Mag-log in bilang miyembro
Natutuwa ang musikero na makahabol sa Gamereactor sa Italya upang pag-usapan ang tungkol sa mga nuances sa maraming mga estilo at genre na nilikha niya, tungkol sa paparating na The Scarlet Engagement kasama si Koji Igarashi, at tungkol sa mga pagkakaiba sa pagitan ng isang kompositor at isang sound director sa mga video game.
"Hi Gamereactor friends, I'm at the 26th Comicon in Napoli, and I'm here joined by Tanaka-san, who's a legend in music and sound for video games.
And Tanaka-san, thank you so much for joining us."
"First I wanted to ask you about Yakuza, and about, you know, how the game and the music have to go from very dramatic, serious stuff to comedic jokes and ridiculous situations.
How do you approach music for that?
Of course it's not just related to the Yakuza, Like a Dragon, but of course whenever we have a commission about the soundtrack of a video game, of course we do have some materials, such as the environment, the type of the category, the environment in which that specific game is going to be evolved."
"So of course we do have some inputs on the emotional side, and for example we do have the input on the pace of the game.
Based upon such directives, we start to compare with the designs they gave us, and at the end of the day we produce something with a very varied music."
"Of course you know that there is a sound director, so we do have a specific direction and directives from the sound director.
We try to convey and better understand the nuance, the desires, the objective to which the sound director wants us to produce, regarding the music and the soundtrack."
"Sometimes it depends.
We try to have a discussion regarding certain items, or I get immediately what they want, his objective.
So of course after so many years of experience, the first shot, the times that we got the go sign of the first shot gets more often."
"Of course they are not major reworks anymore, but there is more and more fine-tuning of the soundtrack according to the type of game and the soundtrack they want to.
The average of the fine-tuning is around three times."
"Fantastic. You have a really nice Bloodstained T-shirt.
We are sad that Iga-san couldn't make it to the Comicon.
We were expecting him and I met him many years ago.
What can you tell me, or how can you tell me, the gothic sound of Castlevania back in the day, given your Castlevania roots, evolved into what we can hear and listen to in the Bloodstained games?
Of course there is a legacy from Castlevania, but I think that there are so many things off the record and there are so many things that I cannot say officially to you."
"But of course I will limit my answer to what I can tell you actually.
But I think that there is some legacy from Castlevania, but at the same time I would like to use all the factual, my essence, today's essence."
"And not only, but of course I would like to have some inputs from the great maestros of my segment, but not just copying their work of art, but it's like a personal interpretation of what they left us."
"You mentioned the differences between a sound director and a composer.
For those who don't know, how do you work when you have to picture the whole sound identity of a game versus being the composer that just focuses on music pieces?
If I have to produce a soundtrack, of course I have my first impression and the first feedback from the material they gave me."
"But I always try to imagine the world, the environment in which this game is going to develop.
And by doing so, I try to understand better, I start to imagine better the world, and at the end of the day I find the path, the right path, and I will decide to go through that path."
"Thank you so much for your time, arigatô gozaimasu. Enjoy the show."
