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 Gamingforce 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. Music composed for use in video games.

2. I tend to like listening to instrumental music, and I also like video games.  When I hear music I like, I like to listen to it again.  Hence, when I play games and like the music in them, I like to get the soundtracks.  Arranged stuff is icing on the cake, because it lets me hear a new version of something I already like.

3. I tend only to listen to music from games I haven't played when I really like the artists involved.  I've never played Live A Live or Soukaigi (well that's a lie... I've dabbled a bit at the beginning of both... my recommendation to those of you who like the soundtrack to the latter?  Don't try the game.  Not very good), BUT I love listening to the OSTs.

4. I'd say VGM takes up 60-70% of the music I listen to.  I listen to primarily classic rock and lately a lot of Japanese rock music outside of it, as well as film music here or there (though I haven't seen a lot of movies lately so I haven't had much new material there... also I'm still reeling from the loss of Basil Poledouris >_<).  I don't listen to a lot of mainstream music because a lot of it just doesn't appeal to me.  I do like some of it though... it's not like I have any sort of disdain for things that aren't VGM.

5. I do download rips from games that never get soundtracks, but when something I want actually gets a CD printed, I tend to buy a physical copy.  This is partially because I like supporting niche genres but mostly because I'm a compulsive collector of stuff.

6. Orchestral stuff is my favorite.  Hip-hop styled stuff is really the only thing I tend to avoid.  I like stuff across the board as far as genre, though.

7. Sure, but I still prefer game music because I like the connection to the actual game.

8. I think it's just as legitimate a kind of music as film scores are.  In recent years I haven't really cared all that much what people think of my personal tastes in music and such, so yeah, I've told people what I like to listen to.  I've even gotten people not into video games at all to ask me for copies of stuff (Katamari Damacy's soundtrack was hugely popular among my non-gaming friends in Japan).

9. I totally don't see this "decline" in game music that a lot of people talk about.  It's DIFFERENT, but there's still classic stuff.  Listen to some of the NES synth arrangements around of Mario Galaxy music... better sound quality doesn't mean that the compositions are getting weaker (except in some cases... Mitsuda, in the last few years, I'm looking at you).

10. I don't care that much about the "sound" as long as I like it, I guess.  We still have things like Etrian Odyssey sounding super old school.  Having more stylistic choices is a good thing, I think.

11. I dislike this for the same reason that I dislike primarily licensed music in movies.  I think that original music is part of the whole package and helps to tell a story.  Sure, songs here and there are good IF CHOSEN FOR A REASON, but just having random stuff because it's popular or putting no effort into the soundtrack whatsoever and just letting you use mp3s is no good, I think.

12. No problem here with a producer asking the sound staff to make something that sounds like more popular music, again, IF that fits the actual game.  See Katamary Damacy again.

13. I think a distinction will still remain quite obvious as film score cues match exact scenes, note by note.  Game music must be able to play during gameplay, which is dynamic, and therefore even with cinematic orchestra scores, will still have a bit of a different sound.

14. If it works in the game, I guess that's fine.  But skilled composers can make music ambient and still enjoyable outside of the game (example: Ocarina of Time's dungeon themes).

15. I don't think this is QUITE what you're asking, but for me I can only appreciate Sakimoto's scores after playing the game they're for.  I don't think I'd like the FFXII soundtrack nearly as much as I do if I didn't think it fit perfectly with the game (and the fact that I really like the game helped too).

16. Frankly my gaming tastes lead me to some of the weirdest and most unique stuff out there, so I don't really find things being too "same-y."

17. Stylistically there are differences, but I don't think any are better than the others.  I find that personally my favorite stuff comes from Japan, then Europe, with America having the least.  That same order tends to apply to my preference for game developers, too.  Again, nothing wrong with any of them though.  Just my personal tastes.

18. You might be surprised to find that VGM is NOT all that popular in Japan at all.  It's an extremely niche genre and most of the general population I met thought it was weird that I listened to it.  Think of it as some of the little teeny sections you see in music stores in western countries for genres you've never heard of.  Frankly I don't understand how they make any money on game music releases at all.  That said, I think as the mass of geeks in the US and Europe grows, we'll start seeing more soundtrack releases.  Microsoft has been pretty impressive in getting out OSTs to games it has published... I'm so glad the Blue Dragon ost is out here in its entirety.

19. I write way too much to do those "sum up [x] in [y] words" things so I'm totally not answering this. 

1. Music from a video game

2. There is some (vgm) music that just tells a story without lyrics... when you can get the message behind a piece without seeing the accompaning scenes it's even better.

3. Yes, but given how expensive it is and how non-mainstream it is over here (less outlets to hear it, especially when you don't play as many games anymore) I'm less likely to gamble on a soundtrack from a game I haven't played, seen or heard in some fashon.

4. Probably about half. The rest is mainly european metal, which isn't mainsteam over here but is over there.

5. It's a bummer when something doesn't get a release or a half hearted one. It usually isn't too hard to find something when that is the case. Make an effort to get the albums if there is one but I'm not completely innocent either as I used to DL everything before I had a source of dispoable income. Albums aren't cheap but I think you get what you pay for considering Japanese album releases go that extra mile w/artwork and stuff.

6. I'm pretty open. I tend to avoid ochestrated things because I get this feeling there is this standard that orchesting something automatically makes it good. It's also overused in games in the west. Also, I avoid Piano Collections... I'm not against the piano, there are some pieces I love to death but not my thing. Full-fledged techno is a no as well. I'm a sucker for guitars and metal though. I dabble in a little of everything but lose interest when a genre is taken to an extreme.

