Have We Already Witnessed the Best?

Originally Posted by Kaleb.G

However, I will admit a lot of popular games are following a disturbing trend of overly-ambient music. Sometimes omitting music entirely (e.g. Shadow Complex, where 90% of the game is played in silence). And when music is noticibly present, it's usually dull orchestral filler that tries to make the game more "cinematic".

... you know that's the problem with about three-quarters of American VGM, right? American VGM composers (on the whole) are as following: film music composers doing a side job, a composer looking to break into film scoring by doing something "easy," or someone who wants some easy cash by writing some horribly muddy shit. Not everybody is Virt who at least cares about where VGM has come from in the past.


And let's not even get started about the number of American games that rely on licensed songs to pad out their music.

Jam it back in, in the dark.

Tommy, let me just say that you are about the only American composer who didn't make muddy crap using the Genesis chip; instead there was a clarity that seemingly only existed with the Japanese folks doing it. Props for that.

There's nowhere I can't reach.

I've gotta agree about portions of Uematsu's recent output, especially when it comes to him stretching his prog muscle. I mean, holy crap Revival of the Ancients from Blue Dragon. I mean, the man's classic stuff will always have a place in my heart, but some of his new stuff completely surpasses his old goodness.

I want Motoi to go back to writing chiptunes. And skipping the "original" part and going to use the arrange versions of songs as the actual ones on the OST.




WHERE'S MY MOTOI ARRANGED "BIRTH OF A GOD", HUH?

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