A PC game, also known as a computer game, is a video game played on a personal computer, rather than on a video game console or arcade machine. PC games have evolved from the simple graphics and gameplay of early titles like ''Spacewar!'', to a wide range of more visually advanced titles.

PC games are created by one or more game developers, often in conjunction with other specialists (such as game artists) and either published independently or through a third party publisher. They may then be distributed on physical media such as DVDs and CDs, as Internet-downloadable, possibly freely redistributable, software, or through online delivery services such as Direct2Drive and Steam. PC games often require specialized hardware in the user's computer in order to play, such as a specific generation of graphics processing unit or an Internet connection for online play, although these system requirements vary from game to game.

History

Early growth

Although personal computers only became popular with the development of the microprocessor and microcomputer, computer gaming on mainframes and minicomputers had previously already existed. OXO, an adaptation of tic-tac-toe for the EDSAC, debuted in 1952. Another pioneer computer game was developed in 1961, when MIT students Martin Graetz and Alan Kotok, with MIT student Steve Russell, developed ''Spacewar!'' on a PDP-1 mainframe computer used for statistical calculations.

The first generation of computer games were often text adventures or interactive fiction, in which the player communicated with the computer by entering commands through a keyboard. An early text-adventure, ''Adventure'', was developed for the PDP-11 minicomputer by Will Crowther in 1976, and expanded by Don Woods in 1977. By the 1980s, personal computers had become powerful enough to run games like ''Adventure'', but by this time, graphics were beginning to become an important factor in games. Later games combined textual commands with basic graphics, as seen in the SSI Gold Box games such as ''Pool of Radiance'', or ''Bard's Tale'' for example.

By the late 1970s to early 1980s, games were developed and distributed through hobbyist groups and gaming magazines, such as ''Creative Computing'' and later ''Computer Gaming World''. These publications provided game code that could be typed into a computer and played, encouraging readers to submit their own software to competitions. Microchess was one of the first games for microcomputers which was sold to the public. First sold in 1977, Microchess eventually sold over 50,000 copies on cassette tape.

Like with second-generation video game consoles at the time, early home computer games began gaining commercial success by capitalizing on the success of arcade games at the time with ports or clones of popular arcade games. By 1982, the top-selling games for the Atari 400 were ports of ''Frogger'' and ''Centipede'', while the top-selling game for the Texas Instruments TI-99/4A was the ''Space Invaders'' clone ''TI Invaders''. That same year, ''Pac-Man'' was ported to the Atari 800, while ''Donkey Kong'' was licensed for the Coleco Adam. In late 1981, Atari attempted to take legal action against unauthorized clones, particularly ''Pac-Man'' clones, despite some of these predating Atari's exclusive rights to the home versions of Namco's game.

Industry crash

As the video game market became flooded with poor-quality cartridge games created by numerous companies attempting to enter the market, and over-production of high profile releases such as the Atari 2600 adaptations of ''Pac-Man'' and ''E.T.'' grossly underperformed, the popularity of personal computers for education rose dramatically. In 1983, consumer interest in console video games dwindled to historical lows, as interest in computer games rose. The effects of the crash were largely limited to the console market, as established companies such as Atari posted record losses over subsequent years. Conversely, the home computer market boomed, as sales of low-cost color computers such as the Commodore 64 rose to record highs and developers such as Electronic Arts benefited from increasing interest in the platform.

The console market experienced a resurgence in the United States with the release of the Nintendo Entertainment System (NES). In Europe, computer gaming continued to boom for many years after. Computers such as the ZX Spectrum and BBC Micro were successful in the European market, where the NES was not as successful despite its monopoly in Japan and North America. The only 8-bit console to have any success in Europe would be the Sega Master System. Meanwhile in Japan, both consoles and computers became major industries, with the console market dominated by Nintendo and the computer market dominated by NEC's PC-88 (1981) and PC-98 (1982). A key difference between Western and Japanese computers at the time was the display resolution, with Japanese systems using a higher resolution of 640x400 to accommodate Japanese text which in turn had an impact on game design and allowed more detailed graphics. Japanese computers were also using Yamaha's FM synth sound boards from the early 1980s.

New genres

Increasing adoption of the computer mouse, driven partially by the success of games such as the highly successful ''King's Quest'' series, and high resolution bitmap displays allowed the industry to include increasingly high-quality graphical interfaces in new releases. Meanwhile, the Commodore Amiga computer achieved great success in the market from its release in 1985, contributing to the rapid adoption of these new interface technologies.

Further improvements to game artwork were made possible with the introduction of FM synthesis sound. Yamaha began manufacturing FM synth boards for computers in the early-mid 1980s, and by 1985, the FM-7 AV computer had built-in FM sound. The first sound cards, such as AdLib's Music Synthesizer Card, soon appeared in 1987. These cards allowed IBM PC compatible computers to produce complex sounds using FM synthesis, where they had previously been limited to simple tones and beeps. However, the rise of the Creative Labs Sound Blaster card, released in 1989, which featured much higher sound quality due to the inclusion of a PCM channel and digital signal processor, led AdLib to file for bankruptcy by 1992. Also in 1989, the FM Towns computer included built-in PCM sound, in addition to a CD-ROM drive and 24-bit color graphics.

In 1991, id Software produced an early first-person shooter, ''Hovertank 3D'', which was the company's first in their line of highly influential games in the genre. There were also several other companies that produced early first-person shooters, such as Arsys Software's ''Star Cruiser'', which featured fully 3D polygonal graphics in 1988, and Accolade's ''Day of the Viper'' in 1989. Id Software went on to develop ''Wolfenstein 3D'' in 1992, which helped to popularize the genre, kick-starting a genre that would become one of the highest-selling in modern times. The game was originally distributed through the shareware distribution model, allowing players to try a limited part of the game for free but requiring payment to play the rest, and represented one of the first uses of texture mapping graphics in a popular game, along with ''Ultima Underworld''.

