00:00Japan is a nation that has influenced the world in so many ways, be it their food, their technology, or
00:07their contributions to popular culture, like video games.
00:10For many of us, the music of video games played more in our households growing up than any other form
00:17of music at the time.
00:18Yet for most of us, the composers behind these timeless melodies remain faceless.
00:23Digging in the Carts is about unearthing the men and women who inspired an entire generation while arguably creating Japan's
00:31biggest musical export to the world.
00:33Let's go.
00:5432bit game機の到来によってチップチューンの時代は終わり、ゲーム音楽は新しい時代を迎えた。
01:04あるメーカーはゲームに最新のクラブミュージックを採用し、また、あるメーカーはハリウッド映画と同じ手法を取り入れた。GET
01:05GET DOWN EVERYBODYGET
01:08GET DOWN EVERYBODYGET
01:11GET DOWN EVERYBODYGET
01:18GET DOWN EVERYBODY1994年、年末にPlayStationが発売されました。
01:23That's why the 16-bit game was ended in the era of the 16-bit game.
01:27That's why the game's music was changed.
01:32That's why the 16-bit game was called a cartridge to be called a cassette.
01:39It became a PlayStation, and it became a CD.
01:46It was a very popular game, but there was a little bit of a comic.
02:16鉄拳の音楽はクラブミュージック的な音楽に近いといいますか要は格闘するその高揚感をより沸かせるためのアップテンポな曲が多かったと思います。
02:37バンダイナムコゲームスの第一事業本部というところでゲームディレクターおよびチーフプロデューサーをやっている春田克弘といいます。そして今年はテケン20周年ということで非常に記念すべき年です。
03:02僕らの格闘ゲームって1990年代の半ばからでちょうどCDってものがそのまま音楽でゲームで使えるようになった時代なんですね。これはすごく大きかったと思うんです。だから実は音楽の進化というよりも基本的に制限がない。鉄拳シリーズのサウンドディレクターをしています。柿野かな子といいます。
03:31プレイヤーの皆さんには鉄拳の曲聴いたらもうテンションが上がるよっていう風に思ってほしいですね。あとはいろんなたくさんのコンポーザーの皆さんから新しい音楽の鉄拳のユーザーの皆さんに紹介できればなという風にも思っています。鉄拳1と鉄拳2のアーケードとあとプレステーションの音楽を作りました。
03:54当時はストリートファイター2がメインだったんですね。超えたかったです。はい。音楽としてはまだなんか本当にゲームを構成する一部のもので、それを今みたく超えてワールドワイドに例えばクラブイベントとかそういうものができるようなものになるなんて頭が全然なかったので。
04:03鉄拳の曲は日本ではもちろんなんですけども実はその海外で人気が高かったというのも特徴の一つです。
04:14例えばなんですけどもこれ。これ鉄拳の当時出たアナログのレコードです。
04:27有名なジャングルのミュージシャンデリンジャーとかあとはレモンディといった有名なジャングルのアーティストが鉄拳のゲームの曲をリミックスして曲を作っています。
04:56このようにクラブミュージックとして鉄拳の曲が使われていました。鉄拳はアーケードゲームの鉄拳3でその次に鉄拳3の4プレイステーションっていう順番。鉄拳っていうのはやっぱりビッグタイトルだったんでちょっと自分でやりたいやりたいって言った記憶もあります。
05:12僕は鉄拳3でやりたかったのはジャンルを統一したい。しかもやりたかったのが当時僕はケミカルブラザーズがすごい好きだったんで。ケミカルブラザーズはギターをフィーチャーしてそれをテクノ的にアレンジする。
05:43最初は佐野さんがケミカルブラザーズを鉄拳3でああいう音楽をやりだしてそれが出発点ですね。それを受けて僕もクラブミュージックを鉄拳に取り入れて作っています。
05:50僕結構クラブミュージック好きでクラブも好きでウームとかアゲハとかよく行きます。
05:58日本のアーティストにもいろいろ影響を受けていてケンシーさん、一種の卓球さんすごい影響を受けていますし。
06:22ここはバンデナムコのサウンドルームです。僕は鉄拳だとドラムベースを作ることが実は多くて。これはもう15歳から当時はゴールディとLTJブケム。2人とも当時超有名プロデューサーだったんですけど。もうその2人がすごく好きで。
06:55僕の曲で初めてドラムベースを知ったという人がどこかにいたら、もうそれは最高に嬉しいですね。だからこそ変な曲を書けないなっていうか。ハードが変わるにつれてどんどん音質も良くなるので、サウンドはむしろちょっと楽になってきたといいますか。自分の思ったことが素直に表現できるといいますか。
07:15例えばギターもそうですし、ベースもそうですし、生の例えばドラムとかグラスとかストリングとかも、自分の思い描いているものが具体化しやすくなっているのかなっていう気がします。この曲は去年発売されたエッケンレボリューションという曲のドイツステージの楽曲です。
07:30これはもう叫んでるだけなんですよ。本当はもうちょっと叫んでる。
07:48あああああああああああった感じだろう。テッケン5とかぐらいのときに、さかのぼってテッケン3の音楽を好きだったんだよねっていう感じで、そのYouTubeにアップをしてくれてたりとか。
07:49Especially when I was playing with a guitar at an American person,
07:52there were many other people who were playing in Europe,
07:58but I think they were going to sing them.
