I guess you wrote it before reading the rest of my post.
Yup. However, what you've cited only either enforces that, or references styles of VGM that are entirely different from the VGM I've been acquainted with.
Regardless of my aspects, you made two subjective comments. Too bleak and too atmospheric are part of a particular style of VGM music but do not encompass VGM as a whole, unless you consider the music from various Nintendo series to be bleak and ambient. I know for a fact Pokemon and most Super Mario Games fail that test.
Of course, but it's not a justification of the OST music flaws.
"Look at this puke"
"But the creator of this puke is capable of doing so much more! His puke art is really astonishing!"
"Ok, thanks for telling me, now I really love it!"
See, this is where your lack of music understanding really shines through. You seem to think that I'm saying that you have to acknowledge that intent makes the music a certain way, and that the composers can do better. That's probably even further from my original point at all, and that's very far from how composing actually works. This isn't a comparison of "well this is shit but they can do better if they wanted"; these pieces are specifically and intentionally designed the way that they are in order to make coherent sense with their landscape with which the game requires. A standalone piece does not have any required reference materials, it just exists as a sole medium of a musically contingent idea. These aren't better or worse comparatively, however they are different. If the designer of the game wants the music to specifically be contingent with events, concepts, and ideas of the game, the music has to be adhered around that. They both require skill and understanding to make that work. I'm not talking about "here's shit but they can make gold"; I'm talking about specialization and each particular type of music fulfilling a particular task respective to its' medium.
Don't work. It's hard to stand Red Alert I because of the compression and the low quality, not to mention C&C Tiberian Sun. I'd love to hear the OSTs from those games remastered tho.
I hope that 1999 is old enough.
1999 is child's play at best. Pokemon
came out in 1996 and that certainly isn't the beginning of progressive VGM composition. You're dropping a whole decade here.
also limitations of the technology have little to no bearing on the actual composition, since the composer in no way specifically created the compression and low quality...especially considering you referenced a soundtrack based around live recording, a practice not particularly common in this era, and for good reason (compression and low quality). Consider looking at, say...the other hundreds of games from the 90s?
Your way of thinking is flawed. OSTs are for listening without the context. So they must work as a standalone music. You really can't use the argument "because of the original intent".
See, that in itself is just a perpetual logical flaw. OST's are for listening without context, certainly, but the music isn't specifically designed for when someone exports the music out of its' contex. The idea of intent is entirely relevant considering that the music is not designed for the purpose of listening in an OST. They are designed for the game. The game is not the OST, the composer doesn't write for the OST. The OST is a result of those who preferred the pieces out of context, not for the composer who had a specific role in how and why it was created.
Additionally, I have to just stop and ask why you think "standalone" even exists as a fluent idea. It can acknowledge the way in which certain music is presented, and acknowledges the style of composition, but it has little to nothing to do with the quality it inherently has. The difference between "standalone" and "background" is probably one single
line of notes at its' core, and even then the premise that this difference takes precedence over what the music actually sounds like is relatively absurd.
"Implying that listening to music alone has a non-musical context."
For the listener, certainly. For the composer, the number of pieces that actually do have a specific context in which the listening of the piece is designed, specific stories in which the piece is supposed to be adhering to, and therefore written around. It just so happens that these particular pieces have no visual aid and must have musical devices that then fill the space that VGM must create. And even then, there are plenty of examples of multimedia becoming a more prominent style of art in music composition, and pieces such as Aaron Copland's Lincoln Portrait are designed to compliment a specific narrative.
VGM's purpose is not remotely unique, and yet your behaviour relies on the idea that it is.