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!

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.

Answering here because the quote tags here are easier to work with than at STC!

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1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

Original music that appears in a videogame and was composed for the sole purpose of appearing in the game. I would be careful to differentiate between licensed music that appears.

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2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

Always liked it. I'm a fan of anthems (wrestling entrances), so having a memorable, high-energy tune accompany the action onscreen is highly appealing to me and adds to the impact of the visuals and gameplay, because the music is also vying for attention. I tend to enjoy the sounds of many chiptunes as well as many instruments, so old-school tunes tend to have that unique charm to them as well. I dislike mood music and music I don't care for, but is supposedly "musically" superior to others (cue laughter).

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3. Do you listen to music from games you haven't played?

Many.

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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?

Metal/hard rock. I enjoy music that does away with being subtle and makes itself known to all. VGM is probably 30% of what I listen to now, but that is because I scaled back drastically and only listen to the percentage I can honestly say I have an emtional attachment to (whether it be from the music or nostalgia). Very few new soundtracks hold any appeal to me...The majority of this 30% is 16 bit and earlier music or arranged stuff.

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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 download and buy whatever I feel deserves my money. No problems if the gamerip is good (I still use a rip of the Valkyrie Profile OST, because the tracks loop twice).

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6. Which genres/styles do you mainly listen to? Which do you avoid?

Anything melodic or at least that has a decent riff or solo is fine with me. I've grown away from a lot of electronica and have never liked any sort of ambient music.

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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.

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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?

Yes. I feel better about it nowadays, because it seems retro is cooler than it once was.

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9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Very few modern soundtracks hold any appeal to me. I feel the scene is very dry right now and lacks any kind of excitement. Many soundtracks I listen to are 16 bit and prior or arranged stuff.

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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?

Depends...Chip music isn't good by virtue of being chip music. It's the composition that matters. I do think a lot of composers ended making good music by fighting the limitations imposed on them by the sound systems. With a lot more freedom, I think a lot of composers are exposed to not be as great as once thought.

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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?

In the past, I'd say I couldn't fathom the idea of replacing the original music. However, nowadays, most of the original music isn't worth keeping and is mass produced garbage (eyes Basicscape), so...

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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?

There's nothing wrong with popular music if it sounds good. Uniqueness is overrated if it's not enjoyable to listen to.

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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?

ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

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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?

This is why I think it's important to have the ability to input licensed music or other VGM, due to the silliness of this practice.

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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?

Street Fighter III: 3rd Strike is something that drives me up a wall on its' own, but it's good for getting in the zone ingame. The individual tracks didn't distinguish themselves very well, losing the anthem effect of prior games.

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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?

Yes, but this is true in all music. There are definitely too many similar games (looks at FPS genre).

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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 like very little American VGM. Most of what I listened to growing up was Japanese, although Japanese VGM is pretty stagnant right now as well. I have nothing more to say about this...It's just how things have worked out.

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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?

Make music I want to hear and release the albums for it.

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19. If you had to sum up in three words what you expect from VGM, which would you choose?

Melody, nostalgia, excitement.

I'll just answer these questions, since I'm in no mood for any coherent thoughts on the subject.

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1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

Music. From games. (Why bother frillying it up with things like "nostalgia" and "appreciation of music as is", when those are quite point strangers among many vgm listeners, unfortunately.)

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2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

When I was younger and more stupid, I'd listen to practically everything. That really frustrated me, because I found maybe 2% of vgm good enough for a second listen. Now I just listen to the good old soundtracks and try out a small portion of new interesting stuff from reliable composers. So, I heart some (usually generally popular, and for a reason) composers and hate most of their fans.

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3. Do you listen to music from games you haven't played?

Yes. Why not.

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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?

About 10% nowadays. Outside vgm, I listen to almost everything "genre"-wise, inside vgm not so much (I hate most of vgm rock, for instance, and for a reason). That is so, because I like good music with whatever means it is conveyed.

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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 don't understand the first question. If it's talking about game rips, sure I listen to a few. Why would listening such be a problem for me? I sample the album (by listening to it completely) and decide if it's worth putting money into. Usually it's not good enough. I don't really care about the prices anymore now that dollar has continued to sink notably for around seven years. Everything's becoming more and more dirty cheap for euro users.

