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GFF is a community of gaming and music enthusiasts. We have a team of dedicated moderators, constant member-organized activities, and plenty of custom features, including our unique journal system. If this is your first visit, be sure to check out the FAQ or our GFWiki. You will have to register before you can post. Membership is completely free (and gets rid of the pesky advertisement unit underneath this message).
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 Member 186 Level 31.23 Mar 2006 
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What is it in game music that you like so much and how could it be better?
Since game music is so diverse and that there are so many different reasons to love it (or hate it!), I'm trying to figure what could be general trends in VGM aficionados. I'm quite curious about discovering the opinion of others on some questions I've be asking myself, but this survey also has an ultimate goal: depict a global picture of what people want to hear and then present it to various game producers and composers, which might influence them to a certain degree. This is related to the fact that I'm not fully satisfied with all of the music heard in games these days, and I believe I'm not the only one feeling this way.
To avoid the discussion to go in all directions at once, here's a list of questions you could try your hand at. If you'd like to add anything else beside your answers or if you'd prefer to reply without following these questions directly, please go ahead. Also, don't hesitate to give specific examples of soundtracks or artists if these could add to the precision. 1. If you had to describe what VGM is to someone ignorant on the subject, what would you say? 2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it? 3. Do you listen to music from games you haven't played? 4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so? 5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced? 6. Which genres/styles do you mainly listen to? Which do you avoid? 7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why? 8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming? 9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material? 10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays? 11. Most gamers don't particularly care about game music (or at least, to the extent we do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this? 12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is a creative process. Do you see a problem in this? 13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how? 14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to formulate this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptative music system, playing an ambient (see "usually unmelodic") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this? 15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game? 16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place? 17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa? 18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter? 19. If you had to sum up in three words what you expect from VGM, which would you choose? I'm aware that each of these questions could have generated a whole discussion on its own and that presenting them together in a single thread will make it heavy to discuss as a whole. However, I believe they are part of the same debate and will all add something to the subject. If you prefer answering a few at a time or skipping any, no problem. I'll be giving my opinion on them myself later. This survey will be posted over at STC as well. If you believe it would be pertinent to post elsewhere, let me know. Thanks and here's to more enjoyable game music! Jam it back in, in the dark. |
Member 1865 Level 52.14 Mar 2006
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1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?
It's music composed especially for video games and interactive entertainment. I'd make sure to be clear on the difference between original songs and licensed tracks (which I don't consider VGM). 2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it? I listen to VGM because I play video games; exposure to games is what has introduced me to most of the composers I follow. There's also the sheer volume of material produced--for instance, a major band might release one album every 1-2 years, while a VGM composer might do anywhere from 2-10 games a year (with 70+ minutes of music per project many times!). 3. Do you listen to music from games you haven't played? Yes. Often it's because I'm a fan of a particular composer, but occasionally games with terrific music aren't playable for one reason or another (never localized, suckage of donkey testicles, etc.). It also takes a lot less time to scan through a playlist of VGM than it does to play, and beat, a game. But I always like music that I've heard in context better. 4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so? I'd say my playlist is 50-60% VGM, with 30-40% film and the remainder pop or techno. I don't generally listen to mainstream stuff because it typically bores me; the amount of sameness in modern pop is sickening. 5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced? I do wish more albums of VGM would be produced. I understand that it's not always economically feasible, but even a digital download or free tracks at a composer's site would be something. This isn't a huge problem, as enthusiast game rippers are extremely diligent in getting the material out there. I prefer to buy when I can, but this isn't always an economic reality--Japanese imports in particular are ludicrously overpriced, while domestic releases tend to be more sane. 6. Which genres/styles do you mainly listen to? Which do you avoid? I tend to like orchestral and techno, though there are great songs from every genre in VGM. In general, I dislike stuff that sounds too much like popular music, whatever the genre, but especially rap. 7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why? Yes, I collect film scores (which are extremely similar to VGM on many levels), and have some techno albums, though I find the recent trend toward trance disturbing. 8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming? VGM is as valid as any other form; its diversity means that there's literally something for everyone. I will admit that I get uncomfortable discussing VGM with people unfamiliar with it; this is one of the things that led me to GFF. 9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material? They're judged by different standards; I love many chiptunes and many songs played on real instruments. I think a lot of this has to do with what one was exposed to early on; my first console was an NES, so I'm used to 8-bit sounds as well as the later CD-quality stuff found in the Nintendo Playbox 360. 