So I wanted to keep that in there, but I took a completely different directional approach than what I did for Nier. So when I was thinking of what kind of music to create for Nier: Automata, I first thought that the distinguishing feature of Nier tracks is the vocals, the wet melody. So I thought that was something Yoko-san was expecting of me as well from the musical standpoint. So I wanted to answer to that, but at the same time, I kind of felt that Yoko-san was the type of person who does not want to do the same thing over again, even if we succeeded with that, and that he was trying to look for something new. So when we were creating Automata, I felt like they were probably expecting a similar kind of musical experience as well. So he'll input things like 'fierce,' 'battle,' and 'taiko drums' and see what comes up and he'll send that sample.ДЄt this point, now that your styles are known and established, what do you think players expect from you? Do you feel those expectations are fair and accurate?ДЇor a previous title that was not like Nier: Automata, we had a very niche but core fanbase. Yoko-san mostly searches on YouTube and he'll search by keyword. You say Yoko-san sent you samples - can you think of any specific ones? And then we would of course try to see what we both want to do. But at the same time, if it serves the purpose he lets me do pretty much what I want to do. So no matter how much I feel that the music is good, if it doesn't serve the purpose for him in that certain part of the game, he'll tell me I have to recreate it. So I would create a demo off that and send it to Yoko-san and we would go back and forth that way.Д«ut Yoko-san thinks of music as a part of expression in the games, so he really takes a lot of consideration as to what kind of music- if the music serves its purpose within a certain part of the game or not. When I would first receive a request from Yoko-san to create music, he would send me samples of existing music of what kind of sound he wants or what kind of tone he wants, and he also would send me a list of all the necessary tracks. When you were creating the music, how involved was Yoko-san in coming up with the final score? What sort of feedback was there between you? So hearing you say it was exotic makes me happy because you didn't think it was fake Western music. Now that I've aged, I've accepted a lot of my culture as well and I started to create what I can create - what is me, what's personal to me. So while I was young, I was creating 'fake' Western music in a way. I just wanted to ask because my generation especially, we grew up aspiring to create music like Western music. I would say it feels exotic, like it came from a culture I've never heard of before.

For my own personal reference, when you listen to the music for Nier: Automata, do you feel like it's Japanese, or do you feel like it's something else? So every time I hear that song, I can picture 2B running or the level and combat I experienced. The rate at which her feet hit the ground is the same as the dun-dun-dun-dun, dun-dun-dun-dun. I know one thing that sticks out in my head is that in the first level - I believe the track is called 'Alien Manifestation' - the beat matches the rhythm of 2B's sprint. So as a question to you, I would actually like to know if you have any ideas why it resonated so well. Of course I'm very happy about it, but because I didn't really expect it I don't know what resonated with fans. But I never imagined we would receive so many awards. When I was creating the music for it, I felt that my music could become a part of that game and so when you remember your gameplay, the music will come along with that memory as well - you just remember it automatically.

To be honest, I think that it was definitely because Nier: Automata, the game itself, is really charming and great.

Otomata music game