While leading Sega and Nintendo console systems kept their CPU speed at 3-7 MHz, the 486 PC processor ran much faster, allowing it to perform many more calculations per second. The 1993 release of ''Doom'' on the PC was a breakthrough in 3D graphics, and was soon ported to various game consoles in a general shift toward greater realism. In the same time frame, games such as Myst took advantage of the new CD-ROM delivery format to include many more assets (sound, images, video) for a richer game experience.

Many early PC games included extras such as the peril-sensitive sunglasses that shipped with ''The Hitchhiker's Guide to the Galaxy''. These extras gradually became less common, but many games were still sold in the traditional over-sized boxes that used to hold the extra "feelies". Today, such extras are usually found only in Special Edition versions of games, such as Battlechests from Blizzard.

Contemporary gaming

By 1996, the rise of Microsoft Windows and success of 3D console titles such as ''Super Mario 64'' sparked great interest in hardware accelerated 3D graphics on the IBM PC compatible, and soon resulted in attempts to produce affordable solutions with the ATI ''Rage'', Matrox ''Mystique'' and S3 ViRGE. Tomb Raider, which was released in 1996, was one of the first third person shooter games and was praised for its revolutionary graphics. As 3D graphics libraries such as DirectX and OpenGL matured and knocked proprietary interfaces out of the market, these platforms gained greater acceptance in the market, particularly with their demonstrated benefits in games such as ''Unreal''. However, major changes to the Microsoft Windows operating system, by then the market leader, made many older MS-DOS-based games unplayable on Windows NT, and later, Windows XP (without using an emulator, such as DOSbox).

The faster graphics accelerators and improving CPU technology resulted in increasing levels of realism in computer games. During this time, the improvements introduced with products such as ATI's Radeon R300 and NVidia's GeForce 6 Series have allowed developers to increase the complexity of modern game engines. PC gaming currently tends strongly toward improvements in 3D graphics.

Unlike the generally accepted push for improved graphical performance, the use of physics engines in computer games has become a matter of debate since announcement and 2005 release of the nVidia PhysX PPU, ostensibly competing with middleware such as the Havok physics engine. Issues such as difficulty in ensuring consistent experiences for all players, and the uncertain benefit of first generation PhysX cards in games such as ''Tom Clancy's Ghost Recon Advanced Warfighter'' and ''City of Villains'', prompted arguments over the value of such technology.

Similarly, many game publishers began to experiment with new forms of marketing. Chief among these alternative strategies is episodic gaming, an adaptation of the older concept of expansion packs, in which game content is provided in smaller quantities but for a proportionally lower price. Titles such as ''Half-Life 2: Episode One'' took advantage of the idea, with mixed results rising from concerns for the amount of content provided for the price.

PC game development

Game development, as with console games, is generally undertaken by one or more game developers using either standardized or proprietary tools. While games could previously be developed by very small groups of people, as in the early example of Wolfenstein 3D, many popular PC games today require large development teams and budgets running into the millions of dollars.

PC games are usually built around a central piece of software, known as a game engine, that simplifies the development process and enables developers to easily port their projects between platforms. Unlike most consoles, which generally only run major engines such as Unreal Engine 3 and RenderWare due to restrictions on homebrew software, personal computers may run games developed using a larger range of software. As such, a number of alternatives to expensive engines have become available, including open source solutions such as Crystal Space, OGRE and DarkPlaces.

User-created modifications

The multi-purpose nature of personal computers often allows users to modify the content of installed games with relative ease. Since console games are generally difficult to modify without a proprietary software development kit, and are often protected by legal and physical barriers against tampering and homebrew software, it is generally easier to modify the personal computer version of games using common, easy-to-obtain software. Users can then distribute their customised version of the game (commonly known as a ''mod'') by any means they choose.

The inclusion of map editors such as UnrealEd with the retail versions of many games, and others that have been made available online such as GtkRadiant, allow users to create modifications for games easily, using tools that are maintained by the games' original developers. In addition, companies such as id Software have released the source code to older game engines, enabling the creation of entirely new games and major changes to existing ones.

Modding had allowed much of the community to produce game elements that would not normally be provided by the developer of the game, expanding or modifying normal gameplay to varying degrees. Arguably, the most notable example is Counter-Strike, a mod for Half Life. Counter-Strike turned the initial adventure FPS into a round based, tactical FPS.

Distribution

Physical distribution

PC games are typically sold on standard storage media, such as compact discs, DVD, and floppy disks. These were originally passed on to customers through mail order services, although retail distribution has replaced it as the main distribution channel for video games due to higher sales. Cassette tapes and different formats of floppy disks were initially the staple storage media of the 1980s and early 1990s, but have fallen out of practical use as the increasing sophistication of PC games raised the overall size of the game's data and program files.

The introduction of complex graphics engines in recent times has resulted in additional storage requirements for modern games, and thus an increasing interest in CDs and DVDs as the next compact storage media for PC games. The rising popularity of DVD drives in modern PCs, and the larger capacity of the new media (a single-layer DVD can hold up to 4.7 gigabytes of data, more than five times as much as a single CD), have resulted in their adoption as a format for computer game distribution. To date, CD versions are still offered for most games, while some games offer both the CD and the DVD versions.

Shareware

Shareware marketing, whereby a limited or demonstration version of the full game is released to prospective buyers without charge, has been used as a method of distributing computer games since the early years of the gaming industry and was seen in the early days of Tanarus as well as many others. Shareware games generally offer only a small part of the gameplay offered in the retail product, and may be distributed with gaming magazines, in retail stores or on developers' websites free of charge.

In the early 1990s, shareware distribution was common among fledging game companies such as Apogee Software, Epic Megagames and id Software, and remains a popular distribution method among smaller game developers. However, shareware has largely fallen out of favor among established game companies in favour of traditional retail marketing, with notable exceptions such as Big Fish Games and PopCap Games continuing to use the model today.

