CH: What inspired you to become a video game music composer? Were there any other influences that drew you toward this path?
EG: My dad had a rock band, so I grew up with music. As a teenager I did play the guitar and had my band too, mainly doing rock and hard rock. I always enjoyed creating music in my mind… but there were two critical moments that brought me in the direction of video game music composition…
The first was a Distant Worlds concert in my city, Buenos Aires, in 2013. That day, not only did I see for the first time a full orchestra play my favorite game songs (Final Fantasy), but Uematsu himself was in the crowd and joined for a song. That day, a spark ignited my passion for orchestral music.
The second was the pandemic (2020), when I started learning orchestration. I was living in Valencia then, and I “discovered” Berklee’s program for music composition. Suddenly I had a realization… music composer for games is not a dream job—it’s a possibility. And so my new journey started!
CH: What did you enjoy most about video games when you were a child?
EG: I have always been fascinated with the diverse worlds you can find in games—dystopian futuristic ones like MegaMan, or colorful alien nature like in Sonic. In combination with the challenge, of course.
Once I moved to PlayStation 1, I discovered my passion for the emotional stories JRPGs offered. I think I played (almost) all the games SquareSoft (nowadays Square Enix) created back then.
CH: I also love Final Fantasy IX, and its music is spectacular. What does the soundtrack mean to you? How would you describe its style or emotional impact?
EG: The Final Fantasy IX soundtrack shines with nostalgia—but not because I’m nostalgic about it. It already sounded nostalgic the first time I played it. The soundtrack feels organic and old, on purpose. “A Place to Call Home” is played only by recorders… a very specific and bold decision, especially coming from Final Fantasy VII and VIII.
There’s a reason: the whole idea of “finding home,” which is a struggle most of the main characters face. The feeling of belonging and purpose in life is explored mainly through Vivi, Zidane, Garnet, Eiko, Steiner, and Freya. The music brilliantly reflects this.
CH: I’ve listened to Final Fantasy IX during moments when I’ve felt happy, sad, confused, and even angry. Have you had similar experiences with video game music?
EG: Indeed—and not just with Final Fantasy IX. Music helps you connect not only with the backstory of characters, but also with the feeling and context of a moment. By reliving the music, you can revive those emotions… which is magical.
Examples for me are “Bound by Fate” from Chrono Cross—I feel so much despair with that one. (Spoiler ahead) the happy future of Chrono and his friends is completely neglected.
“Song of the Ancients” is another deeply nostalgic piece, powered by the ending of Nier Replicant.
And “The Decisive Battle” from FFVI always gets me into action mode, sweeping away any blue day I may have!
CH: Can you tell me more about your book on Final Fantasy IX?
EG: A Book to Call Home was born from my passion for music, my thirst for learning, and my favorite game from childhood. I believe that to fully understand the music, you need a mix of historical context, game design context, and musical theory.
The book covers these aspects, diving into how Uematsu and Sakaguchi collaborated on this masterpiece, and how they maximized the PlayStation’s capacity. It also explores how Uematsu was inspired by European medieval music and how that is reflected in the tracks.
Finally, I explain why each song sounds the way it does, connecting musical choices with storytelling. The deep dives are somewhat technical, but I complement them with Final Fantasy lore to show not just the expected results, but also what could have been. For example, Steiner’s theme diverges from the typical “knight” sound because of his unique personality.
I also emphasize the original “virtues” of the characters—based on Japanese kanji. For instance, Eiko’s virtue is translated as “Solitude,” but the kanji more closely mean “Orphan” and “By Herself.” These subtleties were powerful tools in shaping the music.
CH: Chrono Cross is my favorite video game, and its music is incredible. I find that it helps me relax and reflect. Are there other soundtracks that have inspired you similarly?
EG: Chrono Cross is easily in my top, along with Chrono Trigger. Beyond those and Final Fantasy, I really like the MegaMan/Rockman OSTs. There was even an official rock album I had on repeat.
More recently, I found Persona 5’s soundtrack “mind-breaking” because of how fresh and modern it felt compared to traditional JRPGs.
Nier and Nier: Automata owe a lot of their world-building to Keiichi Okabe’s music. And a less-discussed but amazing work from him is Drakengard 3!
CH: When composing music for a game, how do you approach matching the soundtrack to the story or emotional tone of a scene?
EG: It starts with strong alignment with the game director. The soundtrack needs an ethos—a reason for being—which defines instrumentation and color.
For cinematic scenes, I decide whether the music enhances the emotion, adds something not shown, or remains silent. Complex scenes often combine these approaches.
For general tracks like a forest or dungeon theme, you’re capturing the entire player experience in one piece. With interactive music, this becomes even more dynamic, requiring collaboration with sound designers and programmers.
Once everything is aligned, I set limitations (form, tonalities, instrumentation) and start crafting.
CH: How has video game music evolved over the years, and where do you see it going?
EG: Video game music has evolved from chiptunes to advanced interactive ecosystems. The biggest shift, though, is how cinematic it has become. Many JRPGs now sound like Hans Zimmer or John Williams—great, but sometimes oversaturated.
I think indie games will drive a return to creativity and simplicity. You don’t need a full orchestra—you need the right notes and colors at the right moment.
AI will also play a role, allowing people to generate full soundtracks easily. That doesn’t mean they’ll be good—but they’ll exist within the ecosystem.
CH: What should non-gamers understand about video game music that is often overlooked?
EG: Video game music has always been a technical challenge. Composers and programmers had to work with extremely limited memory—there were no MP3s on NES, SNES, or even PS1.
Listen closely to tracks like the original “Sephiroth Theme” (FFVII), “The Extreme” (FFVIII), and “The Final Battle” (FFIX). Same hardware—but dramatically evolving sound.
What composers like Uematsu and teams of programmers achieved is incredible—and that evolution continues today.
CH: Do you have any final thoughts for readers of Triggered to Thinking?
EG: Video game soundtracks shape generations. You may not replay Ocarina of Time like you did as a kid, but you can still listen to the music—and instantly be transported back.
History helps us understand the past. Music helps us feel it.
Use it to your advantage—to trigger the emotions you need. Whenever I face a hard day, I play “Frog’s Theme” from Chrono Trigger to feel like a hero and push forward.
Triggered to Thinking 
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