8. Yes, VGM is a valid genre. I know a lot of ppl that write it off... and, no, I don't care if someone doesn't get what I see in it.

9. I think there is more goodness in the past than what is coming out today.

10. You can't stop advancement in sound technology... game music will be game music but someone will always try and blur the lines between it and say, films scores. To each their own I guess...

11. Depends on the game. I liked how Twisted Metal 3&4 and Tony Hawk 1&2 used licensed tunes but then looking at games like Need For Speed such an idea is totally whored out.

13. I honestly think giving a game an orchestral soundtrack seems to be the "no-brainer" solution to a soundtrack for games in the west.

14. This makes no sense to me, the music doesn't need to take over but golly, I love it when it enchances what I'm seeing. A live and let live system with the audio and video seems, well, unispired.

15. Resident Evil 4. I mean WoW is this powerful in-game, but listening to it in soundtrack form just so doesn't cut it.

16. To a certain degree, there just seems to be more out there now. A lot of newer RPG music seems to run together for me now.

17. See answer #13

19. Captures the Moment

1. It's better than anything YOU'RE listening to
But seriously, I consider VGM to be music that was composed for the purpose of being used in a video game.
In other words, licensed music does NOT count. An amazing amount of classic composers would suddenly be VGM composers, unbeknownst to them, hundreds of years after their deaths, which is just silly.

2. The most important thing is that I dislike music with lyrics in general. Also, video game music seems to me to be more melody-driven than any other kind of music I know, and it's more diverse because it contains pretty much every possible genre.

3. Yes I do, although I wouldn't buy an unknown VGM CD haphazardly, but I'll download it, and if I like it enough, I'll get the CD.

4. About 99%, the other 1% is movie/anime and extremely occasionally something mainstream. Mainstream music tends to bore me to tears. It all sounds the same to me, and most popular singers couldn't sing to save their lives.

5. The only problem is that I have to make a rip myself or wait for someone else to do it. It's disappointing if a game with a really great soundtrack does not get an official release, but fanmade rips tend to be VERY high quality these days, so I'm not that bothered by it.
Still waiting for a Jet Force Gemini OST, though. ARE YOU LISTENING, RARE!?
I have to admit I download more than I buy, unless it's something I REALLY want, which has actually already happened 3 times this year. Mario Galaxy, SH Zero and Drammatica were all albums I bought without having to think about it, and in case of the latter two, without even having heard any of it.

6. Rock and Orchestral foremost, then Techno, Ambient and Jazz. To sum it up adequately, the best soundtracks I've acquired in a long time were Shadow the Hedgehog and Shadow of the Colossus in 2006, and Mario Galaxy Orchestral and Silent Hill Zero this year.
There is no Genre that I dislike so much I'll stay away from it, although I tend to shun faux orchestral music *glares at God of War and its ilk*
On the other hand Synthy Rock is fine. The Rockman Zero OSTs are absolutely kick-ass.

7. I don't like mainstream rock at all, and I am not aware of any of the good non-mainstream bands. Besides, in most cases these will contain lyrics, making them already a lot less interesting.
As for orchestral, most of the good old stuff is SO classic that it's being used to death everywhere you look, so I've lost my appetite for it.
As for Techno and Jazz, I will occasionally listen to mainstream versions of it.

8. Of course it is valid, whether it be from the listener's point of view or not. Music is music.
That said though, I'm not 100% comfortable mentioning it to non-gamers, because there is so much bias in this world still. I'm slightly more comfortable mentioning it here in Japan though, cos people are a bit more liberal-minded over here when it comes to things like that, but I still don't go around blabbing about it to everyone.
Sometimes I try to make someone appreciate it without them knowing its game music though

9. Well, a lot of it is live instruments nowadays isn't it? Which is a good thing if you ask me. Orchestral music has kind of become the 'easy way out' it seems though. For a lot of Western games at least.
I still enjoy chiptunes VERY much though, especially SNES music. Capcom and Konami used to make solid GOLD back in those days.

10. No, like I said, the only thing that defines VGM for me is that the music was composed for a game. It doesn't have to sound like it's coming out of a console.

11. I hate it. And I hate the games that use it. I consider this to be the most likely downfall of VGM, should that ever happen.

12. Like I said, it's kind of the easy way out, which is not a good thing, but personally, I don't think it's that much of a problem yet. I have the impression this happens much more in the West than in Japan.

13. Again, like you said, this is something that mostly happens in the West. I don't think games using movie-like storytelling is necessarily a bad thing, but it shouldn't be the norm either. And so far, I don't think this is the case anyway, so I'm fine. There's still plenty of original stuff coming out.
As for the music, I don't care much for movie-like music, but again, it's only a small portion of what's out there anyway.

14. I'm going to sound like a broken record here but again, this is mainly a problem in the West I feel, and Japan has not let me down so far.

15. Man, I get this a lot, but when you ask me about it I inevitably forget which games they are (>_<)
I guess the aforementioned God of War series is a decent example. I wouldn't be caught dead listening to it outside of the game, but the bombastic style of music really suits the game to a tee.

