An interesting interview I did for The Japan Times recently about making music for video games. The two composers I spoke to, Keiji Yamagishi and Saori Kobayashi, both had very different musical backgrounds (Yamagishi was a rocker and Kobayashi is classically trained) but both their careers began more or less in the 8-bit era (Kobayashi only at the tail end with the Sega Game Gear) and went on from there, so they sort of bookend what I tend to think of as gaming’s “golden age”, with Yamagishi’s work on Ninja Gaiden at one end and Kobayashi’s on Panzer Dragoon Saga at the other.
The way the article came out in the end was a sort of breakdown of some of the key challenges and restrictions that make game music what it is, although it’s interesting to note how that seems to be changing now, with the growing need to make music more responsive in real time to what the player is doing. An interesting little side discussion that didn’t make the cut of the final article was when Yamagishi and I found out that we are both great admirers of the Commodore Amiga, which really was revolutionary in terms of game sound at the time. The Atari ST got all the plaudits for its sequencing software, but in terms of game sound, the Amiga’s “Paula” chip with its four sample-based audio channels (which you could double to eight if you were willing to accept a bit of slowdown and lower quality) made it revolutionary, even compared to machines like the Mega Drive that used the same Motorola 68000 central processor. The Amiga also had its own community of music creators, consisting it seemed primarily of Scandinavians making mad techno music. This parallels in some ways the current 8-bit community, although where the Amiga scene was trying to push the current technology beyond its limits, the current 8-bit crowd are resurrecting or trying to digitally recreate old technology that has already been long surpassed, purely for aesthetic reasons.
Anyway, I enjoyed doing the interview, so have a read of it on The Japan Times web site here.