Summary of “The Rise of the Ambient Video Game”

To step into such video game worlds was to stabilise oneself within the frenetic noise and anonymity of the expanding urban spaces.
The Famicom allowed players to experience video games from the comfort of their home while Yoshimura, alongside other ambient artists of the era such as Satoshi Ashikawa, designed their records for public spaces whose mood they attempted to subtly augment.
It’s a relaxation activity that slips nebulously into self-care, the video game equivalent of putting an ambient record on.
In Brian Eno’s liner notes to Ambient 1: Music For Airports, regarded as one of the first significant ambient works, the artist said he composed the music to “Accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” And while Eno crafted Music For Airports to defuse the atmosphere of the airport terminal, to make it more hospitable, ambient video games lighten moods.
In his notes on 2017’s Reflections, Eno refers to the music as “Generative” – i.e. it is self-creating, a process commonly applied to video game environments capable of replication.
Flower becomes the video game equivalent of a whale noises CD, a new-age remedy for the ills of modern living.
Ambient video games have also made the jump to cellular devices, tailoring them perfectly for modern life.
Breathe is a distillation of the ambient video game, furthering its minimalist design principles with the stripping away of paraphernalia until only essential components remain.

The orginal article.