16. Nope, I don't.

17. I have a very low esteem of most American VGM. Japan still makes the best stuff IMHO, with Europe coming in a very decent second. Most American stuff seems to be either licensed music or uninspired orchestral music, which I don't give a damn about.
But on the European side, damn, Rare has made some absolutely fantastic stuff, especially in the N64 era (Conker, Perfect Dark, Jet Force Gemini), the Follin Brothers are brilliant (PLOK rules all), and I have a big squishy soft spot for the first Croc game as well. And some NES and SNES games by Ocean were great too (most notably Pugsley's Scavenger Hunt on SNES) So yeah, Britain kicks a lot of ass as well.
And France has made some good stuff too, mainly in the shape of Ubisoft (Rayman, Beyond Good & Evil)

18. Less bigoted people would help. Also, as Qui-Gon said, it is not all that huge here in Japan to begin with.

19.  Gives me Goosebumps. The good ones of course.

1. Music composed for use in a video game and derivative works (i.e., arranged albums), using technology ranging from simple three-voice FM synth to more realistic synthesizers and even to recordings of live musicians.

2. Same reason people listen to film scores: If it's good music, why let it go to waste?

3. Yes. A lot of VGM fans are big on the nostalgia factor, but that's never really been part of the draw for me. There's a lot of great music written for games I haven't played, and I don't want to miss out on that account.

4. I'd say about a third is VGM. Most of the rest is film or theatrical music, or older popular music. I don't like much contemporary popular music, mainly because the composition's not very good and the instrumentation is too harsh (as a general rule).

5. If there's no official album, I have no qualms about downloading rips. If the publishers don't want my money, I'm happy to keep it. I buy official albums if I really like them, but I do think the prices are too high.

6. I like orchestral, progressive rock, some jazz, and to a lesser extent regular rock, as long as it's not too hard. I don't like metal or noise-based ambient music.

7. Yes.

8. Yes, and yes.

9. One of the things I liked about older VGM was the heavy emphasis on a strong melody--with only a few simple voices, you needed to do that to make the music interesting. I think they've kind of slacked off in that department as the technology has improved. I like the better synth quality and more complex instrumentation, but I miss the stronger melody lines.

10. I still think it's unique in many ways. Some of the instruments are the same, but VGM still generally doesn't sound like mainstream music, or even like film music. I'm not quite sure why this is--I suppose it has something to do with the way it needs to integrate both thematically and logistically with the game--but I'm glad.

11. As noted above, I take a dim view of contemporary mainstream music. I'd just as soon this didn't catch on. And really, I doubt it will in most cases. Mainstream music might work in Grand Theft Auto or Tony Hawk, but it just doesn't mesh with Mario, Zelda, or Final Fantasy. Same deal with films. Yes, some films use mainstream popular music, but it doesn't work thematically or logistically with many films, and they need to commission custom music.

12. Not at all, where it's appropriate. Katamari Damacy is an example of where this worked fairly well (which is not to say that I liked all of those songs). It all depends on the game. It works for some, not so much for others.

13. Again, it depends on the context. I think cinematic-style music should work well for fixed-length cinematic cut scenes in games, but probably not so much for user-controlled segments. What may work in a three-minute scene (either in a game or a film) may not work so well when it's looped for twenty minutes straight. Also, cinematic music is often designed to play in the background while people are talking. What may be appropriate in this context may not work in the context of a gameplay segment with only occasional sound effects in the foreground.

14. The music is an important factor in my enjoyment of a game. I want it to make its presence known.

15. I'm not a big fan of the Final Fantasy VIII soundtrack in album form, but I do think it worked pretty well in-game. And I assume this is true of Silent Hill, though I've never played the game. More emphasis on solid melody-writing would have helped in that regard. Also, I think Legend of Heroes III had the opposite problem. The OST has some really great tracks, but many of them were used only briefly in-game, with the songs that got looped over and over often being fairly mediocre.

16. Yes, but this is a problem with music in general. With all the compositions floating around out there, it's hard to write something that really stands out. If I knew the solution, I'd be a famous composer.

17. American VGM generally seems to be a bit more like film and/or mainstream music. I don't know much about European VGM.

18. I don't know. I don't think it's really a matter of awareness; most people like mainstream music, which is why it's mainstream.

1. Like Amazingu said, I also consider VGM to be music that was composed for a video game, not songs that were licensed and just copied and pasted into a game. I'd also say that VGM as a whole is an amorphous collection of just about every type of music, from symphonic to techno to rock to solo piano to everything in between and outside of those genres. While chiptunes are an important part of VGM history, I would explain to people that that's not all game music is.

2. I listen to VGM on a stand-alone basis because I love it. I find that the game music I listen to has more emotion, thought and memorable qualities than just about any other music I've heard. I dislike vocals in my music and most VGM that I listen to is vocal-less, thankfully. I also dislike game music that is easily fit into patterns; oh, here's another Sakimoto soundtrack, another generic town theme, another thoughtless American game music CD with some cocky dude leading a 200 piece orchestra, etc. Although, on the other side of that coin, I would love another Mitsuda album or another crazy electronica track from Yu Miyake. I guess it all boils down to personal taste.

3. Yes.

4. About 99%. That other small percentage is me scanning the radio driving to/from work looking for songs to sing along with. I find most film music to be too scene-specific and queued for me, and Most anime soundtracks I've heard are rubbish.

5. I don't really care for listening to music not officially published on an album - there's something missing when listening to a strictly digital copy or rip of something. I always purchase albums that I am interested in, and don't download illegally as a means to acquire music. I do sample or download albums to make sure they don't suck, but once I hear what the soundtrack has to offer I delete the digital copy and make a decision. VGM is fairly expensive, though.

