Matsumoto assisting and writing the main theme. Yoshiki’s music was excellent, and he provided the game’s score, with Mr. But there were a lot of tracks to be written, and it would be hard for him to write them all himself, so Matsumoto-san asked a friend from his college days, “Mr. We hit it off right away, as Matsumoto-san loved video games as well.

I had a reply within two hours, saying that we should meet as soon as possible. So I came up with the name of Ryoki Matsumoto (the writer of the songs “Yuki no Hana” and “Tsuki no Shizuku”), looked up his website via Google, and sent him an email. Sugiyama had done with Dragon Quest, it is enough simply to have someone who writes excellent music. So I asked an artist who had no connection to video games to take the job. We wanted to take a more “straight-shooting”, approach to composition that wasn’t as “outwardly strange” as the first. “A powerful flash of light shoots through the air, and the sky expands, splitting open the dark clouds.”Ĭompared to its predecessor, in hard rock/heavy metal terms, the sequel is more of a “fusion” rather than the first game’s “intensity”. I am also grateful to the man who participated together with me on this amazing, dramatic project, my friend and the composer of “Hitori”, a melody that has gripped my heart, Mr. My heartfelt gratitude goes out to all of the staff who told me their personal feelings regarding creative work, who - in their overflowing love and feeling for the work - encouraged and spurred me on to greater creativity. Building the music as the project progresses, trying out the game in various states and stages, and, after an extremely exacting process of trial and error the result is a cluster of completed tracks that one is bound to be satisfied with. From the first game’s music, I decided on arranging “Exhausted” (tracks 11 and 12), an extremely high quality track which I felt expressed that game’s world view and also resonated with the world of 2. In producing the music, I had to keep a balance between expressing the dark worldview of Drag-on Dragoon that is retained in this sequel, with its attendant bittersweet lyricism, and remembering not to intrude on the heightened feelings and expectation that the player experiences during the game. How does incidental music used in video games differ from movie scores and the so-called popular genres? And what form should the music take for this project, Drag-on Dragoon 2 so that it comes together as a consistent work of art? Those were the questions I faced on this project. Drakengard 2 Original Soundtrack (Drag-on Dragoon 2 Original Soundtrack)Ĭommentary Yoshiki Aoi – Sound Producer & Composer

Drakengard 3 soundtrack google music