John UM
This time, for the drama “The Angel of Killing”, the composer Sakamoto Hideki, who is active in the game industry and has rich experience in game composition, is the second work of his TV animation composition. Although Sakamoto never publicly declared that “non-games don’t write”, but from the actual situation, the game field has always been his main battlefield, so when receiving the invitation of the producer, Sakamoto himself is quite high, still After waiting to listen to the story, I can’t wait to express my willingness to join. .
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坂本英城. Composer, music creator. CEO of “NoisyCroak Co., Ltd.” He has participated in the composition and arrangement of many games such as “Rugao” series, “428 ~ Blocked Shibuya ~” “Wenhao and Alchemist”. .
“The Angel of Killing” was the first game piece. Before the official start of the work, Sakamoto personally started playing it. After watching the live animation and the game screen, I felt that the work showed a good taste. Although it involves elements such as terror and violence, it is clear in terms of the words and deeds and the motives of thinking, and it is full of sincerity everywhere. Therefore, in order to achieve an animated version of sound and picture coordination, in terms of composition positioning, Sakamoto tends to be intellectual and elegant, and for this reason, he chooses to let the stringed instrument play the leading role. On the other hand, considering the setting of the story stage inside the building, it also specifically enhances the indoor reverberation effect. .
Although the layout of the various floors in the film is very different, it seems that it does not exert any pressure on the writing of this book. On the contrary, because the film is in communication with the game music, it is quite easy to operate. The only thing that is not very suitable is that Sakamoto has taken over the brighter types of composing tasks, but the drama is not bright and bright all the time, and is always shrouded in sullen and dull mood. Of course, Sakamoto also regards this kind of sunny and dramatic plot from beginning to end as a good opportunity to challenge the ability of the wind to control. .
In this 40-minute song, the character tracks account for more than half. According to the different moods and states of each character, a number of theme songs have been customized. Implemented to the practical level, in view of Regier’s large lack of undulating whispers in the drama, Sakamoto tried to compress the piano’s sounds to the lowest extreme value, and every time the notes were in the air, it was like a broken hair. Suddenly connected on the occasion of the break; in the description of Zuck, mainly through the tone of the guitar to enhance the contrast between the characters and other debut characters, while using a large narrative melody to express; Dani doctor here, deliberately to render the creepy atmosphere; Eddie uses woodwind instruments to highlight his childish side; Casey’s incomprehensible grotesque personality is accompanied by electronic music, and Ge’s father’s theme song is obviously religious. The standard of composing for Sakamoto is that no matter which piece of music, just listening to a few seconds, the listener immediately emerges the image of the character in his mind, but without the effect of strong impact, he does not ignore the melody. Hearing resistance. .
Among the many songs, the most favorite of Sakamoto is the background music that Zucker echoes during the puzzle. In the process of getting stronger and stronger, the cello stretched the theme song of Zak, and Sakamoto was looking forward to the reference of the piece in the drama. .
And in all roles, Dr. Dani’s soundtrack is the hardest to write. Originally, Dani was created with some songs that made the chicken skin inverted, and on this basis, the horror effect needs to be further enhanced. The difficulty can be imagined. According to Sakamoto, during this period, he spent a period of research time accompanied by various types of discordant sounds. Later, he almost fell into a philosophical lost way of “what is creepy?” But he felt that, overall, the creation itself gave him a wonderful experience. .
For the interpretation of the animated version of “The Killing Angel” music, Sakamoto is full of confidence. He believes that after deep understanding of the role, he digs deep into the character’s psychology and tries to find an appropriate expression. Moreover, according to the different states of the character, Sakamoto will re-arrange the same melody, so that the genre will instantly show a different look. I hope that you can pay attention to this feature when watching. .
References: .
18th August issue “NewType”