Online delivery

With the increased popularity of the Internet, online distribution of game content has become more common. Retail services such as Direct2Drive and Download.com allow users to purchase and download large games that would otherwise only be distributed on physical media, such as DVDs, as well as providing cheap distribution of shareware and demonstration games. Companies such as Real Networks provide a service that allows other websites to use their game catalog and ecommerce backend to publish their own game download distribution sites. Other services, allow a subscription-based distribution model in which users pay a monthly fee to download and play as many games as they wish.

The Steam system, developed by Valve Corporation, provides an alternative to traditional online services. Instead of allowing the player to download a game and play it immediately, games are made available for "pre-load" in an encrypted form days or weeks before their actual release date. On the official release date, a relatively small component is made available to unlock the game. Steam also ensures that once bought, a game remains accessible to a customer indefinitely, while traditional mediums such as floppy disks and CD-ROMs are susceptible to unrecoverable damage and misplacement. The user would however depend on the Steam servers to be online to download its games. According to the terms of service for Steam, Valve has no obligation to keep the servers running. Therefore, if the Valve Corporation shut down, so would the servers. However, they have stated that if the service was to be discontinued, games would no longer require authorization from the servers to run. Nevertheless, they are not obligated to do so.

PC game genres

The real-time strategy genre, which accounts for more than a quarter of all PC games sold, has found very little success on video game consoles, with releases such as ''Starcraft 64'' failing in the marketplace. Real-time strategy games tend to suffer from the design of console controllers, which do not allow fast, accurate movement.

PC gaming technology

[[Image:Personal computer, exploded 5.svg|thumb|right|250px|An exploded view of a modern personal computer:

1. Display
2. Motherboard
3. CPU (Microprocessor)
4. Primary storage (RAM)
5. Expansion cards (graphics cards, etc.)
6. Power supply
7. Optical disc drive
8. Secondary storage (Hard disk)
9. Keyboard
10. Mouse

]]

Hardware

Modern computer games place great demand on the computer's hardware, often requiring a fast central processing unit (CPU) to function properly. CPU manufacturers historically relied mainly on increasing clock rates to improve the performance of their processors, but had begun to move steadily towards multi-core CPUs by 2005. These processors allow the computer to simultaneously process multiple tasks, called threads, allowing the use of more complex graphics, artificial intelligence and in-game physics.

Similarly, 3D games often rely on a powerful graphics processing unit (GPU), which accelerates the process of drawing complex scenes in realtime. GPUs may be an integrated part of the computer's motherboard, the most common solution in laptops, or come packaged with a discrete graphics card with a supply of dedicated Video RAM, connected to the motherboard through either an AGP or PCI-Express port. It is also possible to use multiple GPUs in a single computer, using technologies such as NVidia's Scalable Link Interface and ATI's CrossFire.

Sound cards are also available to provide improved audio in computer games. These cards provide improved 3D audio and provide audio enhancement that is generally not available with integrated alternatives, at the cost of marginally lower overall performance. The Creative Labs SoundBlaster line was for many years the ''de facto'' standard for sound cards, although its popularity dwindled as PC audio became a commodity on modern motherboards.

Physics processing units (PPUs), such as the Nvidia PhysX (formerly AGEIA PhysX) card, are also available to accelerate physics simulations in modern computer games. PPUs allow the computer to process more complex interactions among objects than is achievable using only the CPU, potentially allowing players a much greater degree of control over the world in games designed to use the card.

Virtually all personal computers use a keyboard and mouse for user input. Other common gaming peripherals are a headset for faster communication in online games, joysticks for flight simulators, steering wheels for driving games and gamepads for console-style games.

Software

Computer games also rely on third-party software such as an operating system (OS), device drivers, libraries and more to run. Today, the vast majority of computer games are designed to run on the Microsoft Windows family of operating systems. Whereas earlier games written for MS-DOS would include code to communicate directly with hardware, today Application programming interfaces (APIs) provide an interface between the game and the OS, simplifying game design. Microsoft's DirectX is an API that is widely used by today's computer games to communicate with sound and graphics hardware. OpenGL is a cross-platform API for graphics rendering that is also used. The version of the graphics card's driver installed can often affect game performance and gameplay. It is not unusual for a game company to use a third-party game engine, or third-party libraries for a game's AI or physics.

Multiplayer

Local area network gaming

Multiplayer gaming was largely limited to local area networks (LANs) before cost-effective broadband Internet access became available, due to their typically higher bandwidth and lower latency than the dial-up services of the time. These advantages allowed more players to join any given computer game, but have persisted today because of the higher latency of most Internet connections and the costs associated with broadband Internet.

LAN gaming typically requires two or more personal computers, a router and sufficient networking cables to connect every computer on the network. Additionally, each computer must have a network card in order to communicate with other computers on the network, and its own copy (or spawn copy) of the game in order to play. Optionally, any LAN may include an external connection to the Internet.

Online games

Online multiplayer games have achieved popularity largely as a result of increasing broadband adoption among consumers. Affordable high-bandwidth Internet connections allow large numbers of players to play together, and thus have found particular use in massively multiplayer online role-playing games, ''Tanarus'' and persistent online games such as ''World War II Online''.

Although it is possible to participate in online computer games using dial-up modems, broadband internet connections are generally considered necessary in order to reduce the latency between players (commonly known as "lag"). Such connections require a broadband-compatible modem connected to the personal computer through a network interface card (generally integrated onto the computer's motherboard), optionally separated by a router. Online games require a virtual environment, generally called a "game server". These virtual servers inter-connect gamers, allowing real time, and often fast paced action. To meet this subsequent need, Game Server Providers (GSP) have become increasingly more popular over the last half decade. While not required for all gamers, these servers provide a unique "home", fully customizable (such as additional modifications, settings, etc.) - giving the end gamers the experience they desire. Today there are over 510,000 game servers hosted in North America alone.

