Legendary video game music composer Nobuo Uematsu says he doesn’t think some modern video game soundtracks are as interesting as those in older games.
Legendary video game music composer Nobuo Uematsu says he doesn’t think some modern video game soundtracks are as interesting as those in older games.
I get what he’s saying. Game music used to have a much bigger “job” in fleshing out the world that the game presented to you. I remember for example songs like Final Fantasy VII’s Gold Saucer, Chrono Cross’ Termina (Another World) that set the tone of the place you’re visiting: busy, active, crowded and festive. If you take the music out, you have a beautiful yet static, almost frozen landscape - it comes alive with the music. Nowadays the visuals can be so detailed, the worlds so big and busy that the music seems to be an afterthought: it’s just ambient music for the already immersive world of the game. And I believe that has lead to a lot of composers settling for just that: ambient music.
I think on Twitter I once messaged Gareth Coker, the composer for Ori and the Blind Forest, about how beautiful the music on that game is and how there’s a big emphasis on melodies. He replied that the studio specifically pushed for melody-heavy songs, rather than just ambient music that only complements the action. That makes a huge difference.
This is a big reason why the new Zelda games just do nothing for me. Without Koji Kondo they’re just so… devoid of life and personality.
Conversely, the goofy coop shooter Helldivers 2 elevates the feeling you get playing the game with its over the top hero music.