What makes you say that? There are a million scenarios that could happen. Not being very scientific, are you? There is no evidence which would state this is the case (final fantasy XII, Valk influence argument) and yet here who you are trying to rattle them off as fact. I am not sure if this is a field you work in, but I don't believe your claims are worth taking seriously, hence my comments.

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Again, it comes across as a contradiction because you're making desperate assumptions. My anti-Americanism is to do with political and social factors, not musical ones --

I assure you I am anything but desperate.

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.

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There is some correlation between my fears of commercialism and expectations of derivative music. However, this applies to East and West.

Might as well get a few things straight then. Music making/game-making is a completely commercial endeavor, for both sides. The business of making a video game is probably a lot more similar between the West and East than you realize. It's an arduous process and they need something to show for it via money. Yes, they are in it to make more money. I believe eastern games can be more creative than western games, but things are changing fast. Maybe Sakimoto acknowledges this to some degree, hence his willingness to try his luck with making a few waves out here in the COMMERCIAL CESSPOOL that is the Western World.

Sakimoto will do fine here.

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'Despite the correct assumptions of my general anti-Americanism' was clearly intended as a trivial ironic statement in response to a trivial ironic post. You wrongly assumed it was something I considered relevant to the debate. *insert Dustin Hoffman picture here*

Well then, I get the feeling that your nose is a bit too stuffy to smell the odors emanating from the rather nefarious farts you are letting out in this thread (in the form of posts of course). This isn't my problem.

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I brought it up because I think you are not actually sure of your opinions but wanted a random debate.

Well let me clear it up for you then. I am disagreeing with you in this thread, and despite the similar stances we may have taken in the past, things change. You've brought up good points before, but none can be found on this page. SORRY. If you ask me, I believe you are being a bit petty and defensive for no real reason.

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I find it really erratic that you posted after Blah despite making a post prior to that.

Well yes, you were being defensive. I wasn't being erratic. I saw the thread, read the basics of the news and made a basic post based upon that.
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.

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I ask you: Have you actually heard his 2007 and 2008 works? I'm near-certain you haven't so I'm still not convinced of the foundation of your oh so sincere and complete unpretentious opinion.

You forget that I am not referring to your opinions as the END ALL BE ALL FACT, unlike yourself, so I have no need to answer those questions as they don't concern what I am interested in taking from this conversation.
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.

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And now I anticipate a load of provocative responses where you continue to make major inaccurate assumptions about my points.

What points? If these are your points, then I think you might be better off just keeping them on the table, so that an otherwise harmless thread, on behalf of a symbol of Sakimoto coming to western games will be greeted a little more favorably.

I think it's a positive thing, ultimately, but only time will tell.

I was speaking idiomatically.

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.

What kind of toxic man-thing is happening now?

GOOD ONE BLAH, LOOK AT WHAT YOU'VE CREATED



How ya doing, buddy?

Just so you guys know, my post wasn't directed at anyone...

What, you don't want my bikini-clad body?

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.

Jam it back in, in the dark.