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6. Which genres/styles do you mainly listen to? Which do you avoid?

Inside vgm? I'm not much into styles in vgm. I just like most of the work of certain composers, and some of them can be VERY versatile. And I try to avoid vgm rock, just because it's so bad.

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7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

Usually the vgm equivalent of a particular genre is crappier than that of non-game music, but I just give vgm lower standards and cut some slack to make it listenable again.

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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's not childish anymore, that p.o.w. has diminished a lot over the years around here. Excessive gaming, however, is still considered very nerdy and geeky, but so what? | Vgm is an acquired taste. I couldn't really recommend the general portion of it to a person outside the gaming loop or even to a casual gamer. | Because my musical taste spectrum is quite broad, I don't feel the need to tell everyone EVERYTHING I like listening to. People who need to know or would even want to understand, do. It would just overly confuse some people, if I told them I like some Madonna albums, for instance. Schitzophrenics of music should indeed be careful.

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9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Today, more emphasis on the means (unfortunately) and less on the oversimplification of content. And I can't compare them. And the transformation from "chiptune" to "modern" isn't even that unambiguous, so this question doesn't deserve an answer.

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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?

Yes. And this is "achieved" quite naturally. It just is of a different standard, which always sets it apart. And yes, it should sound different. If it didn't, I'd throw it away it completely and switch wholly to non-game music.

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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 hate the use of the word mainstream, when something is opposed to soundtrack music. And sure, why not implement this "mainstream" music if it's good. In most action and racing games it gives off a better overall mood while playing than music composed solely for the game ever could, anyway.

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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?

Wrong. This makes some highly unique vgm, but not very unique in a larger scale. No problem at all, though, since vgm is a smaller sentience and even bad music can sometimes be enjoyed while playing a game.

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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?

Games include some interaction between the player and the game. Films usually don't. This is a definition as clear as a day. If the game is supposed to be cinematic in nature, then I think the music usually should at least try to fit the mood. Games and films aren't that different, though, so I still don't see any problems.

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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?

If the music is not noticeable, it's either bad or not turned loud enough. | Dynamics and seemless transition in music during play of game, yes (see e.g. Shadow of the Colossus).

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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?

Kooji Kondoo's music is impossible to listen on its own, but it fits the childish games well enough to not be irritating there.

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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?

WHAT. I don't understand this. I can't really find two too similar soundtracks even if the games were about the same.

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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?

Japanese music has catchy melodies, but usually lacks in mood when it comes to something that isn't completely over-the-top cheery. Western music is the polar opposite sometimes. I guess those are the main contenders for me in mainstream game music.

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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?

The game publishers could finally start noticing that people really listen to video game music as standalone music. Then I'd finally get my Spyro the Dragon and Ratchet & Clank Original Complete Soundtracks. Yes, indeed.

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19. If you had to sum up in three words what you expect from VGM, which would you choose?

"Pre-listen, not much." It's always nice to be positively surprised when listening to vgm.

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

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.

Originally Posted by Rimo

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

VGM is professional music that's been composed for inclusion in video games, and is not generally intended for mainstream radio or television listening. I'd also be sure to note that it often explores much wider styles and sounds than one may be used to hearing.

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2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

I like the variety. It's one of the few remaining mediums that not only allows but encourages true creativity. Unlike commercial music which emphasizes conformity, VGM composers are free to explore different musical territory for no better reason than it's possible.

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3. Do you listen to music from games you haven't played?

Sure.

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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 estimate that it's a good 25%. I also listen to classic rock, folk, indie, world, 80s, and a smattering of stuff in-between.

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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 tend to prefer "official" music (tracks from official albums or directly ripped from games), for reasons I don't entirely understand. I surmise that a lot of it possesses a more "polished" feel. But it's never prevented me from looking over doujin sites to see if there are any interesting remixes of tracks I know and love.

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.

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6. Which genres/styles do you mainly listen to? Which do you avoid?