6. I avoid most orchestral and campy/cheesy/happy VGM, but I still try to keep an open ear just in case something comes along that I might enjoy.

7. Not really, because most albums lack that magic that VGM has.

8. I am totally confident and comfortable telling people that I listen to VGM. I'm happy with my musical choices, and believe you me - I'd rather spend my time listening to Masafumi Takada than Kelly Clarkson or Green Day or some shit like that.

9. It seems that older VGM had a more melodic focus, while newer VGM has been utilizing technology and live instruments more (for better or worse). That said, I'd rather have electronic or synthetic instruments than a live orchestra; something about a live orchestra immediately turns me off.

10. VGM should sound like what it sounds like. It's a beast that can't be defined by genre.

11. Most gamers are sheep. Not counting GTA:Vice City (which has an excellent licensed soundtrack from the 80's), licensed music in games makes my stomach turn. Although, some bands that have composed music for game soundtracks specifically, like Incubus's stuff on Halo 2 OST V.1, has turned out pretty good. I'd rather listen to silence than music that was put in a game just so people could hear the "hook" while playing Madden. Actually, I wouldn't be playing Madden to being with, so that's a moot statement.

12. No comment.

13. Personally, I don't like this, however in-game the music may work very well. I don't play many current games so I don't have much ground to comment on it other than the fact that I don't care for movie soundtracks and I don't care for most Western VGM.

14. I don't care for most soundtracks like that. Dynamic or scene-specific music doesn't do anything for me outside of the game.

15. I think Sly Cooper 3's OST fits this question very well - I remember playing and enjoying the music very much, but when I bought the CD and listened outside of the game it didn't knock my socks off. I'm warming up to Sly 3's CD, though.

16. Yes. Yes. Music would become different by people that are willing to step outside of convention and put equal amounts of passion, purpose and experimentation in their music.

17. I find that I prefer Japanese VGM because of the general attention to detail and the ability to step away from the orchestra and boring movie-style music to create something fresh and enjoyable. I'm warming up to Korean VGM, too - Granado Espada and MagnaCarta have excellent soundtracks.

18. I believe this is all related to the state of the gaming industry in both countries. Mainstream Japanese gaming culture is much different than mainstream American gaming culture. I think the US gaming industry sucks ass and I'm waiting to see it completely collapse upon itself, but that's just me. Things could get better by the industry crashing, forcing developers to utilize what small resources they have to make games based on FUN and inventiveness again instead of graphics and "realism". In other words: SUPER NINTENDO RENAISSANCE.

19. Fuckin' awesome music.

As an addendum, like I said, I don't like licensed music either, but BioShock was fantastic.
Licensed music CAN be good, if it's not too obvious.

Ah, a topic for all of us to wax poetic.  Here goes.

1.  The best music you've never heard.  "What?"  Video game music isn't just bleeps and bloops.  That s*** ended in the 90's and has come phenomenally far in the past 20 years.

2.  I listen to VGM on a stand-alone basis because the music is good.  It's appreciating a melody or song structure for what it is - music.  What I grew to love of VGM has changed since the advent of CDrom media.  Music is now streamed and isnt' relied on code fed through a synthesizer chip.  There was something about watching what a composer could do with the restrictions placed on him.  It shows a certain mastery of the medium. 

3.  Yes, but not mostly.  The soundtrack has to be really something special to grab my attention when I haven't played the game prior.  Actually dedicating yourself >70% to discovering new music is tough especially when there are so many diversions around.  When you're playing the game, you're forced to listen to the music.

4.  I'd say 1/2 and 1/2.  VGM is sometimes hard to have on a playlist just because my playlist is pretty much what's on my ipod.  I don't like having individual tracks on the ipod (must have the entire album) but when a 4-disc epic contains only 40 minutes worth of music listening to, I have a hard time justifying losing my precious space to something with that kind of ratio.  If I did put individual tracks on there, it would take too much time to properly categorize and organize everything.  I hate a mess. (side topic - there's another reason why much VGM doesn't go on my ipod - no proper artist is given.  This is especially true for the earlier stuff where it's by "CAPCOM sound team" or some other crap like that.  I know VGM wasn't where it is today, but still, the afficionados like us enjoy (read: crave) to know who did what.)

5.  It all depends on the ripper.  At one point in time I believe many of us have held their cassette tapes up to our TV's to "rip" music from a game we enjoy just so we could listen to it later.  Is this not the same thing?  In any case, if it weren't for some rippers, that music wouldn't be heard.  This is the real crime.  Over at gamingforce there is a lesser god known as dubble.  His rips are legendary.  I believe he appreciates his music as much as we do and it shows in his rips.  Everything is pristine and would sound as good as the OST if there was one.  It's people like him who do the VGM genre a service. 
     I do download music for the most part and then buy what I really like.  The last album I bought was FFVII:DOC and I believe the next one I'll buy is FFXIII.  It's just really hard to justify all the time, energy, and money that goes into importing a soundtrack.  One CD is not worth $30 (unless it's Soukaigi).

6.  Really, anything as long as it's good music.  The standard JRPG is a genre I still find myself fascinated with even after all these years.  I think it's because it's held its own for so long and stands atop the VGM pillar as far as publicity and exposure.  SHMUP is a genre that I just recently discovered, although excellent soundtracks seem to be few and far between.  There's so much that I could cover I think it's actually easier to list the stuff I would not listen to.  I find myself avoiding your standard horror/survival OST even though some swear that I'm missing out (fair enough - Silent Hill 2 was superb).  American VGM seems to belong to its own genre which is another one that I believe I'm not missing much from. 

