Edge of Memories composer says AI can help creators, but it should not replace human art

Edge of Memories composer Cédric Menendez believes AI can be useful in parts of the creative process, but he strongly rejects the idea that it should replace human artists. Menendez, who is the main composer for the Edge of Memories soundtrack, said AI may have value as a tool for rough drafts, but not as a system for generating finished art.

His comments come as the video game industry continues to debate how generative AI should be used in development. Much of the discussion has focused on visual art, writing, voice acting, and production shortcuts. But music is just as important. A soundtrack can shape the identity of a game, define emotional moments, and make worlds feel memorable. If studios rely too heavily on generated music, games risk losing part of what makes them distinct.

Menendez has worked with major names including Yasunori Mitsuda, known for Xenoblade, and Emi Evans, known for NieR. That background makes his comments especially relevant because both series are remembered partly for their music. In games like those, music is not background noise. It becomes part of the experience.

Game music loses meaning when the human voice behind it disappears

Menendez said AI can be positive when treated as a tool, but he does not believe it should be used to generate art. He argued that the musical quality of AI is still far behind real composers, and he was even more critical of AI generated vocals. His larger point was clear: art needs humanity.

That view reflects a concern many artists now share. AI systems can imitate patterns, styles, and structures, but they do not live through the emotions, memories, and choices that shape human work. A composer does not only place notes in order. They respond to story, character, silence, pacing, culture, and feeling.

The concern is not only quality. It is also about why AI is being adopted. Menendez said some people use AI to maximize profits by removing humans from creativity. That is where the debate becomes more serious. If AI helps artists test ideas faster, organize workflows, or explore early concepts, it can support creativity. If it is used to avoid paying musicians, writers, illustrators, or voice actors, it becomes a threat to the people who give games their identity.

Video game soundtracks often stay with players long after they finish a game. A boss theme, a quiet town melody, or a vocal track during a key story moment can become tied to memory. That kind of connection is difficult to reduce to efficiency or output speed.

The rise of AI generated bands and music has made the issue harder to ignore. Some generated songs may sound convincing at first, especially to casual listeners, but Menendez’s criticism points to a deeper problem. If everyone uses similar systems trained on existing work, game music could become more generic over time.

Edge of Memories is not only drawing attention for its visuals and world. Its soundtrack team is part of what gives the project artistic weight. Menendez’s comments show that some creators are not rejecting technology entirely. They are asking for a line between assistance and replacement.

AI may become part of game development in many ways, but Menendez’s message is simple. Tools can help artists work, but they should not erase the people behind the art.