Emulation

Emulation software, used to run software without the original hardware, are popular for their ability to play legacy video games without the consoles or operating system for which they were designed. The operating system emulators include DOSBox, a DOS emulator which allows playing games developed originally for this operating system and thus not compatible with a modern day OS. Console emulators such as NESticle and MAME are relatively commonplace, although the complexity of modern consoles such as the Xbox or PlayStation makes them far more difficult to emulate, even for the original manufacturers.

Most emulation software mimics a particular hardware architecture, often to an extremely high degree of accuracy. This is particularly the case with classic home computers such as the Commodore 64, whose software often depends on highly sophisticated low-level programming tricks invented by game programmers and the demoscene.

Controversy

PC games have long been a source of controversy, particularly related to the violence that has become commonly associated with video gaming in general. The debate surrounds the influence of objectionable content on the social development of minors, with organisations such as the American Psychological Association concluding that video game violence increases children's aggression, a concern that prompted a further investigation by the Center for Disease Control in September 2006. Industry groups have responded by noting the responsibility of parents in governing their children's activities, while attempts in the United States to control the sale of objectionable games have generally been found unconstitutional.

Video game addiction is another cultural aspect of gaming to draw criticism as it can have a negative influence on health and on social relations. The problem of addiction and its health risks seems to have grown with the rise of Massively Multiplayer Online Role Playing Games (MMORPGs). Alongside the social and health problems associated with computer game addiction have grown similar worries about the effect of computer games on education.

Computer games museums

There are several computer games museums around the world. In 2011 one opened in Berlin, a computer game museum that documents computer games from the 1970s until today.

See also

Gaming computer

List of gaming topics

Video game

POCOS project

References

External links

Computer game museum in Berlin

Museum of soviet arcade machines in Moscow

Pervasive Technology Lab (CIC)

Category:Video game controversies Category:Video game platforms Game Category:Windows games Category:Video games

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name	Yellow Magic Orchestra
background	group_or_band
alias	Yellow Magic Band, YMO, YMO, Sketch Show, Human Audio Sponge, HAS, HASYMO
origin	Tokyo, Japan
genre	Electronic (dance, electro, house, rock, techno), Experimental (art rock, avant‑garde), J‑pop, New Wave, Synthpop, World (Asian, exotica)
years active	1977-1983, 1992–1993, 2002–2004, 2007–present
label	Alfa Records (Japan)A&M; RecordsToshiba-EMIRestless RecordsSony Music House (Japan)Commmons (Japan)
current members	Haruomi "Harry" HosonoYukihiro TakahashiRyuichi Sakamoto
past members	Hideki Matsutake
notable instruments	}}

Yellow Magic Orchestra (YMO) is a Japanese electronic music band consisting of principal members Haruomi Hosono (bass and keyboards and vocals), Yukihiro Takahashi (drums and lead vocals) and Ryuichi Sakamoto (keyboards and vocals). The group began under the name "Yellow Magic Band" in 1977, and then renamed itself as "Yellow Magic Orchestra" in 1978. The band's former "fourth member" was music programmer Hideki Matsutake.

They are often considered influential innovators in the field of popular electronic music. They helped pioneer synthpop and ambient house, helped usher in electronica, anticipated the beats and sounds of electro music, laid the foundations for contemporary J-pop, and contributed to the development of house, techno, and hip hop. More broadly, their influence is evident across many genres of popular music, including electronic dance, ambient music, chiptune, game music, pop, rock, and melodic music.

History

Early years and formation (1976–1978)

Prior to the group's formation, Sakamoto had been experimenting with electronic music equipment at the Tokyo National University of Fine Arts and Music, which he entered in 1970, including synthesizers such as the Buchla, Moog, and ARP. At around the same time, Hosono had been involved in the recording of several early electronic rock records, including Inoue Yousui's folk pop rock album ''Ice World'' (1973) and Osamu Kitajima's progressive psychedelic rock album ''Benzaiten'' (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, electronic drums and rhythm machines.

Also around the same time, the band's future "fourth member" Hideki Matsutake was the assistant for the internationally successful electronic musician Isao Tomita. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra. Other early influences on the band included Kraftwerk and Giorgio Moroder. The former was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members. They were impressed with Kraftwerk's "very formalized" style but wanted to avoid imitating their "very German" approach. According to Sakamoto, they were "tired" of Japanese musicians imitating Western and American music at the time and so they wanted to "make something very original from Japan." He described Kraftwerk's music as "theoretical, very focused, simple and minimal and strong," contrasting it with YMO's "very Japanese" approach of fusing many different styles of music like a "bento box." Their alternative template for electronic pop was less minimalistic, made more varying use of synthesizer lines, introduced "fun-loving and breezy" sounds, and placed a strong emphasis on melody.

Sakamoto first worked with Hosono as a member of his live band in 1976, while Takahashi recruited Sakamoto to produce his debut solo recording in 1977 following the split of the Sadistic Mika Band. Hosono invited both to work on his exotica-flavoured album ''Paraiso'', which included electronic songs produced using various electronic equipment such as the Yamaha CS-80 polyphonic synthesizer, Roland and ARP Odyssey synthesizers, the Yamaha CP-30 and Rhodes electric pianos, and electric guitar. The band was named "Harry Hosono and the Yellow Magic Band" and in late 1977 they began recording ''Paraiso'', which was released in 1978. The three worked together again for the 1978 electronic album ''Pacific'', which included an early version of the song "Cosmic Surfin". Hosono and Sakamoto also worked together alongside Hideki Matsutake in early 1978 for Hosono's experimental "electro-exotica" fusion album ''Cochin Moon'', which fused electronic music with Indian music (reminiscent of Ravi Shankar and Bollywood music), including an early "synth raga" song "Hum Ghar Sajan". The same year, Sakamoto released his own solo album, ''The Thousand Knives of Ryuichi Sakamoto'', experimenting with a similar fusion between electronic music and traditional Japanese music in early 1978. Hosono also contributed to one of Sakamoto's songs, "Thousand Knives", in the album. ''Thousand Knives'' was also notable for its early use of the microprocessor-based Roland MC-8 Microcomposer music sequencer, with Matsutake as its music programmer for the album. Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a Shibaura studio in July 1978.

