Radical Dream

Tinha marcado de falar da belíssima arte nos video games mas achei um texto no youtube de um japonês que exprime quase tudo o que eu quis dizer. Ouça, leia, veja, sinta. É do nosso mundo, e não uma fantasia que se perde.



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Owain Bennalack -
"It's evidence that gaming still occupies a cultural ghetto that Shigeru Miyamoto isn't a household name."

If you know anything about videogame music, you know who Nobuo Uematsu is, and consequently, how every other videogame composer lives under the shadow of his legacy. And that's assuming (probably incorrectly) that you're even aware of this esoteric art form, or even that it is one.

The amazing soundtracks that augment the artistic experience of all legendary videogames are wholly unrecognized as credible music just about everywhere and anywhere one can go outside of Japan. The colossal veil of ignorance shrouding the musical brilliance of the genre nods largely to the disgustingly negative connotation its name carries. Videogame music. Ugh. The title itself isn't a bad one, but any potential awareness the general public can muster is hindered by this fierce prejudicial mentality they've erected, registering and thusly stereotyping all videogame music to be characteristic of the computerized blips reminiscent of oldschool games like Frogger. They remain completely oblivious to the full-scale instrumental repertoires responsible for winning over the hearts of the fans of Final Fantasy and Castlevania. That's the initial reason, at least. Videogame music hasn't been like that since forever, but it feels like that initial ignorance has taken foothold and stemmed over to this generation. Videogame music is much more than just music; it's the keystone upon which the level of escapism a game can offer is dependent on.

You'll invariably find that the most legendary games have legendary soundtracks- the mutual compliment is a beautiful sight to behold. Needless to say, it's absolutely crucial that the respective composers responsible for lifting their videogame's experience to such a height have the compositional talent of a 21st century genius. Lamentably, this currently esoteric form of art is not, and at this rate, will not, be appreciated to its full global deserving. Let's not kid each other here, Motoi Sakuraba, Yasunori Mitsuda, and Nobuo Uematsu have written some of the most brilliant pieces of music to ever grace musical history. I can't confine their skill by comparatively speaking in the frame of the past couple decades, which has given birth to the genesis of videogame music. Sakuraba is my Beethoven, Mitsuda my Bach, Uematsu my Mozart.

With this level of unpopularity, dating back mere decades is more than sufficient lack of exposure for these jewels to be buried to the mere sands of time. That videogame music which predates our generation is sitting treasure waiting to be discovered. I, and anyone and everyone else whom shares a common fire for beautiful music, am trying to keep this amazing music alive, by touching your hearts.

The situation as of now: Nobody gives a left nut who Motoi Sakuraba is. White weaboo girls (and the infrequent yet recurring black-weaboo) probably have the highest perception of Japanese culture, which is quite sad because their perception is altogether defined by looking at pictures of transgendered fags like Miyavi and other visual kei artists to satisfy their strangely fostered sense of bisexuality. They remain the predominant medium of "cultured" Americans regarding Japan's cultural domestics.
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