Side Note: Noriyuki Asakura, the composer for Rurouni Kenshin, did a wonderful job for Tenchu and Way of the Samurai. It's a shame that Sekiro didn't reach that level with its music, although it wasn't too bad.
Meh, Gregson-Williams was the marquee Hollywood name, but for me Norihiko Hibino and his team is the absolute heart of the soundtrack, the jazz, jungle/breakbeat mixed with the orchestral elements is just wonderful. The VR/Alternative missions music was awesome too.
Absolutely. Harry Gregson-Williams added the Hollywood-style epicness for the cutscenes, but Hibino is the MVP for that atmospheric, jazzy breakbeat stuff that plays throughout most of the gameplay. It's so fitting, and IMO it's the perfect soundtrack.
some of my fav game scores from the past decade are bayo 2 witcher 3 bloodborne doom 2016 P5 celeste sekiro death stranding doom eternal ghost of tsushima cyberperpunk 2077 ff7 remake ff16 ff7 rebirth helldiver2
I think I can tell more games that have impacted me sound track wise than older games, for an example (TL:DR : Recent JRPGs has great themes/composition, but the video itself makes a great point) Metaphor Re:Fantazio has a phenomenal sound track and memorable moments ( Honestly Atlus games always comes with great OST ) Fire Emblem Engage etched the sound track, the final boss theme is a clever homage to the older days, starting as a 8-bit and evolving into a more epic battle theme Persona games also carries bangers, but as a counter point it seems you don't play JRPGs and i barely know any Indie games that have a great sound track, but it's a point that MGS2 did open the door's to lackluster themes that just feels action-esque enough to fit, there are also other games with great bangers ( imo Devil May Cry you buy a soundtrack and get a game )
I feel like if this is 100% how you feel about the big games, you need to broaden your horizons. Final fantasy is still bringing out banger after banger, like punk rock in "give it all" for a gladiatoral battle, "the final day" for a bombastic compilation song for a final boss battle, or "airbuster" for a modernized hard rock of a classic. Then there's guiltu gear, a metal.album seties that comes with free fighting games. "Extras" for death metal pop hybrid, the list is endless the moment you move away from activision or ubisoft. Hell, we're.getting actual opera in genshin impact, not mention all the other amazing music from other gacha games. Just have a look at marco meatball or other modern game music channels to get flooded with thousands of modern classics.
@@Al-ji4gd I mean, if you don't like big, then how about smooth rock? "Flow Together" is that for a mini-boss theme. Or how about "Kaine: Final Fantasy Version" for a ballad as a final boss theme. Then there's "We All Lift Together" for a recreation of actual work music, Mizutsune theme for traditional Japanese with a modern twist as a battle theme, "The Only Thing They Fear Is You", "Never Fade Away", "Sins of a Father", "Internet Yamero", "Everybody Falls", or pretty much any popular JRPG or visual novel.
I personally think your interpretation of the impact of mgs2's ost is completely wrong and your analysis completely lacks any depth. MGS 2 was all about subversion, and thus the "cinematic" nature was actually highlight its true theme of metacommentary. Visually, it was the contrast of snake/raiden. Atmospherically it was tanker/arsenal's guts. However, what gave the players the most amount of contrast but at the same time cohesion throughout the game was mostly music from "the other side" part of mgs 2 from which virtually nothing is composed by Williams. Kojima's true intentions were punched into our ears with themes like 'arsenal's guts,' 'father and son.' Williams bombasitic main song (and even the choice to only credit him for the soundtrack other than a possible term Williamss required) are all just tiny charicatures of the 'bombastic' 'epic' and expectations of mgs 1 which was to be completely degraded and thrown out the game into a thoughtfull meta commentary as the narrative progressed. This was the most disapoiting analysis video I have ever seen about a mgs game. I am not a youtuber/analysis person. I only played the games. even a laymen like me is able to deduce such. I personally think you had better do a more thorough analysis.
Side Note: Noriyuki Asakura, the composer for Rurouni Kenshin, did a wonderful job for Tenchu and Way of the Samurai. It's a shame that Sekiro didn't reach that level with its music, although it wasn't too bad.
