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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.
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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.