The Vibes of Cool Opulence: Hybrid Rhythms in Eastern and Western Video Game Music

One of the most powerful and easily recognisable genre synec-doches is undoubtedly the rhythm section. Despite subtle timbral differences between a "dancey," "rocky," or "symphonic" beat, its strong con-notative power allows it to import distinct genre-specific nuances into any stylistic context. This quality has made rhythm an essential tool in the "enrichment" or "augmentation" of symphonic sound, as often heard in film and video game soundtracks. By integrating beats from diverse stylistic backgrounds, composers introduce unexpected vibes into their music and, by doing so, they speak of their own cultural and industrial background. This paper identifies two primary values that drive this search for peculiar rhythmic stimuli in video game music: "cool-ness" and "opulence". Seeking these ideals, composers craft music that sounds catchier-closer to popular traditions, thus creating a "middle-brow" product appealing to broad audiences-and/or denser in its arrangement big , epic, "maximalist" and blatantly not cheap. My research explores how this compositional manifesto takes shape across different industrial and cultural contexts, comparing two main approaches. The first, shaped by the transmedia Hollywoodian industry and typical of Western productions, incorporates (mostly) discrete electronic beats into an overall cohesive orchestral sound. The second, emerging from the anime-manga media mix system and typical of Eastern productions, favours rhythm sections tied to rock music, in a sonic environment where stylistic contradictions remain largely unresolved. These different approaches to rhythm and beats reflect broader industrial and cultural paradigms (and hegemonies), ultimately contributing to a rich and diverse global soundscape in video game music.