Still life


One dis­tinc­tive el­e­ment of Ueda’s most re­cent games is their sparse sound­tracks, which fo­cus on at­mo­spheric en­vi­ron­men­tal noises and only spo­rad­i­cally em­ploy mu­sic. But he’s sur­prised at how much fo­cus is placed on this. “I of­ten get the com­ment that my games have lit­tle mu­sic and a lot of quiet­ness, but that’s not how I feel about them,” he says. “Rather, I feel like a typ­i­cal game has too much mu­sic. If you look at most TV dra­mas or movies, there isn’t that much. So it’s not that I ref­er­ence other games to fig­ure out what to do with mu­sic – I ref­er­ence other types of me­dia. I’m orig­i­nally more of an an­i­ma­tor, so I’m a bit en­vi­ous of the power of mu­sic and how much can be ex­pressed with it. You can feel a lot more with mu­sic, and that kind of power makes me happy as a di­rec­tor, but also a bit jeal­ous, in a good way.”

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