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tv   Doc Film - Video Game Music  Deutsche Welle  March 3, 2019 4:15pm-5:00pm CET

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whenever they're up to date now on news in our documentary coming up next meet the videogame composers bringing their music into concert halls omarion and stand in for me and the entire team thanks for watching. state by state. colorful. life with. the most traditional. find it all that any time. check in with a web special. take a tour of germany by state. on t.w. dot com.
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ok ok we're recording the interview of you video game music cost is assured ok all good. well that is the problem is that video game music is still ridiculed a bit. if you start in the video games final fantasy one and final fantasy six write. it he writes as you can see here for yourself i'm the vampire on the upper right drops one of my first jobs in one thousand nine hundred seven i was maybe nineteen. and it's a speech when i play the game i play a sequence twenty thirty forty times i hear the music thirty or forty times so gamers are already well acquainted with the musical sell when they come to the concert another concept.
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i remember when we went to london we got in a taxi and the guy was just like looking around he's just like what is this a concert for like what's going on are just like it's for video game it's for final fantasy and he was just like it's already it's it's a concert that's dedicated to video game music which is like yeah this low here is just so confused and it's so if we're talking about video game music then we need to talk about where it was born namely here's here at least in my opinion it's human in one thousand nine hundred seven with final fantasy one like it was and i'm telling you today you can hear video game music in concert halls but it didn't just come from anywhere everything has a beginning. now there are lots of stories but this one pizza mom. is the best.
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dad. was. like that tonight and i take trips socialistic. that was that was. his faith you know many people find it easy to say i recognize that music i've heard it before even when it's music they don't like it's an intuitive process with dolls and that's the intention of soundtrack music and movies and in video games you. also followed up on the spawns of pomerania playing super mario you folding down somewhere every five metas you hear a mean sound signaling that you've just died and start again on for the music to keeps repeating itself from the beginning the same theme over and over again it's nothing too complicated it's not an all crystal theme that is building up an
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unfolding into a story and it's underscoring and level the story based games are different they're often said to scenes reminiscent of film music seems entirely. fail five six five five to see why it was that she did music that said to me it's a. multi-phase if you're gay these days you feel fine if it's a new one on the radio music show. motion takes twenty six weeks you feel like it's now i just received this morning going to work that's a big dimension to the people who love this music people who associate the music with particular experiences within the game and tom so naturally the music has come to signify something in and was exactly. sense the story and special moments within the game when a specific piece of music was playing every single day said alice music it's
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a she's a places that sometimes you try to. find time to speed up the i found out about this concert and you cheer so we lifted the program and since we're playing final fantasy we're like ok we've got to go to be. very catchy melodies so bold i think it must have music because i feel a lot of emotions. when
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you want a system on a political the music is just as moving to a normal audience that has never in their lives had anything to do with finals and
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i suppose the power because it's been very intelligently crafted that has story lines that has musical themes there episodes of build up there are episodes where everything explodes then implodes it's extremely suspenseful and at times exerts the same psychological demands and the way it puts you through the wringer that justify a comparison to the works of gustav mahler which is based in god and composed of models.
