Hitoshi Sakimoto to score Western games

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.

There's nowhere I can't reach.

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...

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

Originally Posted by Zanasea

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...

I know! His synth instruments just doesn't cut it compare to other synths I have heard, like Jeremy Soule's. Or even older games like Chrono Cross.

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

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.

I was speaking idiomatically.

My last comments for Mr Sakimoto is to accept less work and use more time to create something great again.

Maybe one day.

What kind of toxic man-thing is happening now?

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 ^_^

FELIPE NO