10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays? I think that it can sound different, but that doesn't mean it must. There's certainly a lot more room for people to experiment in combining unique sounds, which is great. But traditional is fine too. 11. Most gamers don't particularly care about game music (or at least, to the extent we do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this? Licensed music is the devil. I think it should be confined to games that have broad but shallow appeal, if that. If given the choice, I always want to hear stuff that was written specifically for a game. Why not hire a popular group to do an original song for your game, if your music budget is that big? 12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is a creative process. Do you see a problem in this? Not so much. Due to the huge volume of music that's created, there's always gonna be some derivative stuff. If it fits well and is fun without directly plagiarizing, no harm no foul. 13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how? It's only relatively recently that the technology has even been capable of this sound, so it seems to me a natural trend (though certainly not confined to the West). Since I also collect film music, I have no problem with this. It doesn't automatically make the music good, and I don't think it's right for every game, but if it fits, why not? Some games are inherently filmic. 14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to formulate this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptative music system, playing an ambient (see "usually unmelodic") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this? I think that dynamic music is the most exciting possibility for VGM as distinct from any other form. It's tough to write something that can change at any time due to player input, and it's completely different than writing for films or popular songs. The problem is listening to the stuff apart from the game without the dynamic changes. Ideally the music would be arranged for an album, but such is sadly not always the case. 15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game? Generally this is true for highly ambient scores (Silent Hill comes to mind). Super-ambient and industrial tracks can work wonders for a setting yet lose their appeal when divorced from it. 16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place? There are many similar games with a lot of similar music. Such is true in films and popular music too--it's just the nature of the beast. You don't always have to do something startlingly original to be effective (though it helps!). 17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa? I enjoy it all. Japanese stuff tends to be very lush yet almost invariably synthesized, while Western stuff has a split personality, with some marvelous live stuff right alongside droning trash. There are plenty of good and bad composers and good and bad scores on both sides of the pond. 18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter? More album releases! People can't buy and appreciate what isn't for sale. I have trouble understanding why Puki Poyo Umbrella Drink Attack! gets a full 5-disc OST release, while western scores (even those by "name" artists) get squat. 19. If you had to sum up in three words what you expect from VGM, which would you choose? More diverse music. There's nowhere I can't reach. 
Last edited by orion_mk3; Apr 4, 2008 at 01:46 PM.
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Member 632 Level 40.53 Mar 2006
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Answering here because the quote tags here are easier to work with than at STC!
How ya doing, buddy?
I'm taking over this town...
I'm screaming for vengenace... I'm shouting at the devil... I'm not dead and I'm not for sale... Ain't lookin' for nothin' but a good time...
Last edited by Golfdish from Hell; Apr 3, 2008 at 03:33 PM.
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Member 100 Level 26.08 Mar 2006
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I'll just answer these questions, since I'm in no mood for any coherent thoughts on the subject.
Yes, I'm cynical about vgm. Boo. Hoo. I'll always love vgm for being the bastard son of the music family it clearly is, though. <3 I am a dolphin, do you want me on your body? |
Member 9353 Level 11.78 Jul 2006
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1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?
Sounds from interactive media, usually instrumentals. Classically highly melodic. Often compared to movie music, but it differs insofar as it can have a much higher impact of (and for) immersing into a fantasy world if correctly used. 2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it? Music styles/genres not served sufficiently elsewhere. 3. Do you listen to music from games you haven't played? The majority of VGM I listen to is from games I'll never play. 4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so? If ignoring (baroque) classic and jazz, nearly 100%. I feel that mainstream music tends to be overenginered away from actual music toward superficial production value, limiting itself to what easily sells. 5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced? Considering I run snesmusic.org (and try to support emulated VGM archives for other systems than SNES) I guess I actively promote music that was not published as an album. For me it makes zero difference whether VGM got an "official" release or not, it's cultural work, likely the biggest constant source of newly composed music nowadays, and I consider it a necessity to respect it as such and preserve it for the future. 6. Which genres/styles do you mainly listen to? Which do you avoid? I'm pretty focussed on baroque and it modern siblings (jazz, prog, experimental melodic electronica) nowadays. 7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why? I try to, but for me there are more misses outside games media than makes me feel worth the effort. 8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming? Naturally. Music is music is music. But it's also natural for people to question new and experimental takes outside of what they usually expect. The medium "game" constantly changed the technical circumstances for music in its rather short lifetime, so unlike the other entertainment medium "movie" it didn't have the time to gain common respect for a specific constant quality. 9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material? For a long time music styles and genres for the medium "game" were defined through technical limitations, usually putting the focus purely on compositions (think baroque). Nowadays the limitations are more and more lifted, so the performance aspect is more and more dominant (this is a rather usual occurant in music history). 