The final fiction is an important and popular personality for 14 producer and director Novaki Yoshida MMORPG, but there are many other developers in the beloved game of his community. One of them is a composer.
Although Nobo Amatasu has developed a significant score for the opening games of the series, Sokin has picked up a mantle as a composer for the final fiction 14 and the final fiction 16.
Its musical style is a selective compound of species, from fragile piano and vocal pieces to heavy metal rock songs. This resulted not only the regular concerts of the piano at the Fan Fest Events, but also the inner rock band of the development team (named after the name of the Samanbal Monsters of the Sports), along with the director of the localization, along with Michael Foxy Foxy, along with Localization.
In fact, these performances were prominent in the Fan Fest events in which I participated in 2023. Most of the reason for this was due to self -sufficiency: especially after the emotional offers by pianardic kicko and singer Amanda Achin, Sukin arrived. On the stage with your Ottamone Tool Weaken his own composition too much laughter. Personally, he too, he is a humble and entertaining interview.
In particular, Sukin Shadow was secretly fighting cancer during the development of the burning expansion. They This revealed in 2021 in the digital fan fest – Ever since seeing his happiness, he has just liked society.
Celebrating the music of final fantasy 14 and 16 before a concert this weekend, I had the opportunity to talk to the composer.
You started your career with a lot of sound design work. What do you think he has influenced your point of view?
I think this experience certainly appears in everything I do. In terms of voice design, if you are putting the game experience first, as a basic thinking you have to think about coming before the mixture. I think this is very important. What I don’t want is to see people as artists as artists (as against the developers). The reason is that making music for sports, I need to think about music that is just part of the entire game’s experience. If we just think of sound, you have sound effects, and you have sound lines, as well as atmosphere, and then you have music. So all the elements need to be naturally united, joint, and then it becomes the sound of the game. If I had not already learned a sound design, then I would not complete its understanding. In the circle of game composers, I guess the title is a shiny thing, so people see it as an artist. But I think anyone who wants to go into the game should learn the first sound design.
Earlier, you (Mario and Zelda Composer) also worked on Mario Hopes 3 -on -3 scores with Koji Condo, what was you like to work with?
The use of the Nintendo DS environment was incredibly difficult because it had a limit to what could be played. For example, on the game selection screen for Hopes, I think, in my view, is a song that plays, but at the moment we do not have sunglasses or ability in terms of storage or memory to allow it. In terms of DS, people were like that, ‘this is not possible on DS’, but I think it was a great learning experience for me that forced me to learn how to make it impossible. At the moment, there were many boundaries in terms of hardware than contemporary hardware, so I understand that the experience of having some tools to do something, and the experience of developing the theories needed to go through this process allows me to experience many ideas now.
Since the sound track is to be written in the final fiction 14 and 16, then how does it feel to be composer for the two mainline final fantasy games and follow in the footsteps of Nobo Amatasu? Do you feel a lot of pressure to live up to her job?
Personally, I understand that the ultimate imaginary music is Is Musa San’s music. Sometimes, when I get stuck on what I should make a song and I need some indicators, I feel myself thinking, ‘What will Amitsu do?’ It feels like I am just pulling flowing from the Ayatiso San and bringing this flow to the games of this era. I find it difficult to express, but I feel like that.
Amatasu San has talked about the interview Time commitment to compose full scores is requiredAnd this is the thing with which he will struggle. How does this commitment look like for you? Do you think the game sound tracks are more wide now than the past?
I fully agree. He said, I always try to think about the ways I can get it. In fact, I think that instead of thinking about ways to make good music, I’m thinking more about creating a good game. And if I think about it like this, I am able to get a balance.
For example, in a musical point of view, if I use the violin, I will record it directly. This is something you think if you are preferring music. But if I went ahead with this vowel recording, we would book, score, book the studio and plan. All these things we do not have to do for the game music.
If we are thinking about the game experience, it will be better in terms of time cost, all the extra costs, if we (this) (that Veelin) put it in a different song that was once again similar to the game experience. If you were just a musician, you would surely go directly for Vallen, but because we’re thinking about making a game and making a player, they would have another song that would be better than a growing vowel sound. I’m always trying to think about what is needed to create a better game experience.
Your musical tastes vary from classical to jazz to rock to pop. How would you describe your musical style?
Sukkin styling! (Laughing) When I am thinking about the decision whether this song is fine or this song is bad, I always keep trusting in the sense of feeling, and I am asking myself, ‘Does this song look cool for this game experience?’ I think the decisive factor is the style.
One of the things I really like about your music is a combination of classical music and heavy rock music, often for action and bass battles. Why are you leaning on rock music especially for inspiration?
In terms of a simple answer, the content of war is really well similar to rock music. In terms of music, rock is something that is easy to hype, and it is easy to understand, though rock is not necessary to be the only thing that makes you excited. I just think as a gender, it is very easy to join.
Who are your biggest stone inspiration?
Anger against the machine!
One of your favorite pieces is closer to the distance, which is obviously a big rock. I love how it is used in the last area of And Walker. How important is it important for you to keep a vocal song as part of the score? For you, what is the strength of a vocal song?
I would say that the level of passion for what you are talking about is really increased (with the souls). When you make a game music, I understand why players need to move their hearts through songs. Whether it has sounds or not, as long as it can move them, I think it’s fine. But I thought in the distance – you saw it in Altima Tul – I thought this time it would perform well with the sounds and it would eventually move more hearts. So that’s why I chose it.
Also, for this scene, the author of the scene, Natsuko Ishikawa, always told me ahead of time that it would be a good idea to have a song on it. I agreed that, from the beginning of this difficult area and gradually becoming clear, to fight the sounds from where it became clear, I thought it was as good as the game’s experience.
Another magazine was the civilization of Shadow Burner, called La. Did you expect that when you made a vibration on it? Were you surprised by the reaction?
Yes! It was actually performed at the Digital Fan Fest (before the Shadow Borner), but we were going through a lot of depression, so I was trying to make everyone laugh. , And that’s what happened at the end.
How do you feel that your composition is ready during the final of the final fiction 14? Was there anything in Donterial, something you were able to get to you before?
I used to write alone, but for Dantriel, this time my younger subordinates were able to reach the point that their powers were being shown. So I think this is an excellent example of his work.
Are there any final fantasy scores that have proved to be particularly impressive to you?
There are many ways! I mean, all the songs of random collision, are they not all good? And all the last songs of the boss, are they not all good? And field songs are really good … they are all good!
When you are composing for the final fiction 14, do you feel the need to add old Melodic themes as part of the final fantasy theme park? For example, Dantriel takes more than 9 more than the final fiction.
Of course, as a concept, the ultimate fiction 14 is intended to have the theme of the final imagination. So I think it is really important to pay tribute to the past, but this is not something I must be forced to be. The reason for this is that the purpose of the game is to pay tribute to the past titles itself, so we already have the intention of bringing past songs, and we also have to plan some elements from the songs of the past. We never have a structure where we have songs and music before (gameplay or story) content. When we decide to pay tribute to a particular title and we decide to create a particular song, we have to look at that it was like (in context) at that time. I sometimes take phrases from a song in a way that causes the last fantasy players of the past, because I was also the ultimate fantasy player.
Which piece of music do you have on which you are proud of?
Which I am proud of, I’m not sure when you say it, but is it ok if I say someone like a song I like? So here is a song called Final Fantasy 16 and sometimes I listen to it, and I think ‘this is a cool song’.
This interview has been edited for clarification.