7.  Having recently discovered Yuzo Koshir's Wangan Midnight Maximum Tune 3, I can safely say that that is the only techno album I've listened to (unless you cound the Parasite Eve remix album, which are probably two different genres altogether).  I guess the closest thing to the music I listen to would have to be stuff from Konami Kukeiha Club.  What are they, fusion rock?  There's no video game with a soundtrack akin to Soilwork or Meshuggah (drooool) that I know of, so there goes that. 

8.  Nowadays music in video games is especially poignant.  Even back in the chip-tunes era, there was a layer of melody that didn't appeal to many people except the true hardcore gamers.  With the advent of all this "retro" music using the synth chips and "I am 8bit", I'm not sure that I'm exactly happy.  Sure, now it's "cool" to be retro, but back in the day, we were all seen as geeky and introverted.  *sigh* I guess we were just ahead of our times.  VGM is just as valid, if not moreso that a good 80% of what's produced in the United States these days.  I'll second Zane's remark about Green Day.

9.  It's roughly the same music, but upon further reflection, that's a question that cannot be easily answered.  It's like asking if the soundtrack to Super Mario is the same as Super Mario Galaxy.  It is, but it isn't.  The energy is still there, but it might be a little more mature (maybe it's just the example I picked - the Atelier Iris series might be a better example of JRPG soundtracks sounding the same when compared to the SNES era stuff).

10.  I'll let Yuzo Koshiro answer this one:

Another reason why I must find this man's back library.

11.  Licensing music, for the most part, shows a bit of laziness on the developers' side.  Sure it probably appeals to the general masses who play Grand Theft Auto or Madden, but to those who crave an aural and visual experience, we're left sitting on the curb.  I don't American producers seem to think that music is an important part of video games and it shows.  What do we have to show for ourselves - Tommy Tallarico?  F*** ME.

12.  Yes, there's a problem there, but again, video games come from a company/business.  A business is there to make money.  I believe Square is one of the few companies left that gives their composers free reign (for the most part).  Look at the diverse "Another Mind", "SaGa Frontier 2", "Soukaigi" and "Final Fantasy - Crystal Chronicles".

13.  It's fine if it's done well.  While not particularly my favourite, I think this trend takes another step in video games becoming an accepted medium where music is taken seriously. 

14.  I guess the idea is to let the music help you know when something's going on, but more in the background.  You're absolutely right - when the music jumps around it makes for a very inconsistent experience for the player.  A good example of a game not doing this would be Final Fantasy XII.  There was plenty of opportunity for the music to switch once a battle began, but because it didn't there was never any going back and forth between the music.  The game flowed a little better.  Music is meant to be an intergral part of the game, and no one showed that better than a young Nobuo Uematsu. 

15.  Ooo, that's a tough one.  I guess a good example of this would be "Shadow of the Colossus."  The music worked very well in the game, but when listening to it outside, you lose the sense of urgency and drama that made the piece so epic in-game.

16.  The JRPG genre might becoming a little stale, which is why I was absolutely ecstatic (to the point of tears) when Masashi Hamauzu was announced for Final Fantasy XIII.  If anyone can bring this genre away from the brink, it'd be him.  Gust revels in similar sounding JRPG scores, but they do it right so it doesn't sound too repetitive.  Nexon is a company to watch.  The soundtrack to Maple Story was just the right amount of SNES mixed with PS1 sound quality.  Delicious.

17.  Japan >>>>>> America > Europe?  I don't believe I've heard any music from a European game, that is, unless you can count David Wise.  Donkey Kong Country 2 FTMFW.

18.  I would absoutley buy more VGM if you could walk into a store and browse through single-CD titles at $15.00 a pop.  Hopefully the soundtrack to "Blue Dragon" does well stateside.

19.  SaGa Frontier 2

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

Music composed for the express purpose of being included in a video game or music from a video game that has been arranged or remixed for an album release.

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

It's mostly instrumental, it's comprises a large variety of styles, and it's typically very melodic.  It helps set the mood and is easy to listen to while doing other things.

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

All the time.

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?

At home, I listen to 99% VGM and 1% alt rock, classical, and movie soundtracks.  In the car, I listen to 70% classical and 30% alt rock.

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 buy official stuff whenever it is available.  I would download stuff that is not officially available, but I'm too lazy to figure out how torrents and all that new-fangled gobbedly gook work.  In my day, we walked five miles in the snow in our bare feet to a rundown shop in the city to buy VGM out of the jacket of some sketchy dude with a twitchy eye.  And then we found out it was some SonMay bullshit and had to rebuy everything.

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

Like: catchy stuff.  Avoid: Boring, cinematic stuff.

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

Sure, but I don't seek it out the way I seek out VGM.  There's just too much to choose from.  It's easier with VGM since the selections are much more limited.

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 it's fully valid to listen to, because, my goodness, there are people that like Country music.  And if they can like that, then I'll be damned if I can't like VGM.  That said, I do not exactly broadcast my love of VGM when arround the normals. ;-)

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

Generally, though not always, better.  The limitations of the technology forced composers and sound programmers to be more creative to get results.

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?

Smart composition can achieve this.

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?

Depends on the game.  I think it's perfectly appropriate to have licensed music in sports, racing, and music games.

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?

