The station was equipped with the latest Intellicomputer, the "Dire 51". I was the main programmer for the three titles recorded on this disc.

I spent an inordinate amount of time on that. The planning documents I presented at a meeting (even the President was there) featured a player character in an armored robot, a Noh mask enemy with mounted cannons, and it pretty much ignored everything about the Aleste world. So at first I thought “This is going to be sad!”, but once we started developing for it and I saw the faster CPU speed and the CD-ROM that allowed full voice-acting, I realized we could make something great!

Under these circumstances, I wanted to make the world’s first heavy metal game soundtrack, a game where the music of each track would be related as a whole.

I also worried that if I used a sound similar to ones we’d used before, it would disrupt Kazoda’s music and the tempo of the game. When I look back on it now, I feel a sense of pride: “man, we did a great job.” The music was a product of its time, and I don’t think I could have done it without the generous understanding of great colleagues like Nakashima, Toyama, and MATS. When I see scenes like that, there’s something about it that really reminds me of the four of us. On the planning notes for the music, I had written the phrase “Edo Metal”, and I remember how Kazoda burst out laughing when he saw it.I’m not sure why I didn’t just write “heavy metal with some Japanese aesthetic elements”… after the meeting Kazoda approached me and kindly said “I knew what you meant.” I was grateful for his consideration… it was embarassing!After that we decided on a speedy heavy metal sound that would match the fast scrolling and would play from the start of the opening demo non-stop without interruption. In order to defeat the attacking forces, Earth finally places its last bet on the MUSHA unit. Second, there were scenes that would require two channels for the FX. Everyone has now gone their separate ways in life, but I hope we can come together again someday and release something new to the world. But Dire 51 seemed to be too smart for Earth's own good. To be honest I never doubted him, because by that point we had a long history of working together at Compile.I was often asked later about the sound in the opening intro when the pilot’s eyes sparkle. Our goal was a robot-anime style STG, where characters would talk to you while you played.The basic engine from the first Spriggan was complete, so I took on the role of both planner and programmer. MATS and I tried out various tricks and techniques. Since the drums were fixed, that gave us three tracks to use for all the other instruments in a given song. My sincere thanks to my fellow developers, the producers, and all the players out there.

One thing that stands out in my memory is arguing with MATS, who was in charge of sound fx, about the sound fx timing for the action taking place within those deeper background layers. When I look back on it now, I feel a sense of pride: “man, we did a great job.” The music was a product of its time, and I don’t think I could have done it without the generous understanding of great colleagues like Nakashima, Toyama, and MATS.

Thank you. Meanwhile, Dire 51 develops a powerful armor and begins its attack against Earth. Though the cause of Dire 51's malfunction was hurriedly investigated by many research teams, no conclusion could be found about the cause. The battle on Earth intensifies, and the situation gets into a staggering state. Today I’ll try and write a bit about my memories of Musha Aleste.The very first sound I worked on was the lightning sound. Take your favorite fandoms with you and never miss a beat.

Yonemitsu Kazunari was working on Puyo Puyo at Compile back then, but it was rare that we were given the head planning role in a STG game. Sega also requested that Kazoda and I use only 4 channels for each song. Meanwhile, Dire 51 develops a powerful armor and begins its attack against Earth. But Kazoda came through as usual! This sound effect later got used, independent of my wishes, in Musha was a product of its time. Though the game's plot is essentially the same between the Japanese and western versions, the western version makes a few changes such as in the dates and the character's names. When I listen to those fx today, I find myself wanting to redo half of them.


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