10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays? No. VGM shouldn't differ just for the sake of it. However different synthesiser, just like any instrument, ask for specific treatments. This can result in new styles and genres, and those deserve to be preserved. But this is in no way limited to the medium "game". 11. Most gamers don't particularly care about game music (or at least, to the extent we do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this? Altogether I don't believe movie goers or TV watchers care proportionally more about the music during the visuals than gamers would. In visual media music becomes especially memorable in key scenes if done right, this is true regardless of movies, TV shows or games. There reportedly is a lack of respect for music on the side of game productions, so music for key scenes in games may not be used as efficiently as in other media. But games being capable of immersive interactivity would ideally be capable of this way more than any other medium existing. Using licensed material is about the worst way to go about it as it may create the feeling of a generic common moment instead that of a memorable key moment. 12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is a creative process. Do you see a problem in this? Targeting a specific style or genre should not be an issue as long as the musician is capable of executing it convincingly. The usual problem is one of a disconnect between visual and aural side. Ideally during the development of a game not only the visuals affect the aural side but also vice versa. Music as an afterthought, just like licensed material, is a missed opportunity. 13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how? One has to realise that music in movies only gained critical respect once it kept regularly delivering new works for classical instruments/ensembles while infusing medium specific adaptions, allowing for a continuity of "classical" musicology. Music for the medium "game" can get there that way as well. But this won't work by just copying the movie music blueprint but has to incorporate game medium specific adaptions as well. 14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to formulate this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptative music system, playing an ambient (see "usually unmelodic") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this? Ambient music has its use (movies are also full of it, and they are mostly glossed over there as well). Adaptive music systems are an unbeatable strength of the game medium if used right, so it shouldn't be dismissed outright. My belief is that music is instrumental to directly and efficiently provoking a specific mood, more so than any visual or text ever can, so I consider actually unnoticable music to be a missed opportunity. 15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game? I nowadays mostly play games for the music, not vice versa. The cases where I dislike the music the disliking applies in-game as well, which can be due to overuse, repetitiveness of composition and/or being too short while looping. 16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place? Offering a unique feature can be a competitive feature. This also applies to game genres and the music style and genres used within them. Lack of variety in music will have the same effect as lack of variety in games etc. 17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa? My impression is that Japanese game developers often tend to include way more separate pieces in games of comparative lengths. Also composers may be more regularly involved at an earlier point of the game development, potentially allowing for more interaction between visual and aural sides. Both cases would be nice to see applied everywhere. 18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter? Force game developers to start with the music and develop the games around it instead the other way around. 19. If you had to sum up in three words what you expect from VGM, which would you choose? Intelligent, complex music. I was speaking idiomatically. |
Member 14 Level 54.72 Feb 2006
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I've never purchased a VGM album except for the FFX OST, which I got on clearance at an import shop in California that was closing its doors.
I'm not so keen on military-themed music, Asian vocals, or symphonic pieces recorded so as to sound as if played in a performance hall.
I freely admit that I listen to VGM. My coworkers know it. I've let them listen to my ipod as demonstration that what I'm hearing is indeed of high quality, and perhaps surpasses the music in their own CD players.
For some games, licensed music is fine, as it lends a tailored quality to the sound. I'd be upset if it became the industry standard, or if developers began to head-hunt unknown bands and license one or two tracks from each rather than hire on experienced composers. However, this doesn't seem to be the trend, as Japan's artistic vision is much different than America's and they still strongly value originality.
New direction is always nice but it's not necessary in every single game. "Eternal Arcadia" was a very traditional RPG OST in most regards, but that did not prevent it from exuding total quality. Small innovations within established conventions work just as well.
Frankly, this "perfect music" theory sounds like a cop-out used by composers who know their work isn't very original and want a convenient excuse for their lack of acclaim.
The only way to have improved the Culdcept OST would've been to insert more interesting tracks in places that didn't require such concentration. You could have something cool in the "pause" mode, or on the "profile selection" screen. There were opportunities missed, definitely.
The other area of non-originality seems to be RPGs now. I remember when RPGs were the go-to for great music but it seems they've hit a plateau and are no longer seeking progressively better music. It's all fading into the background lately. Even when top names are attached, it feels like they've been ordered to tone down the originality in favor of a more atmospheric quality. Seeing as I rarely have the time for RPGs anymore, I can't say I appreciate this trend at all.
Some sort of chart and ranking system would make VGM feel like a valid musical genre. The only issue would be that this would be a ranking based upon source and not musical style. That may not sit well with some folk.
That took me the better part of 90 minutes. What kind of toxic man-thing is happening now? |
Member 28143 Level 18.68 Feb 2008
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FELIPE NO |
Member 1998 Level 23.00 Mar 2006
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I give it a try.
Beside VGM I'm listening to electronic stuff, Eurobeat, Neoclassical, New Age/World music.