The band was initially conceived as a one-off studio project by Hosono, the other two members being recruited session musicians—the idea was to produce an album fusing orientalist exotica with modern electronics, as a subversion of Orientalism and exoticization, while exploring similar themes such as Asianness. The album would eventually be called ''Yellow Magic Orchestra'', as a satire of Japan's obsession with black magic at the time. The album featured the use of computer technology (along with synthesizers) which, according to ''Billboard'', allowed the group to create a new sound that was not possible until then.

National and international success (1978–1983)

The band's 1978 self-titled album ''Yellow Magic Orchestra'', with its cutting-edge production, was very popular, and the studio project grew into a fully fledged touring band and career for its three members. Following the release of the album ''Yellow Magic Orchestra'', a live date at the Roppongi Pit Inn was seen by executives of A&M; Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers. The most popular international hit from the album was "Firecracker", which would be released as a single the following year and again as "Computer Game", which became a success in the United States and Europe.

Following an advertising deal with Fuji Cassette, the group sparked a boom in the popularity of electronic pop music, called "Technopop" in Japan, where they had an impact similar to that of The Beatles and Merseybeat in 1960s Britain. For some time, YMO was the most popular band in Japan. A testament to the influence of YMO on fashion is how many middle-aged Japanese businessmen still have the "Techno cut" haircut, modeled after the group. Successful solo act Akiko Yano (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years.

Making abundant use of new synthesizers, samplers, sequencers, drum machines, computers and digital recording technology as it became available, as well as utilizing cyberpunk-ish lyrics sung mostly in English, they extended their popularity and influence beyond Japan.

''Solid State Survivor'', released in 1979, was YMO's pinnacle recording in Japan, winning the 1980 Best Album Award in the Japan Record Awards. It featured English lyrics by Chris Mosdell, whose sci-fi themes often depicted a human condition alienated by dystopic futures, much like the emerging cyberpunk movement in fiction at that time. One of the album's major singles, and one of the band's biggest international hits, was "Behind the Mask", which YMO had first produced in 1978 for a Seiko quartz wristwatch commercial, and then for ''Solid State Survivor'' with lyrics penned by Chris Mosdell. The song was later revised by Michael Jackson, who added new lyrics in the early 1980s. Jackson's version was never released until his first posthumous album, ''Michael'', though his additional lyrics were included in later cover versions of the song by Greg Phillinganes, Eric Clapton, and Ryuichi Sakamoto himself in his 1986 solo release ''Media Bahn Live''.

Their second album ''Solid State Survivor'' went on to sell over 2 million records worldwide. By 1980, YMO had become the most popular group in Japan, where they were performing to sold out crowds. Their first live album ''Public Pressure'' set a record in Japan, topping the charts and selling 250,000 copies within two weeks, while their next studio album ''X∞Multiplies'' had 200,000 pre-orders before release. The same year, their albums ''Solid State Survivor'' and ''X∞Multiplies'' held the top two spots on the Oricon charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat.

They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe. The single "Computer Game" had sold 400,000 copies in the United States and reached #17 in the UK Charts. The group also performed "Firecracker" and "Tighten Up" live on the ''Soul Train'' television show. At around the same time, the 1980 song "Riot in Lagos" by YMO member Sakamoto pioneered the beats and sounds of electro music. The band was particularly popular with the emerging hip hop community, which appreciated the group's electronic sounds, and in the Bronx where "Firecracker" was a success and sampled in the famous ''Death Mix'' (1983) by Afrika Bambaataa. Meanwhile in Japan, YMO remained the best-selling music act there up until 1982.

Breakup and brief reunion (1984–1993)

The band had stopped working as a group by 1984, after the release of their musical motion picture ''Propaganda'', the three members returning to their solo careers. The group were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning , and in fact the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play YMO material in his concerts and as "lead singer" was arguably best placed to do so. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and film composer, winning Grammy, Oscar and Golden Globe awards.

The trio would eventually release a one-off reunion album, ''Technodon'', and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or YMO in 1993. Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work. During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the techno and acid house movements of the era.

Post-breakup and reformation (1994–present)

The early 2000s saw Hosono & Takahashi reunited in a project called Sketch Show. On a number of occasions Ryuichi Sakamoto has joined in on Sketch Show performances and recording sessions. He later proposed they rename the group Human Audio Sponge when he participates. Barcelona performance at Sonar festival and Wild Sketch Show DVDs chronicle these reunions, and include a tongue-in-cheek Japanese text only history of the group that spans to 2036.

The band have reunited in 2007 for an advertising campaign for Kirin Lager which lampooned their longevity and charted No.1 on various Japanese digital download charts (including iTunes Store chart) with the song "Rydeen 79/07", released on Sakamoto's new label commmons. Recently performing live as Human Audio Sponge; Hosono, Sakamoto and Takahashi did a live performance together as Yellow Magic Orchestra for the Live Earth, Kyoto event on July 7, 2007, which raised money and awareness of a "climate in crisis."

In August 2007, the band once again reformed, taking the name HASYMO or HAS/YMO, combining the names of Human Audio Sponge and Yellow Magic Orchestra. Their first single under this name, "Rescue", was written for the film Appleseed EX Machina. They released a new two song single titled "The City of Light/Tokyo Town Pages" on August 6, 2008. HASYMO played two live concerts in Europe in the summer of 2008, one at the Royal Festival Hall, London on 15 June, as part of the Meltdown festival of music curated by Massive Attack and another in Gijon, Spain on the 19th. Although the primary YMO members (Yukihiro Takahashi, Haruomi Hosono, and Ryuichi Sakamoto) are effectively known as HASYMO and played both these concerts, these concerts were billed simply as "YMO" but featured only 4 YMO songs in each concert while the rest of the concert featured Sketch Show, HASYMO music and member's solo works.