If it's enjoyable, why should it be a problem?

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?

If the game is truly cinematic and has a complete soundscape, then I have no problem with that.  If it is not, then I want my looping tunes back.

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?

Again, this depends on the type of game and how well it is executed.  As long as it doesn't get too quiet and boring, I'm ok with it.  That said, when the music does kick in, it better be great stuff.

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?

Mostly cinematic scores.  These tend to work better when they accompany visuals but aren't very listenable on their own since they're so far out of context.

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?

The music has been changing enough over the years for my tastes.  I have no problem with a slow evolution.

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 composers are much better with melodic works while Americans seems to be better with cinematic works.  I haven't heard enough European VGM composers to really comment on them.

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?

Pricing must be cheap.  No more than $10 for a full album or there's no chance of success in the U.S.

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

Beauty, Power, Fun

1. It's music put in a game. Depending on the era and the technology, it may sound just like a film score or your favorite pop/rock band ... or it may sound like something you've never heard before, which is FM synthesizers, chip tunes, etcetc...

2. My love of VGM started with the nostalgia of the game itself. Stand-alone, I began to realize that I liked the styles, I'd never heard it elsewhere. The vast majority of VGM I like comes from Japan, and the Japanese composers were doing something special. They still are.

3. Yes. All the time.

4. Hmm...depends on my environment. I almost always listen to VGM while at my computer, while I almost always listen to non-VGM when driving in my car (these are the two times I listen to music, generally). My non-VGM selection is mostly alternative pop-rock kind of stuff. In my car now I have the Velvet Teen, Live, Eisley, Mae, and Mr. J Medeiros (some hip-hop). But as for a "playlist" size, I'd say VGM is 70% of what I have.

5. As a collector, I don't generally do "doujin" or "fan" albums, nor do I like gamerips. I like official soundtracks released by the publisher. Don't ask why...it's just a weird habit. I do download some music, but I try to keep a healthy collection of purchased materials on hand. The market has gotten better, but Japan's electronic goods always will have a higher retail than in the US. So it's just a pain for us importers.

6. I like anything. Well, almost anything. The sort of fake, crappy J-rap (in bad Engrish) that's come about in "The World Ends With You" and, to a lesser extent, Persona 3, pisses me off to no end. I love OSTs, arranges, vocal albums, the whole lot.

7. Well ... a lot of the neo-classical orchestra found in VGM arrangements I cherish. But I don't listen to a lot of non-VGM orchestra. Why? I'd rather hear it live. Recordings don't suit the experience.

8. Of course it's just as valid for the listener, and of course I'm comfortable talking about VGM to non-gamers. I generally spend my time breaking down their, to use the word, "childish" stereotypes.

9. I argued it myself almost a decade ago in an editorial I wrote for RPGFan ... and then Yuzo Koshiro said much the same thing in an interview we did with him recently. The limitations of the chiptunes forced the composer to focus on melody and harmony alone. The actual content of the composition mattered most, and I think some of the BEST music ever written was on the 3-channel Game Boy synth. The music in Final Fantasy Adventure and the three original "SaGa" titles are fantastic. It shows, too, when the FF Adventure music received an orchestral arrangement: it was fantastic! Nowadays, many composers can "fall back on" the tricks of the trade. No doubt it is harder to compose when you AREN'T limited, but this has led to a lot of mediocre music in turn.

10. "Should" it sound different? That's a silly question. In many places, and in many cases, it doesn't sound different, and that's fine. If the game's creators want a film score, they can have it. This question sounds like, "what makes contemporary Christian music different from mainstream music?" Lyrics are the only thing...musically, it's the same. Now that there is no technological limitation, the only way to make VGM sound "distinct" is to use the old stand-by VGM stuff...minute-long looped music, and synthesizers.

11. Licensed soundtracks should only be in casual games and sports games. They have no place in any game that dares to elevate itself to the level of "art." I'm fine with licensed music being in Tony Hawk, GTA, and any EA sports title. The moment licensed music starts taking over Mega Man or Dragon Quest, you can count me out.

12. No problems here. I mean, they probably asked Michiko Naruke to go for a spaghetti western sound, and then she created "Into the Wilderness," one of the greatest songs in the history of VGM.

13. I suspect there's a lot of laziness and ignorance behind the Western VGM scene. It is all very typical orchestral stuff. Of course, even within an orchestral setting there is PLENTY of room in which to branch out. Jeremy Soule and his ilk do a great job with this. But there is no Western equivalent to what we see from Sakuraba, Sakimoto, and the other Japanese composers. If Western VGM goes fully the way of film score, I don't mind.

14. I think the counter-examples ought to be a wake up call to these game producers. Plenty of VGM, particularly from Japan (though plenty of Western games have done it too), will use strong melodic themes at all points in the game. News flash: it works, people love it. There's a reason why Mario and Zelda have memorable themes: we heard them SO DAMN MUCH while we played the game. And we don't love the music, or the game, any less for it.

15. The penultimate example here, I think, is Final Fantasy XII. I was not impressed with the OST release, but the music fit the world and environment so well that I found myself loving it in that moment. A very practical thing that could have been done for VGM fans would be to release the FFXII OST in two volumes, and loop the songs longer. You need time to let them grow on you (though there is the worry that it might bore you). I found nothing tonal, or melodic, in my many listens of the OST at first. Then, after playing the game, I quickly learned the music, and was able to spot very distinct melodic patterns.