No problem about Gamerips. To say the truth I don't know any ripper at GFF from who I could say the stuff he brings up is totally shit. Prices, hah, sometimes I think publishers have a bad taste of humour but i. e. Konami Europe goes the perfect way. Most of their soundtracks at Konamistyle shop cost around ten euros and that's a more than acceptable price in my opinion.
How ya doing, buddy?  Best Song Contest 2014 Winner Musashi: Samurai Legend - Aeolic Guardian composed by Masashi Hamauzu Me @ last.fm | Ultimate Video Game Composers List | VGM Lounge (German) |
Member 412 Level 22.01 Mar 2006
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I don't have a whole lot of time, so I think I'll try a single question rather than all at once, and then perhaps later I can edit the post to include more (or perhaps even the rest) of the answers.
Going along your logic from earlier, I think it's fairly true to say that VGM becomes more known as the games from which they stem become more known, too. A good example of this, I think, would be the volume 1 album of the Halo 2 soundtrack. While it wasn't all that appealing to me as a VGM listener with there being not so much score and more stuff from pop artists, I do think it did kinda put VGM's foot in the door for other people that don't listen to it by mixing it with music by artists people probably knew. And I applaud the efforts of people like those of Video Games Live that strive to make VGM more known. Jam it back in, in the dark.   |
Member 2441 Level 23.28 Mar 2006
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Interesting questions. I am wondering myself how I am going to spontaneously respond to them.
1. If you had to describe what VGM is to someone ignorant on the subject, what would you say? --- It’s music from games, mostly without vocals. Some tracks can be interesting and unique. 2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it? --- Because I chose so, I think it’s a niche hobby and I like it. What I like about game music is that it can be very descriptive and abstract, containing a story and a picture. Mainstream music mostly does not try this. 3. Do you listen to music from games you haven't played? --- Sure why not, gaming helps appreciating the music, but I don’t have that much time anymore. You still can read the message from the music sometimes without playing the game. 4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so? --- There’s little to no non-game music on my playlist. I do have a lot of arrangements from game music however, so it’s not really VGM but a related compromise. 5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced? --- Well it depends on the music itself, if it’s not very special then it won’t hurt so much, but in any case it’s a loss. If I want to listen to it, then it would be a problem of course. But there’s not much out there as well. 6. Which genres/styles do you mainly listen to? Which do you avoid? --- I listen to everything and believe every genre can have their exemplary representatives. It’s a bit like treasure hunting, which is where the fun is. 7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why? --- Hard to say. I do think I kind of prefer trancy electronic music, which is abundant in mainstream music, but I still would not seek them out because maybe it would be too easy to find something I like from such a vast pool. I do not dislike mainstream music. 8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming? --- It should be valid, but listening to VGM is in my opinion a process of learning as well. Trained people like VGM fans automatically listen closer to the music, they have become audile. Normal people on the other hand do not have the concept in their mind, that VGM might be something they could listen to outside of the game. Only when it’s really good, they might be interested, and from there the idea slowly grows there might be other VGM like that. I’d rather not talk to normal people about VGM, they simply do not have the mind for it. Not that I blame them, they’re just interested in other things. 9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material? --- In the old stuff the melody can be better expressed due to clear dry signals. With modern stuff you can create more ambience, but ambience that is memorable is hard to do. Either way I think both have their strong points and I wouldn’t say I like one or the other more. 10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays? --- Maybe I do not know of examples, where VGM clearly sounds like mainstream, but I think it’s something that happends automatically. It will always sound different, they don’t have to go back to blip-blop to make it evident. Of course I think it should sound different than mainstream. 11. Most gamers don't particularly care about game music (or at least, to the extent we do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this? --- It would be a sad turn, but they need to make money and their game should appeal to many gamers as possible. So it’s understandable I guess, I just have to look for companies that don’t do it. There should be still enough as of now. 12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is a creative process. Do you see a problem in this? --- I’d prefer they don’t do this. At least it’s enjoyable? So it might please other people, I shouldn’t be too egocentric. 13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how? --- I’ve always regard film music as too ambient. I would need better or more perceptive ears. But I don’t think it’s that bad. They creating music that’s not too catchy, so people can concentrate on the game. Hmm, maybe it’s even easier to compose. A no from me. 14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to formulate this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptative music system, playing an ambient (see "usually unmelodic") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this? --- Please think of the ambient fans. They’re to many VGM fans as VGM fans are to mainstream fans. Ambience is absolutely unpredictable in my opinion, it’s all about resonating waves. Some are extremely terrific, others are rather sleep-inducing (because you concentrate too hard and still hear nothing). 15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game? --- I’ve found all music to be more interesting if something visual or emotional is attached to it. I believe that liking music is more complex and not only related to this one sense. 16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place? --- Sounding the same is a question of experience. Two pieces of music cannot be technically the same if they’re not the same track (lol?). Just an easy comparison, european people say all asian looks alike, true or not? But in general I think, if more and more game music is released the chance is simply higher that you’ll encounter something familiar. Also, normal gamers don’t care that certain games have a certain style of music. 17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa? --- I personally prefer Japanese VGM. They tend to create more complex and better melodies.. I know and like a few American composer and their works and sometimes there’s really no difference, so this could be simply because there’s more Japanese VGM, so there’s more to choose from. Europe and VGM, do you mean Hamauzu (lol)? 18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter? --- People have to be more aware of VGM, then it would get better, but I’m not sure how to make them more aware. VGM might remain a niche forever. 19. If you had to sum up in three words what you expect from VGM, which would you choose? --- Unique, Light, Inspiration There's nowhere I can't reach. |
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Mountain Chocobo
Member 29067 Level 26.11 Mar 2008
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This thing is sticky, and I don't like it. I don't appreciate it. |
Member 1218 Level 30.33 Mar 2006
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Let me try my hand at the questions. I've never thought very hard about some of them in the past so now's a good a time as any.
