GAME JOBS
Contents
Staying In Tune: Richard Jacques On Game Music's Past, Present, And Future
 
 
Printer-Friendly VersionPrinter-Friendly Version
 
Latest Jobs
spacer View All     Post a Job     RSS spacer
 
June 7, 2013
 
Sledgehammer Games / Activision
Level Designer (Temporary)
 
High Moon / Activision
Senior Environment Artist
 
LeapFrog
Associate Producer
 
EA - Austin
Producer
 
Zindagi Games
Senior/Lead Online Multiplayer
 
Off Base Productions
Senior Front End Software Engineer
spacer
Latest Blogs
spacer View All     Post     RSS spacer
 
June 7, 2013
 
Tenets of Videodreams, Part 3: Musicality
 
Post Mortem: Minecraft Oakland
 
Free to Play: A Call for Games Lacking Challenge [1]
 
Cracking the Touchscreen Code [3]
 
10 Business Law and Tax Law Steps to Improve the Chance of Crowdfunding Success
spacer
About
spacer Editor-In-Chief:
Kris Graft
Blog Director:
Christian Nutt
Senior Contributing Editor:
Brandon Sheffield
News Editors:
Mike Rose, Kris Ligman
Editors-At-Large:
Leigh Alexander, Chris Morris
Advertising:
Jennifer Sulik
Recruitment:
Gina Gross
Education:
Gillian Crowley
 
Contact Gamasutra
 
Report a Problem
 
Submit News
 
Comment Guidelines
 
Blogging Guidelines
Sponsor
Features
  Staying In Tune: Richard Jacques On Game Music's Past, Present, And Future
by Brandon Sheffield [Audio, Interview, Console/PC]
2 comments Share on Twitter Share on Facebook RSS
 
 
June 16, 2008 Article Start Previous Page 8 of 10 Next
 

So if you did manage to do that, it might be rather nice.

RJ: I'll see what I can do. I'd definitely love to do it. Part of the problem is that a lot of composers now who work in the games industry -- especially the orchestral composers -- to be frank, they don't really play games. They don't. That goes back to one thing we talked about earlier, about film composers and stuff. They've never played PaRappa, so they don't know that interaction, that kind of magical balance between gameplay and music.



And I kind of really, totally get that. I've worked on all this stuff. When I was able to work with just a couple of guys, I can't do artwork, and I can't do coding, but I'm sure me and maybe my girlfriend could come up with some pretty hot ideas, because we know the kind of things that are fun and make great gameplay. And you make a great point about being very composer-driven -- the music drives the game design and how it shapes together.

Yeah. The only other example I can think of is...you know Yuzo Koshiro?

RJ: Yeah.

With his company, Ancient. He just happens to be a composer, also. It's only composer-driven by happenstance.

RJ: Yeah. (laughter) One funny story is that when I went to Tokyo once, I went to see Mizuguchi-san's team, and they were just starting out on Rez. A lot of people in reviews -- it's just now being rereleased on Xbox Live and stuff -- they're saying "It reminds me a little bit of Panzer Dragoon," but what they don't realize is that they were actually using the Panzer Dragoon engine while they were building it. The first time I saw it, the music was awesome, but it had a really bad texture and a few rocks coming towards you, and that was it. But I totally got the game immediately, because the music was so well-done.

There was an early tech demo, when it was called K Project, which was extremely confusing to people...

RJ: Yeah. K Project, yeah.

And they used some of the music from Panzer Dragoon Zwei, I think, in the trailer, so that even further confused people. It's like, "Aah! What? What's happening?"

RJ: Yeah, I've had a lot of fun rediscovering that on Xbox Live recently. I think it's a terrific game. And I was a huge fan of PaRappa. That was a stroke of genius. And Space Channel 5 and those type of games.


Sony's PaRappa the Rapper

And the downloadable games, too.

RJ: Yeah. I think that's a good thing, because that's what makes video games fun. I was having a conversation with someone the other day. It's like... a lot of the games that are out now, they're not fun. I don't think they're fun. I mean, people enjoy playing them. They get enjoyment out of them.

But if I want to run around... a lot of them are simulating real life too much, in my opinion, whereas something like Super Mario Galaxy, you can't do that in real life. I can't play tennis against Ulala from Space Channel 5. That's what, to me, video games are fun. That is the real reason. I want to do something really crazy and really stupid and really fun and silly.

 
Article Start Previous Page 8 of 10 Next
 
Top Stories

image
Gearbox's Randy Pitchford on games and gun violence
image
How Kinect's brute force strategy could make Xbox One a success
image
Microsoft's official stance on used games for Xbox One
image
Keeping the simulation dream alive
Comments

John Barnstorm
profile image
Oddly enough, one of the last things I wrote mocked Richard Jacques for his faux-licensed soundtrack to Metropolis Street Racer, which crossed the line from campy into brain melting. It featured original work billed as by fictional stars, but sung by studio artists, parodying (I guess?) genres popular in the three cities. An interesting idea, but it didn't quite work.



One of the best examples of an interactive soundtrack that still retains a good theme is Mercenaries. Yeah, it's very John Williamsesque, but the theme has so many different versions, wehther a wistful, sad one, or a booming, stirring version during the big firefights, it was one of the more moving soundtracks for me in recent memory. That said, Mass Effect's Vangelis style one was excellent. I didn't know Jacques worked on it.

Yannick Boucher
profile image
I have to strongly disagree with that comment, I think MSR's soundtrack was marvelous; Jacques managed to nail it spot on for EACH style, a feat that not many musicians can accomplish. And that's one of his strengths, his incredible versatility. I loved what he did in Sonic R, JSRF, MSR, and most importantly, the classic Headhunter soundtrack... :) (shame about Redemption's gameplay and story, though... :( )


none
 
Comment:
 




UBM Tech