Video Game Orchestra Founder Talks About Live Music And Songwriting For Final Fantasy – Feature
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When I was younger and more full of bad decisions than now, I used to go to concerts and see rock bands sweatily beating across the stage in smoky bars. Today, I prefer to sit in a concert hall and close my eyes while a group of talented orchestral musicians play an elegant version of the Skyrim soundtrack (which I did, at the London Palladium in 2016).
But I don’t necessarily have to choose, and neither do you: the Video game orchestra has a rock band and an orchestra, which makes video game soundtrack covers great. As part of our Nintendo Life Video Game Music Festival, we’ve been talking to many songwriters, from Darren Korb to Lena Raine, and today we’re talking to musician, songwriter, and director Shota Nakama.
As the founder of VGO (in addition to organizing, performing and directing many of the songs), Nakama has a deep love for video game music, but that’s not all: he has also worked on creating new video game music, too, for games like Final Fantasy XV and Lightning Returns: Final Fantasy XIII.
Read on to learn about Nakama’s history with music, the highlights of his career, and why live music keeps video game soundtracks alive …
Nintendo Life: First of all, can you tell us about your experience and what you are doing today?
My name is Shota Nakama. I am from a small island called Okinawa, Japan, and I have been in the United States for about 20 years following my musical journey. I run my music production company soundtrec and a concert project called Video Game Orchestra. I have worked on numerous video game soundtracks, as well as anime and movies. Some of the great titles to my credit are Final Fantasy XV, No Straight Roads, the God Eater series and many others. I’ve also been involved in some cool online concert projects like the Sonic 30th Anniversary Concert and the Marvel Future Revolution World Orchestra.
When you were a kid, what video game music suited you the most and why?
I must say that I grew up in the golden age of video games, from the late 80s to the mid 90s in Japan, and was fortunate to witness the gradual evolution of the Famicom, Super Famicom, and cartridgeless consoles. I spent a lot of time playing games back then. Some of the music may be in my genes right now. The one I can remember the most is the opening fanfare of the Dragon Quest series because I probably played that series more than any other game.
Of all the opportunities you’ve had in video games, which one left you the most dazzled?
When I saw 16-bit power, the first time I played Super Mario World on Super Nintendo. The graphics and music were way beyond that. The industry has surely come a long way since then.
When it comes to organizing music for the VGO, do you assume your audience already knows a little about games when choosing tracks? How does that change the tracks you choose?
What VGO does is quite specific: we have a rock band and an orchestra. That also influences our choices. I usually listen to a lot of clues that people suggest and find out what might work with our format. Once it clicks in my head, I go ahead and start sketching the arrangements.
How do you think live performances can add a new dimension to video game soundtracks?
I think live concerts are the best way to really enjoy the soundtracks of your favorite video games. This is how music was always played before recording devices were invented. The excitement and joy that you can get from being in concerts is irreplaceable and should be a huge part of the video game music industry.
You went to college to study music and mentioned in other interviews that video game music wasn’t really academically recognized at the time. Do you think that has changed, and are academics taking VGM more seriously these days?
It has definitely changed. There are some schools that offer interactive media composition classes, which were practically non-existent only about 10 years ago. I am happy to see people entering the industry with a lot of education. That helps raise the bar across the industry.
Has the pandemic affected your work with orchestras?
Yes, for concert work. No, for production work. Obviously, the world has had a break for big reunion events, and concerts were no exception. However, the production side didn’t really stop. TV shows, anime, games and all the media never stopped coming out. We kept getting all the soundtracks to work because of that.
What music do you usually listen to in your free time?
Many music workers can agree: I don’t listen to anything during my free time unless I want to study certain music. Your ears get tired as do your muscles and your brain. All intense and critical listening activities require sufficient rest. Silence is gold.
What composers and / or musicians would you love to work with next?
I would love to work with more rock and metal musicians that I have always admired. A few years ago, I got to work with the legendary artist and guitarist Jason becker. It was so surreal because I’ve been his huge fan for years. Working with your idols inspires you to be more creative and makes you better.
What is a recent video game that blew your mind with its music?
Our concert stream has been so continuous, and I haven’t played any games for months … I should feel guilty about this. Ask me again next month! I promise I will have an answer then.
If you want to check out the extensive catalog of Video Game Orchestra’s live performances, you can go to their website, or your YouTube channel, or your Spotify page. Thanks to Shota Nakama for speaking with us and for the irresistible opportunity to listen to the VGO catalog for the rest of the day.
Don’t forget to take a look at our other VGMFest features, we’ll have many more in the coming weeks too!
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