1. If you had to describe what VGM is to someone ignorant on the subject, what would you say? I'd say that VGM is a type of soundtrack music for games, like how film soundtracks are to movies. And that VGM has evolved tremendously over the years, thanks to advances in audio technology and how the way we play games today can differ greatly from how we played them in the past. 2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it? I have two major motivations. The first being to recall a memorable game experience. I usually feel a strong sense of nostalgia when listening VGM from games I've played before, especially if they are particularly old (and I can still remember the tune :P). It's also incredibly relaxing and helps take my mind off things. My second motivation: I think VGM in general is more interesting refreshing, and diverse than most mainstream music. A single game can often have a soundtrack that boasts a myriad of styles and genres, which I can't always find in a pop music album. VGM also tends to be somewhat more creative and complex than pop music. 3. Do you listen to music from games you haven't played? Yes, I do. Especially tracks that I perceive to be battle-type tracks (I'm quite a big fan of battle music!). I find that listening to VGM from games I haven't played often has the effect of enhancing my gameplay experience should I decide to play the game subsequently. In addition, it's quite refreshing to listen to VGM from certain game genres I would normally not touch, like racing or sports games. 4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so? VGM easily fills up 80-90% of my playlist(s) these days. I've become very, very selective on the types of non-VGM music I listen. Typically this would include some choral music, film and anime soundtracks (more of the latter), a bit of Mandarin pop, some New Age/World music, and a few evergreen albums every now and then. I used to listen to more Mandarin pop on the radio but after I while, I got a bit tired of the more mainstream Mandarin pop. 5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced? If the first question is in relation to game rips, I actually quite enjoy them. They usually represent a more complete aural experience of a game than a soundtrack with "missing tracks". And sometimes, certain incidental things like sound effects can be nice to hear in a game rip where it might have been absent in an official release. In addition, game rips always have that added layer of the ripper's passion and dedication which I can appreciate. It can be quite a task to do a proper game rip. Further more, game rips usually loop tracks when the OST doesn't! Is prohibitively expensive to buy VGM soundtracks where I come from; if you can even find them at all. Of late, some stores have been carrying some very affordable soundtracks and I've found myself buying the ones that I like a lot. Importing is insanely expensive and/or too much of a hassle. I prefer to be able to just walk into a music store and buy a VGM soundtrack. 6. Which genres/styles do you mainly listen to? Which do you avoid? I typically enjoy ambient/minimalist, choral, folk, New Age, electronic, lounge/mood and alternative pop music. Some styles that I have a weakness for include the whimsical, epic/grandiose, melancholic, uplifting/cheery and pastoral. I used to avoid rock but have grown to like it to some extent thanks to the BSC. :P I avoid heavy metal and bad techno, especially the type that's nothing but thumping beats that repeat forever with no development whatsoever. I also really like VGM styled in the SNES era. Most of the VGM from that period is particularly charming to me and I can't quite say why exactly and what genre of music they belong to except that it's... 16-bit SNES VGM. :P 7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why? I do, but not as much as I would if it had been from a game. I guess it boils down to my motivations for listening to VGM. 8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming? I think VGM is like any other type music, and the lines between mainstream music and VGM have been blurring in some cases. Most would think otherwise because it's music "from a silly game" (but most of us here would beg to differ for various reasons). Admittedly, I'm not entirely comfortable telling most people directly that I listen to VGM because over here, it's still considered silly music that gets written off. But I do see that perception improving especially with mainstream music winding its way into games and games themselves becoming more accessible to the masses (just look at the NDS and PSP!). 9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material? This isn't an easy question! I honestly can't say if chiptunes or modern VGM is better. Both have their pros and cons. Chiptunes tend to have more memorable, catchy melodies with infectious beats but there are times you do wish a better quality synth was available to bring out the full flavour of the composition. For modern VGM, sometimes it can be so obsessed with instrumentation that the quality of the composition suffers. However, modern VGM has also seen more complex and interesting arrangements that chiptunes would find hard to replicate (with the exception of perhaps certain Western composers). What I find really interesting is modern chiptunes. These can be fun affairs. 