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as it does so this type of game is luggage a roleplaying game because you do know what role play is. ok as it is if i think of final fantasy as one big adventure it centers on the journey of a couple of heroes through a magical world across mountains valleys cities and at every corner there's evil lurking right and out there have been new installments since the one nine hundred eighty s. can you believe it no in each one of the totally new story the most recent version is final fantasy fifteen and i don't need to add that the music is legendary seek danced. just to must do cause of the quality of the concerts produced by thomas booka in
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the area video game music is unsurpassed on the markets the. loss of the market almost a sofer game is long and final fantasy six is forty hours long six the arranger played it himself and tried to incorporate the entire story the various themes the characters into this piece and that's the symphonic poem that fantastically arranged and orchestrated by roger want to know is the symphonic poor so far as seattle and i was he had flung himself on the. misty ten steen so the fans who come to the concert can follow the symphony in dnd in their own imaginations a completely new image emerges he did. underscored by the addition of a fourth dimension as an orchestra and this is fantastic orchestral music. i think that it is very difficult to arrange those melodies a lot of times with a fork a strategy because of the perk nature of that music it was just like this that the
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sounds were so sharp and so like tight. but with final fantasy there are so many melodies that were meant to be slower and deeper and more introspective in nature that translate just absolutely perfectly magnificently into an orchestral piece community eclipse the basic compositions of. music are of a very high quality. they are the bedrock on which other things can be built using this music. and. yet i wasn't interested in composing eight bit music i wanted to compose really normal music so the only work i could find was creating music from the cats who bully you eat all the movies and that was at a time when the term video game music didn't even exist. that i never saw through the time square had its office in the same district that i lived in. that much the
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. square square was a small company in tokyo full of young clueless people eager to make video games like. as it stood when i met nobuo uematsu there he was really nervous but i could really sensitive myself even as i still remember how we sat around in a small company kitchen square was about to shut down if they had made any money on their games this sort of this then in walks among could hear or know bruce a gucci and he says let's give it one last try just one more game what. does the final game. he said he wanted to do a role playing game. and since it was to be the last game we put our heart and soul into a. whole slot. on a diet and hence the name hina final fantasy the game was released on december eighteenth one thousand nine hundred seven hundred mediately broke all records in
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japan but it's true to say that final fantasy pave the road for all the roleplaying games that followed and i'm pleased to say that nobuo uematsu never again had to worry about finding work but i really think he pioneered a form of music that never before existed in any game. it was a musical genius making such amazing music with such simple sounds. i started out at a time when the technology was in its infancy right. game console is at the time but didn't have as much as a handful of voices so to speak they are which one hundred generate notes but you go helped toward you know to get there and so there wasn't much remaining when it came to creating the melody arc administration simply as a result those early melodies work strangely simple but to be fair because composers back then had to concentrate on the basics to craft a really nice melody arg they produced tracks that stuck and that years later you
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find your whistling to yourself. when i was told to make music with eight bit and just three different notes i had my doubts that it was even possible. then it wasn't easy for me at the time and i thought i'd love to include the sound of a flute or a piano or a drum. must at all even if i listen to it now i do think it sounds convincing but stop all the conveys quite a lot considering it's a great music and a lot of how to be plugged into to get a lot of it doesn't feel so outdated when lawson if an excitable capital want to get into the opening music gives me then a style chick shivers here but it all started here there are so many moments within far fantasy that relate so much to the music and then. they're just lovely to listen to i think it's just
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a testament to. use ability to create fiends that's why so many times they call him like the john williams of video game music though both their minds are in particular seems to be. probably the best i think i've ever seen at being able to be transformative in his style of writing from one scene which is orchestral and epic and big to something really silly that uses bossa nova or you know any kind of different style he dies in this so many different genres. lots of fleas so much flows into him up to sons music rock johnson classical. and sometimes rock.
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on it's all but then there's also things like. sound very simple sucks but it says it all he has a unique ability to create themes that relate to everything there's a person a place or a moment he is able to do that so effectively to communicate the exact right feeling that you're supposed to feel in the moment that that scene is happening and that is what has. i don't know i guess like stood out to me so much about the way that he writes and about final fantasy music in particular above basically all the rest. in my mind a similar process happens in music because when you're talking to someone. that's
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got a lot of it is if you are using clear easily understandable words that the other person can instinctively understand. and something like that is what makes for a good melody. say you are recounting something you've heard from someone else to do our job and the person you're telling doesn't get the whole picture in our quote of how to really communicate with another person you need to use your own words that are to say what you feel yourself in your own heart. i generally expressed in very simple words most custom ab that is one reason why my manatees are so successful because i really know nothing about the difficult and complicated methods that dictate how music should be expressed that i didn't mention is caused by a fine event in final fantasy six and seven in particular the images are not so detailed they're perfect you know the characters are not yet so refined doggish good all you could do is make the character look down or something like that you know and it was like oh he's sad but how do you really communicate how sad he is you has to rely on
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music so that eventually did no poor matsu compose a melody for your character sheet. yeah well he and i we talked a lot about it tilted he really wanted to see as we get along great. i would see him type but at the time he was composing the music for the game supervillain a character named kit. as it also. i think he looks like a clown like a harlequin he has a joker like smiles to themis masterfully composed it has something clown like thought was. also something evil.