16. I don't know how to answer this question. I think there is plenty of diversity in VGM...

17. Big differences in each region. Japanese VGM is my favorite, European being a distinct second, and America generally falling to the far lower regions of my favorites. We should also consider "pan-Asian" VGM ... that which comes from Korea and China, mostly. They have distinctive differences from Japanese VGM, though the three share a love of traditional VGM synth chiptune-like stuff.

European VGM is extremely refreshing for me, because (like European pop music) they're not afraid to delve DEEP into electronica, yet they're also fond of ambient orchestral music, like the American composers. It's like a film score on crack. I love it.

18. Things are getting better in the West, particularly thanks to downloadable music services like iTunes. As for actual CD releases...we generally only see this with the PC gaming market, where the West has always done better than Japan. And I'm fine with that. I don't think the West wants to "get better" in this matter. There is a strong influx of Japanese VGM always being released, and some of it (frankly) isn't worth anyone's attention.

19. Power. Courage. Wisdom.

Ramza

I thought my answer to number 19 was the best answer possible. But then I read yours.

1. Music composed for videogames, like everyone else said.  It'd also be good to add that the music itself covers all genres, like Zane mentioned.

2. I like the context connection.  I like the fact that the music is briefly (but potently) developed.  What do I dislike about VGM?  Nothing, really.

3. Yes, but I reserve final judgment on a game score until I've heard in it context.  Judging a game score without having played the game is to judge when having seen only half of the picture.

4. The great majority.  Outside of VGM I listen to film score stuff sometimes.  I rarely listen to mainstream music.  Why?  Because it's not *my* music, with a few exceptions (Salsa and 80's music are the main exceptions).  You listen to the stuff that means the most to you on a personal level, and mainstream music is rarely that for me.

5. If it wasn't published as an official album, I don't see anything illegitimate about a gamerip that is solely used for personal pleasure.  I have most of the official albums that I want, and so any downloading often happens with individual tracks that I like from other scores.  Are official albums adequately priced?  Heck no.  That's why I try to get them secondhand and why I'd have a hard time condeming someone for downloading music from a rare/super expensive album.

6. I like classical and techno. (are those supposed to be opposed?)  I love it when an electric style or sound and classical style or sound blend together to create something unique.  One might say that VGM has long been defined by that synthesis.  I don't avoid anything in particular but I admit I've developed a distaste for Mitsuda's naturish/celtic style.  It's just so...obvious.  It's like bubblegum or cotton candy...  A quick burst of sweetness and then you get a little sick of it.

7. I probably like classical more in the VGM sense than in the traditional sense.  I'll just say that the score aspect gives it more flavor, which goes for film score classical music as well.  As for techno, I don't really listen to it in non-game music, but I don't think I'm opposed to the idea.  I think that Conker's Bad Fur Day's Rock Solid sounds like a non-VGM techno song and I like it.  I just like music that 'builds up' to something.

8. I do think that VGM is as valid as any other music.  Music is art.  Its ultimate value is in how one enjoys it.  Am I fully comfortable about mentioning it to someone who isn't a VGM fan?  Definitely not.   VGM is still extremely niche simply because of the reputation you speak of.  There would need some trust there before I'd talk about it with someone who isn't a fan.

9. I would say that modern material has greater potential but that it often fails to reach it.  Chiptunes on the other hand had a knack for exceeding technical limitation.  Composers had to make the most out of what they had and the feeling that I get sometimes about modern material is that composers are content to create something derivative of film music or something else.  Basically, they rely on sound quality to create a decent soundscape and don't put too much effort into making the compositions themselves into something unique.  If you're asking which I would consider 'superior', I'd say neither, though I personally favor the 16-bit and 32-bit eras over all others.  The reasons are that the 16-bit era had a transcendent quality while the 32-bit era had that 'first time experience' element to its CD quality music while at the same time not abandoning its VGM roots.  I think the 128-bit era was actually inferior to past gaming eras in terms of VGM, but not because it was a foregone conclusion.  It just seems like not everyone is trying very hard and that perhaps a lot of the creativity that composers had in the past has been used up.  Some fresh blood might help.

10. Someone else said that smart composition is the key.  I agree.  Composition has defined VGM more than sound, even though sound has always been a part of it.  VGM is unique for its focus and brevity.  It's music that is to the point and that is designed to be heard over and over again.  But as for a unique sound being achieved nowadays, one need only look to scores like Breath of Fire V and Phantom Brave.

11. Licensed music generally sucks.  I don't mind a licensed song or two being used as a theme where it's appropriate (see Fallout 1 and 2), but I am absolutely opposed to replacing the entirety of a game score with licensed music.  I'm big on artistic integrity and slapping on licensed music tends to be an approach that is devoid of that.

12. I haven't really played/heard Eternal Sonata, so I don't know.

13. I'm against any mimicking.  I have no problem with an orchestral sound, however.  I just want the composition to have a unique style to it, like the way that Sakimoto's does.  As for whether or not it should be exactly like film music, I don't really think that it can.  It can try to adapt the same values, but in the end it'll be VGM because of the way that it has to function as such.

14. I think that the best game soundtracks can take both styles and mesh them into one. (DKC2 ftw)  That being said, I don't mind some of the more ambient scores, even if it means that they're less memorable.  It just means that I probably won't be listening to them on their own.  Here's hoping that not every score becomes adaptive, but it's just a natural result of games becoming more movie-like.  No longer is the burden of storytelling placed so much on music.  We have things like voice-acting to do that now.  As a result, the music sometimes falls into the background.  This can be a good or a bad thing depending on how its handled.  The best way to handle it?  I'm not sure.  I just go case by case.

