Hideki Oku discussed on Rhythm and Pixels Video Game Music Podcast


And we're back you're listening to bonus stage one from street fighter three third strike it's the arcade and then the online edition on xbox three sixty playstation three and four composed by Hideki Oku gala which could easily be mistaken for terminator acts of public enemy because this man this is some dirty dirty break beat rob drop some heavy lyrics over this I started hitting these dead on I can't even question so so we were talking about earlier I got really really into not really into rap music like really into sampling and and that's when I started the DJ and my friend Chris he was really big into searching for records for break beats and samples and stuff and so what we would do we listen to old all public enemy albums and then go and try to find the actual samples and we would recreate the songs real frolic sample this specific sections and then loop them and then recreate them again and then when they were we will be done we'd be like Oh oh we just that's that's the song I guess we done something original but we spent the whole afternoon doing this instead there's something to be said about I think if you are able to deconstruct and reconstruct it at the ultimate can teach you more so that if you do decide to go again like turntables but now everything's I can use software but Mitchell like so I mean with this game that's just it's pleaded now like what are some things that you've learned along the way that maybe you wish you knew ahead of time so for composing kind Z. fear are the thing about is that the baseline is constant throughout the entire game whether you're in different levels trombone levels the drums accordion or in your main menu the baseline is constant and so I had to then make also when you progress through the levels new layers get added on top says the puzzles become more complex citizen music but because it all over one baseline it's this one mega modular song and sometimes it's really hard to write new things that without just being redundant or also because you have to have something happening at the entire stem you can't just have big gaps in any in the stems otherwise no one would notice when a new one would come in so how do I make things not money and all sorts of stuff but one thing that I did learn along the way is that sometimes you can be redundant intentionally and then it's late motifs and now you got some narrative kind of stuff going on it sounds like that where it's like you're you're like the section you repeated a few times but now that's like kind of like a secondary like little verse that they can call active player right yeah so the the accordion and the trombone goes on a date and so I actually have that they have a little boat ride together it's really cute but The accordion has a has a stem that in that level and the trombone has level they play by different instruments but you see well maybe you can recognize that it's like Oh that's this expo line from their trauma and that is the other instruments regarding yeah I am genuinely looking to this I luck is expected to be here's a level here's a level almost like almost catharines towers out without the other stuff outside of the towers nobody there's like a full on story going on you're really using so so does it does it primarily use music as its language there's little dialogue that happens before each level and actually kind of during the level sometimes too but think that to me like the music is it's sort of being unfurled as the levels progress and I think that it's used as a narrative I don't WanNa get too much into certain things but I want to give a talk about this at some point I'll be really interested in that but let's keep the show moving along because we got some more many games or mega nine games all of mine are quite smooth there's like sometimes these mini games can overtake what the actual game as you know and I think this might be an example of that because it did exactly that at least four grand period of time mm-hmm so this track is from the game Tokyo Xanadu E. X. Plus and attract titles called Magical Girl Lisa and is composed by Takahiro rotate suge.

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