10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays? I don't think VGM needs to sound different from other music genres from an aural standpoint. Why should it? 11. Most gamers don't particularly care about game music (or at least, to the extent we do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this? I do believe a lot of gamers like to swap out the in-game music for mainstream music (because the game music was boring etc.) but I think this detracts from the game experience because the mainstream music might not match what is intended by the in0game music in enhancing the gamer's experience. I cannot imagine listening to an upbeat track from The Corrs whilst playing Fatal Frame, for instance. I think you lose something from the game as a result. If the licensed music is appropriate for the game context, I think it's still ok. But I do prefer more innovation and creativity in my VGM. 12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is a creative process. Do you see a problem in this? I think this is ok as long as the music actually fits with what the game is trying to achieve. And if it makes for a nice listen, I have no issues. One example is the Sims tracks that was nominated for Song of the Week (pop station/music or some such). It's like something from The Corrs (minus the vocals) and sounds terrific. I will have something against the music if it becomes formulaic like most pop music these days. 13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how? I don't have an issue with this as long as it makes sense to the game and it enhances the gameplay experience. Of course, this might make it more difficult to appreciate the music outside of the game if the music becomes too highly customised to the in-game events as in the case of cut-scene music for games. 14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to formulate this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptative music system, playing an ambient (see "usually unmelodic") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this? Well, I'm quite a fan of ambient music, so no problems for me. :P I think such adaptive music is very interesting and might not be that inconsistent if the transtition is done well. I've also heard of adaptive music where a melodic field theme transits into a more upbeat battle music when a battle starts, becoming milder and quiter after the battle (e.g. the .hack games). I think such adaptive music makes for a more seamless game experience and can be interesting listens outside of a game if done well (to me at least). That said, I do not agree that the best music has to always be unnoticeable. It really depends on the nature of the game and the context. VGM with distinct melodies can make for great listens, sometimes heightening the experience. And there will be times when a more ambient score will make more sense. 15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game? I don't think much of Chrono Trigger soundtrack except for some tracks but it works nicely in-game. Somehow, the music makes more sense when you take into consideration the game world/setting, characters and overall presentation of the game. 16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place? I think this tends to be true to some extent if it's VGM from the same composer. So I would suggest to have a few composers work on a single game or alternate between a composers. I may like Jeremy Soule but l can imagine that even I would get a bit restless if every other PC game I play is composed by him. I also find that certain game genres tend to keep sticking to particular styles (e.g. racing games) but I don't think it needs to be as long as it is still coherent in the game's context. 17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa? I think all three can be quite distinct and there are always exceptions to the generalisations I'm making. My impression is that Japanese VGM uses a lot of synth and tends to be more varied in style, while American VGM has a tendency towards the orchestral or ambient/minimalistic and can sometimes come across as being a bit less innovative (almost formulaic). To me at least, European VGM tends to be more electronic in nature (probably with an emphasis on mood/atmosphere), or have European folk influences/sensibilities. It's also less "formulaic" than American VGM, I think. 18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter? Perhaps more game music concerts? And game events that tie in with game music gigs? Have local distributors of game music? Have game music awardsn that don't just focus on Western music? 19. If you had to sum up in three words what you expect from VGM, which would you choose? Diverse, refreshing, charm. I am a dolphin, do you want me on your body?
I think therefore I am... I think.
Last edited by Elorin; Apr 5, 2008 at 12:42 AM.
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Member 19148 Level 19.34 Feb 2007
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1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?