Meh, Gregson-Williams was the marquee Hollywood name, but for me Norihiko Hibino and his team is the absolute heart of the soundtrack, the jazz, jungle/breakbeat mixed with the orchestral elements is just wonderful. The VR/Alternative missions music was awesome too.
Absolutely. Harry Gregson-Williams added the Hollywood-style epicness for the cutscenes, but Hibino is the MVP for that atmospheric, jazzy breakbeat stuff that plays throughout most of the gameplay. It's so fitting, and IMO it's the perfect soundtrack.
some of my fav game scores from the past decade are
bayo 2
witcher 3
bloodborne
doom 2016
P5
celeste
sekiro
death stranding
doom eternal
ghost of tsushima
cyberperpunk 2077
ff7 remake
ff16
ff7 rebirth
helldiver2
does death stranding evenhave an ost tho????
@@dead_yoda yes lmfao. Ludwig forsell did it (the composer of MGS V)
@@Z-Mikes00 mgsv has like 1 track in the ost
@@dead_yoda ...
What about the nier franchise?
Really underated video
I think I can tell more games that have impacted me sound track wise than older games, for an example
(TL:DR : Recent JRPGs has great themes/composition, but the video itself makes a great point)
Metaphor Re:Fantazio has a phenomenal sound track and memorable moments ( Honestly Atlus games always comes with great OST )
Fire Emblem Engage etched the sound track, the final boss theme is a clever homage to the older days, starting as a 8-bit and evolving into a more epic battle theme
Persona games also carries bangers, but as a counter point it seems you don't play JRPGs and i barely know any Indie games that have a great sound track, but it's a point that MGS2 did open the door's to lackluster themes that just feels action-esque enough to fit, there are also other games with great bangers ( imo Devil May Cry you buy a soundtrack and get a game )
Furi, Pizza Tower, Hotline Miami are indies which have good music.
I feel like if this is 100% how you feel about the big games, you need to broaden your horizons. Final fantasy is still bringing out banger after banger, like punk rock in "give it all" for a gladiatoral battle, "the final day" for a bombastic compilation song for a final boss battle, or "airbuster" for a modernized hard rock of a classic.
Then there's guiltu gear, a metal.album seties that comes with free fighting games. "Extras" for death metal pop hybrid, the list is endless the moment you move away from activision or ubisoft.
Hell, we're.getting actual opera in genshin impact, not mention all the other amazing music from other gacha games.
Just have a look at marco meatball or other modern game music channels to get flooded with thousands of modern classics.
Heard most of that, doesn't do much for me. Loud, bombastic doesn't mean it's great.
@@Al-ji4gd I mean, if you don't like big, then how about smooth rock? "Flow Together" is that for a mini-boss theme. Or how about "Kaine: Final Fantasy Version" for a ballad as a final boss theme. Then there's "We All Lift Together" for a recreation of actual work music, Mizutsune theme for traditional Japanese with a modern twist as a battle theme, "The Only Thing They Fear Is You", "Never Fade Away", "Sins of a Father", "Internet Yamero", "Everybody Falls", or pretty much any popular JRPG or visual novel.
I personally think your interpretation of the impact of mgs2's ost is completely wrong and your analysis completely lacks any depth. MGS 2 was all about subversion, and thus the "cinematic" nature was actually highlight its true theme of metacommentary. Visually, it was the contrast of snake/raiden. Atmospherically it was tanker/arsenal's guts. However, what gave the players the most amount of contrast but at the same time cohesion throughout the game was mostly music from "the other side" part of mgs 2 from which virtually nothing is composed by Williams. Kojima's true intentions were punched into our ears with themes like 'arsenal's guts,' 'father and son.' Williams bombasitic main song (and even the choice to only credit him for the soundtrack other than a possible term Williamss required) are all just tiny charicatures of the 'bombastic' 'epic' and expectations of mgs 1 which was to be completely degraded and thrown out the game into a thoughtfull meta commentary as the narrative progressed.
This was the most disapoiting analysis video I have ever seen about a mgs game. I am not a youtuber/analysis person. I only played the games. even a laymen like me is able to deduce such. I personally think you had better do a more thorough analysis.
All the best music these days is in JRPGs, Persona/SMT games, Xenoblade Chronicles, Octopath Traveler, etc