When I made my own films I used 8mm film, which has only two very thin tracks of film and awful sound quality.Īs a result, although I learned the ins and outs of editing, I never paid a lot of concern to the sound side. It taught me how much you can do with music alone. I was surprised to learn there was actually quite a bit more artistry involved than that. Before I actually tried my hand at it, my image of drama cds was pretty simplistic: a bunch of talking with music recorded on top. What I learned the most from my time at KME, however, was the way music works in a scene. I had been used to writing screenplays and the like since my student days, and as I wrote out the plot I started to feel like I could finish the whole thing myself! (laughs)īefore I joined KME (and after I left), those drama cd scripts were being handled by an outside contractor, but I heard they weren’t very good, so I was given a chance to try writing a plot for one of them. Murata: Yeah, the genre might have changed, but an otaku is an otaku is an otaku. Sounds like you dived headfirst into the Otaku Wonderland. So in addition to their music production work, KME was also making radio dramas and drama cds at the same time.
ZONE OF THE ENDERS KEN FIGURE SERIES
The “Motto! Tokimeki Memorial” drama cd series had just been released, and they were selling 20-30k copies a month. That person went on to become the President of Konami’s music production subsidiary, KME, and he invited me to join him there. When I joined Konami they were right in the middle of making Tokimeki Memorial, and I was assigned to work under the executive producer. Since joining Konami, your profile shows an impressive amount of script/story credits.
Without those skills I probably wouldn’t have been given this work.
However, the personal skills I’ve cultivated lie in dramatic narrative-that’s the best way for me to express my ideas and contribute to a good game. Murata: I’ve never made a puzzle game yet, but I imagine it would be interesting. You can have a game where the story coexists with the gameplay elements (as in Anubis), but there’s also the opposite, games that are pure puzzlers with no cinematic narrative elements. Yeah, there is a lot of freedom in games. In independent films there’s the idea that you can do “whatever you want”, and when I looked to the game industry, I sensed a similar mentality there. It was your traditional hierarchical company, and there were a lot of older people working there. But I felt that the films I had made didn’t quite match their sensibilities.
ZONE OF THE ENDERS KEN FIGURE MOVIE
I met with someone from a movie production company in Japan. It was all pretty grim news, and although I thought about the option of going and giving it my best shot, I concluded that staying and working in Japan was the better bet. Unfortunately, most of what he had to tell me was bad news: that Industrial Light and Magic were only hiring one person this year, and that foreigners didn’t have much of a chance.
I had a friend who I had made movies with, and who had actually gone overseas to study abroad at film school. When I was a student I made my own films, and I also had ambitions then about going to Hollywood and becoming a director. Murata: I wanted to do game design, so planning and directing. Shuyo Murata -What kind of work did you originally want to do when you joined Konami? Since I understood the ins and outs of the story, and had made some films myself in my student days, they said “Murata, you do it.” (laughs) -You make it sound like they just looked around for the guy with nothing in his hands. Some time passed, and they realized there was no one yet assigned to the task of overseeing the final product of the CG rendered movies-basically, a rendering director. As such, Okamura didn’t have time to finish the scenarios, and after some back and forth with him, I was given the task of shoring up any scenes and dialogue that might be lacking, and connecting all the disparate fragments of the story. They’re really pulled in a million directions. Although I had no direct connection to the development, director Noriaka Okamura used to say to me “I don’t have the time to get this scenario finished.” Directors, you see, must do more than oversee the actual game development they do a little bit of everything, attending to whatever needs attending to. Murata: During the development of the first Zone of Enders I was working on something else. Shuyo Murata, director -How did you find yourself in the director’s chair for Zone of Enders: Anubis?
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