In August 2009, the band played the World Happiness festival in Japan, featuring many Japanese artists. The band closed the night, and confirmed that "Yellow Magic Orchestra" is their official name, dropping the HASYMO title. They opened with a cover of "Hello, Goodbye" and performed old YMO songs along with their newer songs. In May 2010, Keane released a new EP entitled ''Night Train'' which includes a cover of "You've Got to Help Yourself", featuring MC Tigarah.

In August 2010, YMO once again closed their World Happiness festival. They added classic songs from their back catalog into their set list. They also covered "Hello, Goodbye" and "Thank You (Falettinme Be Mice Elf Agin)". In January 2011, KCRW announced for their World Festival concert series that Yellow Magic Orchestra will perform at the Hollywood Bowl on June 26, 2011. Not long after, a concert for June 27, 2011 at The Warfield was added. It was announced in February that YMO will perform at the Fuji Rock festival in July and the World Happiness festival 2011 on 7 August where they will debut new songs.

Legacy

In 1993, Johnny Black of ''Hi-Fi News'', in a review for the record ''Hi-Tech/No Crime'', described Yellow Magic Orchestra as "the most adventurous and influential electro-techno-dance technicians the world has produced" and further argued that "without them (and Kraftwerk) today's music would still sound like yesterday's music." In 2001, Jason Ankeny of the ''Allmusic Guide to Electronica'' described Yellow Magic Orchestra as "a seminal influence on contemporary electronic music – hugely popular both at home and abroad" and placed them "second only to Kraftwerk as innovators of today's electronic culture." In HMV Japan's list of top 100 Japanese musicians of all time, YMO were voted second place, behind only Southern All Stars, a pop-rock band who remain largely unknown outside of Japan.

Innovations

Yellow Magic Orchestra were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology in popular music, during a time when these technologies were seen as novelties. The band is considered "ahead of their time," for anticipating the global trend towards drum machines and sampling, for having anticipated the "electropop boom" of the 1980s, their "pro-technological viewpoint," their use of video game sounds and bleeps (as in 1978's "Computer Game", for example), and for experimenting heavily with computers and electronic instruments. Their approach to sampling music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology. Their 1978 hit "Computer Game / Firecracker", for example, sampled Martin Denny's 1959 exotica melody "Firecracker" and arcade game sounds from ''Space Invaders'' and ''Circus''. According to ''The Vinyl District'' magazine, they also released the first album to feature mostly samples and loops (1981's ''Technodelic''). The pace at which the band's music evolved has been compared to that of The Beatles during the 1960s, according to ''SF Weekly'', from "zany exotica-disco spoofs" and "bleeps and blips" in the 1970s to "sensuous ''musique concrète'' perfected" in their 1983 albums ''Naughty Boys'' and ''Service''.

According to music writer Piero Scaruffi, YMO were pioneers of synthpop, a genre development he believes to be "perhaps the single most significant event in melodic music since Mersey-beat" with its influence still evident in contemporary rock and pop music. While their contemporaries in Düsseldorf, and later Detroit, were using synthesizer technology to create bleak dystopian music, YMO introduced a more "joyous and liberating" approach to electronic music, something that Sakamoto regards as "a Japanese thing." In contrast to Kraftwerk's "robot pop" which was more minimalistic and statuesque, YMO's template for electronic pop was less minimalistic and made more varying use of synthesizer lines, while introducing "fun-loving and breezy" sounds, and with a strong focus on melody. The band also drew from a wider range of influences than had been employed by Kraftwerk. These influences on YMO included Japanese electronic music (such as Isao Tomita), European electronic music (such as Kraftwerk), exotica (such as Martin Denny), traditional Japanese music, experimental Chinese music (of the Cultural Revolution era), Indian music (such as Ravi Shankar and Bollywood music), disco (such as Giorgio Moroder), video game samples (such as ''Space Invaders''), American rap, British pop rock (such as The Beatles), Caribbean ska, classical music, animal sounds (such as the horse-running rhythms in 1979's "Rydeen"), and noise. Sakamoto referred to the band's fusion of many different sounds and styles as the musical equivalent to a Japanese bento box, and has expressed that his "concept when making music is that there is no border between music and noise."

For their album ''Yellow Magic Orchestra'' (1978), the band utilized a wide variety of electronic music equipment, including the Korg PS-3100 polyphonic synthesizer, Moog III-C and Minimoog monosynths, Polymoog and ARP Odyssey analog synthesizers, Oberheim Eight-Voice synthesizer, Fender Rhodes electric piano, Korg VC-10 vocoder, the electronic drum kits Yamaha Drums and Syn-Drums, and the Fender Bass electric bass. It was also one of the earliest popular music albums to utilize the Roland MC-8 Microcomposer, which was programmed by Hideki Matsutake during recording sessions; the other early popular music record to utilize it was Sakamoto's solo album ''Thousand Knives'', where it was also programmed by Matsutake. Roland called the MC-8 a "computer music composer" and it was the first stand-alone microprocessor-based music sequencer. It also introduced features such as a keypad to enter note information and 16 KB of RAM which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8-16 step sequencers of the era. While it was commercially unsuccessful due to its high price, the band were among the few bands at the time to utilize the MC-8, which they described as, along with its music programmer Hideki Matsutake, an "inevitable factor" in both their music production and live performances. At the time, ''Billboard'' noted that the use of such computer-based technology in conjunction with synthesizers allowed Yellow Magic Orchestra to create new sounds that were not possible until then. ''Yellow Magic Orchestra'' was also the first computer-themed music album, predating Kraftwerk's ''Computer World'' (1981) by several years. As a result of such innovations, YMO were credited at the time for having "ushered in the age of the computer programmer as rock star."

They were also the first band to utilize the Roland TR-808 Rhythm Composer, one of the first and most influential programmable drum machines, as soon as it was released in 1980. While the machine was initially unsuccessful due to its lack of digital sampling that the rival Linn LM-1 offered, the TR-808 featured various unique artificial percussion sounds, including a deep bass kick drum, "tinny handclap sounds," "the ticky snare, the tishy hi-hats (open and closed)," and "the spacey cowbell," which YMO utilized and demonstrated in their music, paving the way for the TR-808's mainstream popularity several years later, after which it would be used for more hit records than any other drum machine and continue to be widely used through to the present day.