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we.
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there was a rival of the cd-rom was a milestone suddenly you had
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a six hundred fifty megabyte disk in more space than you know what to do with and it was too much so we were like ok what we can do and what other media are already doing it's video and red book audio so cd format as audio audio and that made it possible to compose much longer pieces that it was done and mash storage means more complex and big games. there were classical recordings etc suddenly we were able to say wait a minute we can take that and translate it directly into the world of computer games and that opened up a whole new market and the opportunity to do just that with us also to. the jewish people the productions have become increasingly complex the soundtracks are now recorded with an entire orchestra rather than being sampled on the computer the computers have built. on it in terms of format and the composition process where a composer sits down to write the score there's not such
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a big difference anymore between game music and film music game was that difference exists at all anymore exist yet you don't know the biggest difference is that a movie has a set duration but the duration of a video game is determined by the game used. as if you an individual can spend fifty sometimes up to one hundred hours on a game. so you have to create music that is independent of the length and that's neither boring nor annoying. interactivity it there's been research on interactivity suspense the stories being told but no one has examined the music that's so elaborately incorporated into many games and the next and that was the aim of the experiment. we wanted to see how the enjoyment and experience of a computer game is impacted when we had music. we could be the first group played the game normally to trap him and to have
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a soundtrack. of the other group we simply turned the soundtrack off. we told them we were conducting an experiment into the experience of gaming. we didn't tell them prior to the experiment that they would be playing with or without music. then we allowed both groups to play for twenty minutes each afterwards gave them a short questionnaire we asked them to tell us how much fun they'd had and how they liked the game the group that played with the soundtrack accompany him and said i really felt transported into the game and it's caribbean setting the other group felt the same but not as strongly as are the ones i can potentially if we know that computer games are fun for many different reasons and a player's enjoyment derives from that mosaic and its music i don't use it as a key resource nor what music is an indispensable component as a creative medium videogames are a synthesis of the arts and music is part of the design process. our ability to easily memorize music gives rise to such experiences and patterns of recollection.
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which is why gamers associate certain sounds arrangements and harmonies with specific stories places world or game genres all to. i think away much who was listening closely. to what if someone's playing final fantasy for one hundred hours you can't subject them to the same song the entire time and for instance my friend know who is an exceptionally gifted composer if there are very many different wonderful melodies in the game. and then the soundtrack filled three c.d.'s and since the individual pieces on video games are relatively short there are maybe twenty trucks on the cd.
