Sakimoto: I really remember the faces of everyone who was developing Soukyuugurentai. Please share any interesting episodes or anecdotes from your time there. Sakimoto: Hmmm… which one’s haven’t been released as soundtracks? Sorry! -We are also publishing a Raizing/Eighting feature in this issue. (laughs) -Is there shooting music you’ve done that hasn’t been released on cd yet, that you’d like to see released? It was really funny when Namiki grabbed Shinji Hosoe and Ayako Sasou, who were also there, and proceeded to passionately talk their ears off about Hosoe’s music. Sakimoto: After completing the Battle Garegga arrange track I mentioned above, we went out drinking. What shooting game music you’ve composed has given you a lot of troubles, or is otherwise very memorable for you? It was like doing a compilation, and it was fun and memorable for me. Sakimoto: I’ve done almost no arrange versions, just a single track from Namiki’s Battle Garegga soundtrack. Of all the shooting game remixes you’ve done, what are the ones you like the most? Those were extremely exciting, dramatic games. Sakimoto: Probably Radiant Silvergun and Soukyuugurentai. Of all the shooting game music you’ve composed, what are the ones you like the most? I know it sounds contradictory, but this is based off my personal experience playing shooting games… it’s very hard give a theoretical explanation. I try to give players that experience with big dramatic shifts in the music as well. When you play a shooting game, you’re focusing so much that time seems to go more slowly, and combined with small undulations in the flow of the music, as well as your attention being so focused on the screen, one’s perception of the music can become very clear and sharp. Sakimoto: Making the music dramatic, through small and large turns in the flow of the song. When you’re composing shooting game music, is there anything you’re particularly conscious of or careful about? There wasn’t really any particular instrument or hardware I always used. Sakimoto: I just used whatever was available to me at the time. Please tell us about the main equipment you use when composing shooting music. Actually I don’t like it that much as a game, but the music is astounding.

Sakimoto: If I limit it to shooting games, Dragon Spirit. Are there shooting games which have influenced you as a composer? It was very difficult for its time, and when I first cleared the first loop I found myself completely immersed in the game. Sakimoto: I could give countless names, but Tatsujin is personally very memorable for me. Are there any shooting games you particularly enjoy?

What was the first shooting game you played? The staff roll song was so moving to us that tears came to my friend’s eyes. One thing that left a big impression on me was the first time I saw the ending of “Senjou no Ookami” ]. Game centers at that time had an atmosphere of a place where delinquents gather, but I started hanging out with some cool older kids who were there just because they loved the games. Sakimoto: I was a typical game center kid, but I had been involved with music before that, so my interest in game music was a very normal progression. Historic Soldier (MSX 'Konami Game Collection Vol.2003 DDP-DOJ – Ketsui (Music CD) -Please tell us about your childhood, and how you got into music and games. The Universe of Blackness (MSX 'Gofer no Yabou Episode II') Album was released by Ship to Shore PhonoCo. Soundtrack consists of 34 tracks tracks with duration over.

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