The band has been described as "the original cyberpunks" and their early work has been described as "proto-techno" music. "Technopolis" (1979) was a tribute to Tokyo as an electronic mecca, used the term "techno" in its title, and foreshadowed concepts that Juan Atkins and Rick Davis would later have with have with Cybotron. The 1979 ''Solid State Survivor'' album also included several early computerized synth rock songs, including a mechanized cover version of "Day Tripper" by The Beatles. The 1980 song "Multiplies" was an early experiment in electronic ska. The beats and sounds of electro music were pioneered by Sakamoto's 1980 song "Riot in Lagos". "Rap Phenomena" from YMO's 1981 album ''BGM'' was an early attempt at electronic rap. By the 1990s, YMO were also frequently cited as pioneers of ambient house music.

Influence

Yellow Magic Orchestra are considered pioneers in the field of popular electronic music, and continue to be remixed or sampled by modern artists, including electronica acts Yamantaka Eye and LFO, jungle band 4hero, electrolatino artist Senor Coconut, ambient house pioneers The Orb and 808 State, electronic music groups Orbital and The Human League, hip hop pioneer Afrika Bambaataa, and mainstream pop musicians such as Michael Jackson, Quincy Jones, Greg Phillinganes, Eric Clapton, Brian Eno, Mariah Carey, and Jennifer Lopez.

YMO's success with music technology encouraged many others, with their influence strongly felt in the British electronic scene of the early 1980s in particular. They influenced many early British synthpop acts, including Ultravox, John Foxx, Gary Numan, Duran Duran, Eric Clapton, Depeche Mode, Camouflage, OMD, The Human League, and Art of Noise, as well as American rock musicians such as Todd Rundgren. They also influenced the New Romantic movement, including British bands Duran Duran and Japan, whose member Steve Jansen was influenced by drummer Takahashi, while another member David Sylvian was influenced by Sakamoto, who would later collaborate with Sylvian. YMO also popularized a style of live performance that eschewed human movement in favour of electronics such as rhythm boxes and samplers. The band also influenced the heavy use of sampling and looping in popular music.

The 1978 song "Behind the Mask" was an international hit covered by various later artists, most famously Michael Jackson. Alongside Quincy Jones, Jackson produced a slightly more dance-funk version of the techno classic with additional lyrics, originally intended for his best-selling album ''Thriller'' (1982). Despite the approval of songwriter Sakamoto and lyricist Chris Mosdell, it was eventually removed from the album due to legal issues with YMO's management. Nevertheless, various cover versions were later performed by Greg Phillinganes, Eric Clapton, Orbital, and The Human League, among others, before Jackson's cover version eventually appeared on the posthumous ''Michael'' album in 2010.

The band was popular with the emerging hip hop community, which appreciated the group's new electronic sounds, and in the Bronx where "Firecracker" was a success and sampled in the famous ''Death Mix'' by Afrika Bambaataa. According to ''The Guardian'', they "may have just invented hip-hop"; the hip-hop pioneer Afrika Bambaataa credited the band as an inspiration and once remarked that YMO invented hip hop music (in a half-joking manner). Afrika Bambaataa's influential song "Planet Rock" was partly inspired by YMO. The "terse videogame-funk" sounds of YMO's "Computer Game" would have a strong influence on the emerging electro and hip hop genres. Sakamoto's "Riot in Lagos" was cited by Kurtis Mantronik as a major influence on his early electro hip hop group Mantronix; he included both "Computer Game" and "Riot in Lagos" in his compilation album ''That's My Beat'' (2002) which consists of the songs that influenced his early career. The song was also later included in Playgroup's compilation album ''Kings of Electro'' (2007), alongside later electro classics such as Hashim's "Al-Nafyish" (1983). The 1980 release of "Riot in Lagos" was also listed by ''The Guardian'' in 2011 as one of the 50 key events in the history of dance music. YMO's use of video game sounds and bleeps also had a particularly big influence on 1980s hip hop and pop music. Beyond electro acts, "Computer Game / Firecracker" was also sampled by a number of other later artists, including 2 Live Crew's "Mega-Mixx II" (1987), " De La Soul's "Funky Towel" (for the 1996 film ''Joe's Apartment''), Jennifer Lopez's worldwide hit "I'm Real" (2001), and the original unreleased version of Mariah Carey's "Loverboy" (2001).

YMO also had an impact on techno music, including its pioneers Juan Atkins, Kevin Saunderson, and Derrick May, as well as later techno musicians such as Surgeon, μ-Ziq, and Cosmic Baby. "Technopolis" (1979) in particular is considered an "interesting contribution" to the development of Detroit techno and the group Cybotron. "Computer Game" (1978) also influenced Sheffield's bleep techno music; the Warp record, Sweet Exorcist's "Testone" (1990), defined Sheffield's techno sound by making playful use of sampled sounds from "Computer Game" along with dialogues from the film ''Close Encounters of the Third Kind'' (1977). "Computer Game" (1978) was later included in Carl Craig's compilation album ''Kings of Techno'' (2006). Also in the 1990s, YMO had an impact on ambient house pioneers such as The Orb and 808 State, as well as Ultramarine and other ambient/house artists. This resulted in the release of the tribute remix album ''Yellow Magic Orchestra: Hi-Tech/No Crime'' in 1993, by leading ambient, house and techno musicians at the time, including The Orb, 808 State, and Orbital. The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and acid house movements towards the end of the 20th century. The band's use of oriental musical scales and video game sounds has continued to be an influence on 21st-century electronica acts such as Dizzee Rascal, Kieran Hebden, and Ikonika. In 2006, Senor Coconut paid tribute to the band with his ''Yellow Fever!'' album.