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well was it sixty trucks it was even more i guess there were seventy to eighty
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songs on the soundtrack of the final fantasy six the man biased and then we've seen that is not just the game alone that generates revenue it's on the soundtrack does too trick for cars so today the music for a video game isn't just designed for the game it's designed as a standalone product for a wider audience than it is put book for the rest of it. when someone asks me what kind of music i listen to i always say video game music i think collecting it for a long time it's been at least twenty years now and i've assembled quite a collection. it currently totals two hundred seventeen albums from many different games across a wide spectrum of genres so it's extremely diverse things. items
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i want to gamers have come to expect a certain sound for certain genres so for example if i'm designing a car racing game and orchestra wouldn't be the logical choice instead i'd stick with the mini format and produce the score electronically. i have a notebook and use the logical program as a sequence said. the middy keyboard hooked up with about twenty four keys now a days that's all you need to compose music well you must know they're going to see what it is i just don't. it mrs b. g.'s and the project got a larger budget i might recruit a big name from the house or electronic music scene them to contribute a track of some quick feature. if you feel a video games have become mainstream like me like ten years ago no one today will think you're weird if you say you play video games with you she said with this growing acceptance there's been a growing realisation that this is a big market also national game producers try to team up with big names in the music business that it's not just to boost their game sells but also to encourage
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participation that's been well known artists may be reluctant to collaborate on a project where people will be like oh a video game how weird you said today they're like oh a video game cool cool with for this activision activision asked paul mccartney if he wanted to collaborate on its game destiny and he said yes exactly and simone zimmer has written entire soundtracks are parts of the music for numerous video games including very successful tracks i'd like crisis to steam the hans zimmer track that they used is that task tick but it's just like is the rest of the is the rest of the soundtrack memorable from that standpoint and i think really there's a lot of main themes of games now that they seem to put everything into the main theme or and then the rest of the soundtrack can be a bit mess the inclusion of composers like handsome are they have been done to try and promote video game music make it more recognised because you know a lot of the composers outside of say they're much too they aren't very well known within the wider community and they're not very familiar with say user. jeremy's so
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jake ryan tyler christopher to just the kids like there are a lot of different radio game composers who have been very successful and they don't have the kind of wide. except the yeah and much. more coming to the home with more of the most. but there are it is changing around a bit especially with video games live. it's a massive concert which is dedicated to a lot of different music in video games there is no the only way i was just making people more aware of that like final fantasy music is being paid thank you i mean. thank.
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you i never played one letter for example someone wrote to me saying i went to a final fantasy concert and then took up the clarinet muscle or i've often heard i've joined and i want a brass band i'm very moved by such letters as that since one of the people of come up to him and said i started out listening to your music but now i'm also listening to the likes of stravinsky and bass hovan and so i do not adopt i'm delighted that i've made such a meaningful difference. thank .
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you.
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the to. the to.
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saddam back in one thousand nine hundred seventy nine since even though he sat there in the kitchen in front of me to look a young anxious guy scouring the job ads in the paper it was just one of many kind of few. and but in all his modesty nobuo uematsu has helped change the world and it is he invited the videogame world that is. going to take a hard stand as a free thinking conductor he has new ideas. that he thinks is interesting music then he also thinks it's good music. poetry in them and we've encountered a lot of prejudice in many symphonic orchestras in germany such who look down at video game music and think it's beneath them to play such a score on. that it's something cheap or reprehensible for us because it will save
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our flesh is the set up but it would back then they would say we're an orchestra we play brahms and the like why would be play video game music of all things if they had their pride going to war for their loss it's not like the orchestra itself that those instruments are foreign to kids today they just don't like that sound it's just that the music that speaks to them is not what's being played in those concert halls not truly nationally young people aren't immediately interested in an outdated all price it's not part of their culture but games are omnipresent in today's youth culture. omnipresent the music that my grandfather grew up with right like i don't go around listening to that they did it because it was it was made for his time it was made for people who thought the way he did and a society that function the way that it at that time and the music that i listen to is made for my time and speaks to me in
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a different way and that gave me see him an integral part of the gaming scene an art form that attracts a large specialized audience the way others go to the opera it's pop you can get the audience's emotionally so attuned disquiet if you could hear a pin drop and complain we're cultivating a whole new generation of concert go from some food scene for many. of the fifteen to thirty five year olds attending these concerts it's their first encounter with the sound of a large classical orchestra sound and as colson classes marcus toss the first on the ice so anything like that you hear it strikes you i believe the original compositions see sunlight. just a number of the forty and if you just close your eyes to second just taking the only nice things holding each of these it is just absolutely recitation they are just breathtaking from back. with the final symphony as it's like rearranged it does make it different it does make it fresh and new orchestra all the old
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construction have a lot of fun and the audience can let themselves go. because as a conductor of classical music i know that the next time i take on a position as an orchestra as musical director if sign i'll put this symphony on the second part of the symphony concert bill he's a symphony should be and. video game music has made a historic contribution a new form of all cash flow concepts.
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thank you.
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