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Nobuo Uematsu Shares Thoughts on AI and the Evolution of Game Music

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In a recent interview with JASRAC Magazine, Nobuo Uematsu reflected on the evolution of game music, the role of technology in creative work, and his personal stance on generative AI.


Uematsu explained how game music evolved from simple compositions based on melody, chords, and bass lines during the NES era to fully produced studio recordings. He noted that while graphics in games continue to advance, music reached its creative and technical peak once high-quality studio sound became standard.

“There’s been a surge of graphical advancements in games in recent years. But in terms of game music, I feel like it already reached its ‘final form’ when musicians became able to use their studio recordings in games. Another advancement was binaural audio, and we’ve already made it a reality in Final Fantasy X. However, it is a question of how much players are going to demand it in the future.”

He noted that future innovations in game music might focus on seamless transitions between sounds, an area where AI could provide technical help:

“Perhaps AI will be able to handle something like that well in the future.”

At the same time, Uematsu spoke clearly about generative AI in creative work, saying he has never used it and probably never will. He highlighted that personal effort and human imperfection are key to the satisfaction of making and experiencing music:

“I’ve never used AI and probably never will. I think it still feels more rewarding to go through the hardships of creating something myself. When you listen to music, the fun is also in discovering the background of the person who created it, right? AI does not have that kind of background though. Even when it comes to live performances, music produced by people is unstable, and everyone does it in their own unique way. And what makes it sound so satisfying are precisely those fluctuations and imperfections.”
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Even after stepping back from full-time game composition, Uematsu remains active in music. He is currently working on new original songs, with a full album planned, and has several live performances scheduled for 2025, including shows with his band Uematsu Nobuo conTIKI, featuring Shinya Kiyozuka and Nobuaki Kaneko. He is also planning international projects for 2026.

“I think this is the busiest I’ve ever been. If I’m not working every day, I end up feeling like I’m not going to wake up tomorrow. Those who’ve struggled to make a living before are probably like this forever.”

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