The band has also been very influential in its homeland Japan, where they had become more popular than The Beatles during the late 1970s and 1980s. Their albums ''Solid State Survivor'' and ''X∞Multiplies'' held the top two spots on the Oricon charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat. Young fans of their music during this period became known as the . The band had a significant impact on Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence. YMO were one of the most important acts in Japan's "New Music" movement and paved the way for the emergence of contemporary J-pop in the 1980s. They also inspired ambient techno artists such as Tetsu Inoue.

YMO also influenced many video game composers and had a major impact on the sounds used in much of the chiptune and video game music produced during the 8-bit and 16-bit eras. As a result, several video game composers, including Shinji Hosoe and Nobuyoshi Sano, formed a parody band called "Oriental Magnetic Yellow" (OMY) in 1994, producing parody cover versions of various YMO records. Various cover versions of "Kimi ni Mune Kyun" (1983) have also been produced by other artists, including The Human League in 1993 ("YMO Versus The Human League") and Asako Toki in 2006. In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the anime series ''Maria Holic'', sung by Asami Sanada, Marina Inoue, and Yū Kobayashi, the voice actresses of the main characters.

Discography

Artist	Yellow Magic Orchestra
Studio	9
Live	13
Compilation	6
Singles	23
References	}}

Studio albums and variations

1978 ''Yellow Magic Orchestra'' — Japan #17, US #81 1979 ''Solid State Survivor'' — Japan #1 1980 ''×∞ Multiplies'' (a.k.a ''Zoshoku'') — Japan #1, US #177 1981 ''BGM'' — Japan #2 1981 ''Technodelic'' — Japan #4 1983 ''Naughty Boys'' — Japan #1 1983 ''Naughty Boys Instrumental'' — Japan #18 1983 ''Service'' — Japan #5 1993 ''Technodon'' — Japan #2

Live albums

1980 ''Public Pressure'' — Japan #1 1984 ''After Service'' — Japan #2 1991 ''Faker Holic (Transatlantic Tour 1979)'' — Japan #50 1992 ''Complete Service'' (mixed by Brian Eno) — Japan #37 1993 ''Technodon Live'' — Japan #12 1993 ''Live At The Budokan 1980'' — Japan #87 1993 ''Live At Kinokuniya Hall 1978'' — Japan #55

1995 ''Winter Live 1981''

1996 ''World Tour 1980'' — Japan #59

1997 ''Live At The Greek Theatre 1979''

2008 ''Euymo — Yellow Magic Orchestra Live in London + Gijon 2008''

2008 ''LONDONYMO - Yellow Magic Orchestra Live in London 15/6 08''

2008 ''Gijonymo — Yellow Magic Orchestra Live in Gijon 19/6 08''

Compilation albums

1984 ''Sealed''

1992 ''Technobible''

1992 ''Kyoretsu Na Rhythm''

2000 ''YMO Go Home! : The Best of Yellow Magic Orchestra'', (compiled by Haruomi Hosono)

2001 ''One More YMO: The Best of YMO Live'' (compiled by Yukihiro Takahashi)

2003 ''UC YMO: Ultimate Collection of Yellow Magic Orchestra'' (compiled by Ryuichi Sakamoto)

Remix albums

1992 ''Hi-tech/No Crime (Yellow Magic Orchestra Reconstructed)'' ''(UK compilation of remixes by British artists)''

2000 ''YMO Remixes Technopolis 2000-00'' ''(Japanese compilation of remixes by Japanese artists)''

Original singles

"Firecracker" (1978, Japan; 1979, US, UK) "Yellow Magic (Tong Poo)" (1978, Japan; 1979, UK) "Computer Game" (1979, US, Canada, Europe) — UK #17, US #60 "Cosmic Surfin" (1979, US) "La Femme Chinoise" (1979, Europe) (Lyrics: Chris Mosdell) "Technopolis" (1979, Japan) — Japan #9 "Rydeen" (1980, Japan; 1982, UK) — Japan #15 "Behind the Mask" (1979, US; 1980, UK, Italy) (Lyrics: Chris Mosdell)

"Nice Age" (1980, UK, Netherlands) (Lyrics: Chris Mosdell)

"Tighten Up (Japanese Gentlemen Stand Up Please)" (cover version of Archie Bell & the Drells hit; 1980, Japan, US, UK) — Japan #43 "Cue" (1981, Japan, US)

"Mass" (1981, Japan)

"Taiso" (1982, Australia, Japan)

"Pure Jam" (1982, Spain)

"Kimi ni Mune Kyun" (1983, Japan) — Japan #2 "The Spirit of Techno / Kageki na Shukujo" (1983, Japan) — Japan #15 "Ishin Denshin (You've Got To Help Yourself)" (1983, Japan) — Japan #23

"Every Time I Look Around (I Hear The Madmen Call)" (1983, Holland)

''Reconstructions'' EP (1992, UK)

"Pocketful of Rainbows" (1993, Japan) — Japan #13 "Be A Superman" (1993, Japan) — Japan #76

"Rescue / Rydeen 79/07" (2007, Japan) — Digital download release: 10 March 2007, CD release: 22 August 2007

"The City of Light / Tokyo Town Pages" (2008, Japan)

"Good Morning, Good Night" (2009, Japan) — by HASYMO

See also

Sketch Show (Takahashi & Hosono)

Sadistic Mika Band (Takahashi & Mosdell)

Happy End (band) (Hosono)

Haruomi Hosono

Ryuichi Sakamoto

Yukihiro Takahashi

Hideki Matsutake

Chris Mosdell

Akiko Yano

Sandii & the Sunsetz

Sheena & The Rokkets

Susan (Japanese singer)

References

External links

YMO

Official Facebook website

Official MySpace website

Category:Japanese electronic music groups Category:Japanese dance musicians Category:Japanese pop music groups Category:Dance musical groups Category:Ambient music groups Category:Electro musicians Category:House musicians Category:Techno musicians Category:Musical groups established in 1978 Category:Musical groups reestablished in 2007 Category:Sony Music Japan artists

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