08:01I was like, I can't feel like I'm going to play with this.
08:06The feedback is that,
08:08I think it's true that I think it's true.
08:11I think I wanted to create a better feeling at the same time.
08:16I think it's true that Japanese video game music is the most important part of the world.
08:26I don't think it's true, but I think it's really good.
08:33I think it's true that I've been able to create a new video game music.
08:45This game has been a great transition for several years.
08:50Metal Gear Solid is a game that has been a great quality of Hollywood music.
09:01The producer and creator of Kojima is a fan of the movie.
09:08He's a fan of the movie.
09:09He's a fan of the movie.
09:11He's a fan of the movie.
09:13He's a fan of the movie.
09:14It's a fan of the movie.
09:18This is the game that's the movie.
09:19It's a fan of the movie.
09:32Kojima Hideo.
09:33I'm a designer of Kojima.
09:35I'm a fan of Metal Gear Solid.
09:36I'm a fan of the movie.
09:37I was a fan of the movie.
09:38I wanted to make movies.
09:40I wrote a book.
09:43I didn't get a book.
09:45I didn't get a book.
09:45I didn't get a book.
09:48I didn't get a book.
09:51I'm a fan of the movie.
09:53I was a fan of the movie.
09:56I was a fan of the movie.
09:59That's how I am.
10:03I was a fan of the movie.
10:05I can't see the movie.
10:08It was very fun to have a lot of fun.
10:18There were a lot of beautiful CDs that were coming out.
10:22I went to Hollywood's Harry Greggson-Williams.
10:26I went to the real sound and it was digital.
10:29So I started to do that.
10:31I think that's what I'm doing.
10:33I think I've been doing a lot of work.
10:36It's not a movie, but it's not a movie.
10:39But it's only 8% of the sound.
10:43Phantom Pain is open world, so it's a linear game.
10:47It's a movie like this scene.
10:49It's easy to play with the camera, so it's easy to play with music.
10:52But usually, when you're playing with the environment,
10:55when you're playing with the player,
10:56what you're feeling, what you're feeling,
10:58what you're feeling, what you're feeling,
10:59what you're feeling, what you're feeling and what you're feeling,
11:04you're feeling a new person,
11:06and who you're feeling a new struggle of life.
11:09The movie's class was a very early stage.
11:14FOLLY is one of the causes of digital media
11:17that we have a limited diversity.
11:19The only difference between the FOLLY is a company.
11:22There is a number of importance to it.
11:24The extra benefit of the FOLLY is the same for the same material.
11:24It won't be able to get it. It won't be able to get it.
11:36What is it?
11:41This is an air gun.
11:45Gun movement.
11:53This is an air gun.
11:54Soldiers equipment.
12:02This is wood.
12:04This is helicopter floor.
12:08Catwalk.
12:13Snow area.
12:19Salt and we have real water.
12:29We're using a lot of just soundscapes, sound effects to make the player feel like they're in the right area,
12:36in the right environment and focus on their task at hand, which is usually it's sneaking, you know?
12:46We're definitely still doing a lot of orchestral stuff and it's always important to know what Kojima-san is into
12:55and what he wants. He's really into rock as well. So like we're definitely trying to find some kind of
13:00a hybrid.
13:04The greatest development in the whole game music industry is that it's finally being recognized by all these people in
13:13Hollywood. I'd love to see John Williams do something.
13:15Hans Zimmer has been doing it. Haria has been doing it for us. And more and more people are getting
13:20involved and don't look down upon it.
13:24This is what I'd love to hear.
13:27I've never thought of that.
13:28I couldn't believe it. It didn't believe it. I'd love to see it.
13:30I'd love to see it.
13:33I was 16-year-old B-Porn, but there was no character and story.
13:39I believed that this media would become a movie like this.
13:45But I didn't think that it would become a movie like this.
13:51So I'm happy to be happy with that.
14:00Japan is made to North Korea to the 90s.
14:05Yet it's not for 100 years.
14:08And that's what I don't think it's up to Japan.
14:12It's probably not a big thing to do with Japan.
14:15It's a big thing about Japan's music.
14:20Japan's video game music is the most successful musical export, because this is the one genre
14:25that has touched the hearts of the global masses.
14:28I think that unconsciously, our real electronic music influence was those games and stuff.
14:35So I think, like I said, for people around my age and older, that was really the first
14:41taste of electronic music for us.
14:43Out of the hundreds of composers out there,
14:46these people did something for me at a certain point in my life
14:49that A, made me say this is what I want to do for the rest of my life.
14:52And B, like I said, it's almost like etched into your DNA.
15:14Those dudes are definitely legends, like a Michael Jackson or anybody else.
15:19These games sold millions of copies, you know what I'm saying?
15:22So these dudes are legendary, you know what I'm saying?
15:25So they need their proper shine.
16:06They need their proper shine.
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