15. It seems like a number of ambient-styled or so-called 'orchestral droning' scores might fit into that category.  From a gamer point of view, it doesn't really bother me.  From a VGM fan view, I'm not entirely sure what could've been done to make them more listenable in the casual sense without sacrificing the in-context effectiveness.  Also, Final Fantasy VII seems to be a popular example of this.  I'm not sure what could've been done to improve that one.  Maybe it was just a sound quality issue, though it wasn't all that creative compositionally either.

16. Nah.  The music has always sounded similar to itself in some respects.  Just that now it sounds similar to film score music as well, which perhaps has some people flipping out.  It's not like PC games haven't always been around.

17. I noticed that American tends to favor orchestral, European tends to favor techno, and Japanase tends to encompass both of those and then some.  Since the approach to music tends to be defined by what kind of music a composer was exposed to, I'm not sure that the disparity can be eliminated.  Japan has somehow taken all other cultures into its own.  Maybe it has something to do with American influence after WWII.  It's only now perhaps that we in the west are starting to meld western and eastern ideas, what with the popularity of anime here.

18. The problem with VGM in the west is that it has film score envy.  In order for VGM in the west to get better, it has to start taking itself less seriously.  Not in terms of effort or artistry, but in terms of doing away with the narrow view that orchestral is the only 'respectable' way to go.  I point to Dave Wise and the other Rareware crew guys as a shining example of the good things that can happen when you're willing to be a little more playful.  Things need not always be so serious in the Jeremy Soule style.

19. Final Fantasy VI (take that you Saga Frontier 2 guy!)

Seriously though:

Charm, Spirit, Imagination

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

It's more than just bleeps and bloops, and more than just Pac-Man.  It's full blown music which can appeal to anyone, anytime, anywhere.

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 game music on a stand alone basis because I like the emotional attachment I have from playing the game I'm listening to the music of.  If I haven't played the game, I like listening to it on a purely instinctual/gut feeling of whether or not I like the music.

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

See #2.

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 VGM represents about a 30% on my playlist.  I work at a modern rock radio station so I'm usually listening to the music all day at work.  It's a good thing I like the genre!  Right now Muse - Starlight is my most favorite song.  I like most genres but not so big on the rap or country music.

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 buy the albums I really want.  If music from a game is unreleased in album form I will usually dload it.  Someone out there usually will put it up.  I think most Japanese CD's are a bit overpriced, but I buy them anyways. 

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

I like music from games I like so that could mean anything.  I usually avoid music that makes me go ugh.  That could be anything either.  I'm a very open minded person when it comes to music.

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 would listen to it.

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 do think music is music whether it's VGM or not.  I do get a couple funny looks if I do play it at work, but I don't really care.  Once when playing some tracks from Super Mario Galaxy, a coworker said "I feel like I'm a hero!"  haha.

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

I think stuff from the past was more memorable because I was a kid and that stuff impresses on you.  Modern material has become more cinematic and less melodical and less impressionable in my opinion (with some notable exceptions with games like Space Channel 5 and Katamari Damacy) but I think that was just the natural evolution of things.  My most favorite battle themes of all time are still from the SNES versions of Final Fantasy IV.

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 whatever the director or makers of videogames should use whatever their vision is for the game.  It's not our place to say that VGM should remain chained to the past IMO.

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?

Whatever floats your boat.  Again it's not my place to impose my ideals on your personal preferences.

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?

If it's what the producer wants, that's what the producer gets.  That's why they're the producer.  What will be telling is the comments and sales figures they get once the game is out.

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 think it depends on the game.  Again if that's what the maker wants that's what the maker gets.  If we have a problem with it, well either we just don't buy the game or we should make our own game then =p

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 don't really care either way.

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?

Most game soundtracks I listen to where I haven't played the game gives me less of an enjoyable experience.

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've not really listened to a lot music for video games created outside of Japan so I can't really answer this question.

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 suppose more video game music could be released, but with "gamer culture" regarded the way it is over here the situation won't be changing anytime soon.

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

Final Fantasy IV! lol

Thanks!  I was particularly proud of that one, although yours sounds more epic.

Amen brother.  Amen.

*gasp!!* 

Pfft.  I saw what he did there.  His answer is simply stating the three different aspects of the Triforce, when you think about it.  So it's epic in a Zelda-ish way. ^_~

I've been told by a number of people that Sakimoto's music is easier to absorb when you've played the games that his music accompanies.  I guess it's true then.  I don't agree with most of the ultimately 'ho hum' reviews I've read though.  They're so reluctant to say that it's good without adding a boatload of caveats.  Whatever the effects of it being the first Sakimoto score of great volume, there's so much good music in there, and it definitely works well in the game despite the audio compression.  It's not melodic Uematsu or celtic Mitsuda, but does it have to be *in order to be regarded at around the same quality as the popular FF scores*?  I sure hope not.  Maybe in time we'll see more fans surface like they did for the FFVIII and FFIX scores.

Btw, I'm also hoping for something good from Hamauzu and FFXIII.  I don't like him quite as much as I like Sakimoto, but I recognize the potential of his style.  I do possess the SaGa Frontier II, Chocobo's Mysterious Dungeon, FFX (he was so clearly the best composer on this one), and Unlimited Saga soundtracks after all.