I'm unsure what this means, so I'll answer as best I know. I prefer the up-tempo stuff, pieces that feel energetic or triumphant. Also, tracks with complex, layered effects appeal to me.
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.

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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 guess some trance and techno music applies. I'm not a hardcore fanatic but I like some of the more melodic electronic music out there.

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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 a more recent phenomenon. Even other modern genres have their roots as far back as the 60s, when mellotrons and moog synthesizers were the rage. People have had time to accept these things into everyday life. Video games have only recently hit their stride as far as media credibility (and controversy) goes. The relative infancy of the modern industry no doubt causes some people surprise when they learn that the musics themselves are a multi-million dollar sub-industry. This perspective will shift in coming years, of course. Those in power now grew up during a time when "Rock'em Sock'em Robots" were modern technology. In another 20 years, the 8-Bit NES crowd will be in control of culture, and there will be a much more lenient attitude toward VGM.

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.

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9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Apples and oranges. How would you compare a coffee house jam band to the London Symphonic Orchestra? Both are capable of producing enjoyable sounds, but you have to acknowledge the technical and aesthetic limitations imposed upon each by the tools (or lack thereof) at their disposal.

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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?

Not really, no. The greatest, and most appealing, feature of VGM is that it's not limited to one particular style. It's any style the composer prefers. Often, it's a fusion - rock and jazz; synth and strings; pop and classical, etc. If it can be envisioned, it can be done. R&B is forever limited by its style, and is therefore always going to be primarily drums and bass. VGM is capable of transcending genre specifications. Why should it even try to be defined by any particular sound, anyhow?

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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 wouldn't say they don't care. They just don't feel a need to make it a seperate experience. Some people don't live their life with a strong focus upon music, and that's fine. VGM is just as much for them as it is for serious listeners, as the music is primarily intended to be an in-game experience. VGM enthusiasts are just a corollary phenomenon.
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.

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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 always. It depends upon who is hired and how much potential we know that individual to otherwise possess. If you hired Yack and told him to compose a very cinematic soundtrack, then yes, I'd feel his talents were being wasted. However, if a producer chose carefully, and selected, say, Tommy Tallarico for the same project, I'd consider it an apt choice.

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.

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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 like it, as it encourages the producers to borrow directly from the film's score. I'm not a big fan of cinematic music because much of it is so identical and overwrought. It also seems to minimalize the musical contributions a composer would make, often forcing them to arrange someone else's work, or cutting the VGM composer out of the process completely. It saves a few bucks in production but the loss of original content is often apparent.

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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?

Depends upon the game. For some games, you definitely want ambience. "Metroid Prime" would be kind of awkward with thumping eurodance music, wouldn't it? On the other hand, ambience would seem quite dull in a racer. That's when you want something original and cool to groove to. At least I do.

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.

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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'm gonna go with Culdcept here. To listen to it alone, it's pretty bland. Kenji Ito doesn't take many adventurous liberties, that's for sure. However, the game was quite fun and had many moments of intense concentration. Those are times when I'm not thinking about the music, so the low-key accompaniment was very appreciated. It was definitely better than awkward silence, or worse, a highly distracting melody. It all worked as fully intended; it's just not going to earn points for novelty.

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.

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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?

Yeah, shmups. This could be due to the fact that only a few producers bother with shmups still, and they're content to stick with the same composers each time. Personally, I think the shmup genre could explode again if it was backed up with stellar audio but that doesn't seem to be the majority opinion.

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.

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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?

Other than the names attached to said pieces, and what I know of the respective composers' oeuvres, not particularly. I suppose that I'm not such an encyclopedia of VGM knowledge that I can instantly make such distinctions.

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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?

For starters, VGM could be acknowledged as a legitimate musical genre. Here in America, we've got Billboard charts for just about every imaginable genre. Gospel, Bluegrass, World Music, Dance, Modern Classical, Folk - you name it, there's a Billboard chart somewhere. But not for VGM, probably because the VGM fanbase is considered a "secondary" audience.

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.

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19. If you had to sum up in three words what you expect from VGM, which would you choose?

Finesse. Innovation. Unpredictability.


That took me the better part of 90 minutes.