Video game music is the music you hear when playing a game. Like film scores, it's not a genre - video games are just the medium the music is made for. It's very often worth listening to, despite being relatively unpopular. It's important to emphasize that the music is (generally) created by talented composers, as opposed to amateur musicians. 2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it? I like VGM (as well as some film music) because it's representative music - i.e. it might represent the emotional context of a scene, or a character (leitmotifs). I like music like this because it's purpose is usually very clear. I enjoy it then, on the basis of how well the composer can fulfill the pupose. It's not the only way I enjoy VGM, but I can say it's a major factor. 3. Do you listen to music from games you haven't played? Not really. Not that I'm completely opposed to the idea or anything. I picked up a few songs in the BSC last year from games I never played, but it wasn't the majority. Further, there's some songs in that contest that I may have enjoyed much more if I knew what the song was intended for. Anyhoo, if there's any VGM I've been meaning to check out, I usually do so through playing the game. 4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so? 30% (about 600 of 2000). I'm all about variety, all sorts of stuff. In short - rock, classical, and jazz, and all the 53252332 sub-genres within that I don't worry too much about. Some of it's mainsteam, some of it isn't - as long as it's good i don't care. That said, i'm less drawn to mainstream stuff cause it tends toward conformity and/or compromise more often. Your less likely to strike gold in the mainstream, so to speak (but you still occasionally do). 5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced? If we're talking about remixes and the like, I don't really care for them at all (e.g. arranged albums, Black Mages stuff, doujin). I've tried some of it out, but I haven't really found them to be necessary. I get too attached to the original tunes, and then perceive the changes to the songs as flaws rather than improvements. I don't mind the stuff for novelty, but it never makes my hall-of-fame playlist. I don't buy official albums too often, thogh there are some that I intend to purchase when I have the cash to do so. However, many of the songs i listen to don't even have an official album (chiptune era), so I couldn't buy them if i wanted to. I don't have as much of an issue with VGM downloading as I do other standalone forms of music. Bands survive primarily off of their music, whereas video game companies get MUCH more money from game sales than from VGM soundtrack sales, so downloading won't ultimately cripple them financially or anything. 6. Which genres/styles do you mainly listen to? Which do you avoid? I tend toward VGM which has the inherent 'video-gamey' sound to it, which I don't know how to put into words, but I hope you all know what I mean. That applies mostly to music from the 8-bit and 16-bit era. I also love music from RPG's particularly. This is because I feel they are much more emotional (they're well developed, epic stories after all), leading to the kind of music i like. I avoid any VGM which sounds (to me) like second-rate rock/metal music (the same can be said for some of the epic classical music stuff i hear, but it doesn't irritate me quite as much). For example, I despise the music of Battle Gear and Guilty Gear. A lot of what I like about VGM comes from the characteristic timbres it has (mainly due to the hardware 'limitations' of the past). Throwing in rock instruments isn't a problem in itself, but most of what i've heard just comes off as if it's made up of stock riffs and chord progressions (prove me wrong folks..prove me wrong!). 7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why? What I said in Q6 doesn't apply to non-VGM for me, mainly because lyrics and/or attitude of a rock artist can make a huge difference. I try not to favour one genre over another, be it written for video games or not - quality is all that matters in the end (P.S. country sucks balls). So there's bound ot be some genre overlap betwen VGM and non-VGM to a more or less random extent. 8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming? Absolutely. Some of the best music I've ever heard comes from VGM. I'd say anything pre 8-bit might not be so valid, being so severely limited (sounding something like the bleeps, the sweeps, and the creeps ). But if you enjoy it, g'head - i'd never want to come across as someone who would make fun of someone else for what they listen to. Anyway, Lots of the 8-bit stuff is on the same level as rock music, i.e. Megaman stuff. That music is as musically complex, if not more, than your average pop rock/metal tune. The only people I really talk about VGM to are other musicians and my friends. Musicians are the only group of people I've run into who might care or give it a chance - I find they judge music more on intrinsic merits rather than for social reasons. This also includes serious music listeners who don't play anything, but know enough about what good music is through listening. Non-musicians don't be offended, I'm only generalizing and I'm glad to hear when am wrong about about such stereotypes! 9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material? I don't know if i can answer this question too well, because i'm usually a generation or two behind the curve (I'm just starting up on PS2 now). I don't know if one era is any better than another, as I always manage to extract some really respectable material from each that I've played (i hope that trend continues). I don't like the idea of VGM becoming mainstream - I think that may kill its charm. If it becomes mainstream, gaming producers will actually start to care about how their VGM sounds (whereas in the past it seems composers were given a wonderful degree of freedom). I hope I'm wrong about this, but i think that if VGM becomes significantly profitable, it will ultimately end up losing its interesting, quirky, eclectic, unpredictable qualities. 10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays? I think timbre is arguably the most distinguishing factor in 8-bit/16-bit music. Much of the music is composed and arranged the same way any regular pop song would be done (see the previous Megaman example). But the timbral difference makes it very unique and gives it an entirely different character. I don't know if VGM ought to sound different than other musical categories, but I know I prefer it that way. Off the top of my head i have no idea how this could be done nowadays, because in the past i believe the character stemmed much from the limitations imposed (limits aren't always a bad thing). Bottom line, as long as VGM continues to be interesting, i'll be a happy listener. 11. Most gamers don't particularly care about game music (or at least, to the extent we do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this? As a VGM fan I hate it. But I can totally understand why someone would want to do that if they could care less for VGM. I think it's a horrible for games artistically, but not all games are meant to be art forms (i just like the one's that try to be, myself). I hope that kind of approach doesn't become the norm, personally. 12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is a creative process. Do you see a problem in this? No it's not a problem - some people like that stuff, and all the power to 'em. Personally, I don't really tend to care for such music that i've heard so far, as I've already said in Q6, but that's just preference. And maybe i'll hear some stuff in the future that'll change my mind (hopefully). 13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how? This one's pretty much circumstantial to me - I've heard some pretty decent stuff and some pretty lame ass stuff. I think eventually film music and game music will be more or less indistinguishable though, at least for games intending to be realistic and movie-like. I hope the cartoony-ness of games doesn't die off though, as I love games games of that style. 14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to formulate this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptative music system, playing an ambient (see "usually unmelodic") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this? I've never totally agreed with that principle. I understand where it comes from, and it has its places (i.e. you don't want to drown out dialogue with music). But I can say that for many of my fav movies, i can listen to selections from the score outside of the movie and really enjoy it. I guess to me the music is created to support the movie, but that doesn't have to be at a 0/100 ratio at all. Good music + Good movie > Mediocre music + Good movie 15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game? Off-hand, a good example would be Metroid Prime 3 (and many other Metroid games, i'm sure). Pretty bland music on it's own, but does OK at setting the tone of the game. 16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place? I couldn't say I've noticed this anymore than in any other musical medium, but as i said i'm slightly behind the times.. 17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa? Not really, but it's not something that's all that pertinent to me when listening. I can say that most of the VGM i enjoy came from Japan though. 18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter? I think it's just a matter of time. We're still at the point in the west where listening to VGM is considered somewhat 'hardcore' in terms of being a VG fan. 19. If you had to sum up in three words what you expect from VGM, which would you choose? variety, intricacy, fun BTW, that was a really fun survey to fill out! Really interesting, important questions for the most part. How ya doing, buddy?
Music is a mysterious thing. Sometimes it makes people remember things they do not expect. Many thoughts, feelings, memories... things almost forgotten... Regardless of whether the listener desires to remember or not.
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Member 22205 Level 32.07 Apr 2007
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These lists of questions are nice... but my thoughts have never flowed well within the confines of things like this. So I just want to lay out a few things in my own style as the thread creator said would be allowed.
I love VGM, mainly because video games have been a hobby of mine since as long as I can remember. My introduction to entertainment was primarily molded from my interaction with video games. Before books and movies and television could make an impact, I was playing video games. Using this as a base, I want to now state that I feel that a common misconception people have with video game music albums being primarily produced in Japan and rarely produced here is the cultural difference we as Westerners have with our Eastern counterparts. I often wonder if the Japanese make comparisons of VGM to things like so-called "Actual Musicians" (humor the term, please) or if the Japanese relate the stories of their video games to the plots and structure and quality of their films, television shows, or novels. I'm willing to wager that they don't. Correct me if I'm wrong, but I think over in Japan video games are recognized as a viable entertainment medium. Something that stands on its own. We're talking about a culture that is only now seeing the death of the arcade, whereas you'd be lucky to find a viable arcade here in America now, unless you live somewhere in Southern California or near places like the Family Fun Center in Omaha. I feel there's a lot to be said when we see "all about" guides and, more to the topic, VGM soundtrack releases in Japan but rarely anything of the sort here in America until recently. I think they regard the music as standing alone and they might not make the same comparisons we do to "Real Music" as some might put it. Or at the very least, those concerns and comparisons are negligible to them, because there's very much a market for VGM albums there. The way VGM seems to be regarded here in the West is changing, because production seems to be better and more like movies and television and such. I'm not sure how I feel about this, because I liked a lot of the signature repetition, the "chiptune"/"Sounds like its from Mega Man" description of the sound of certain VGM. It evokes something familiar from my childhood, something I hope doesn't disappear as games get more cinematic, become more simulation or "experience" than contests of competitive and/or personal mental skill. I think it's a mistake to try and make distinctions or comparisons to other forms of entertainment when discussing video games or VGM in this case, because while video games might be similar to movies, books, and such, they are still games. The outer art is molded around the "game" itself, the music included. And I enjoy video game music because it evokes those contextual feelings at times. I think that's enough to make it stand alone to me, even if it really could be said to not be as good as "real music" or whatever. I think as video games become more than what they were, at least presentation wise, we'll experience newer, but not necessarily better music as time progresses. The only thing I hope of video game music is that it and its fans don't forget where it came from as it gets to where it is going. What kind of toxic man-thing is happening now?  |
Rimo 
orion_mk3 
Put Balls 
Hamu-Sumo 
Elorin 
Rotorblade