Kohta Takahashi Interview: Cutting-Edge Namco Scores
Kohta Takahashi is best known for his cutting-edge contributions to several major Namco titles. In particular, Ace Combat 2‘s rock performances, Ridge Racer V‘s dark breakbeats, and Klonoa‘s enigmatic orchestrations. Beyond such scores, the freelance artist has worked on several high-profile dubs albums, emerged as a prominent game remixer, and taught at the Konami School.
In this inspiring interview, Kohta Takahashi recollects his background and works in considerable detail. He focuses on the progressive concepts and defining tracks of the aforementioned Namco soundtracks, while drawing out general features of his scoring experiences. He supplements the interview with details of his more recent works, including his collaboration with Kenji Ito as part of the unit RESONATOR.
Interview Subject: Kohta Takahashi
Interviewer: Chris Greening
Editor: Chris Greening
Translation & Localization: Rebecca Capowski, Ben Schweitzer
Coordination: Don Kotowski
Chris: Kohta Takahashi, many thanks for talking to us today. First of all, could you introduce yourself to readers and tell us more about your life and musical background?
Kohta Takahashi: Many thanks to you as well for this wonderful opportunity. Hello everyone, this is the ex-Namco, now freelance SF composer, Kohta Takahashi. Nice to meet you.
While I was growing up, I was influenced by my father, who played drums as the bandmaster of a jazz band. As a result, the music I knew well came from jazz records and movies like The Five Pennies and The Glenn Miller Story. I found the refined give-and-take between fellow musicians inspiring, and enjoyed it a lot. My mother liked all kinds of music, but especially classical. Our house had all kinds of instruments: piano, koto, marimba, guitar, and so forth, so my environment was always filled with music.
From kindergarten through elementary school, I attended a classical piano group class, which gave me basic ear training and the fundamentals of music. But as the repertoire became more difficult, it became necessary to practice every new piece. I wondered if they couldn’t slow it down for my sake. Among my earliest compositions, “Umai” was a song that I wrote at the age of 6 or 7. I still remember all the accompanying parts I had thought up at the time. I may record it some day if I feel so inclined. “Blue Beret” was an original piece of video game-style music that I had started to write on Sharp’s MZ 2500 computer. I remember worrying about it and hesitantly playing it for my parents, saying “I can’t make it into music.” Because of what I learned then, I ensure today that I never have to say those words again.
Then, in the last years of elementary school, I got ahold of Family BASIC, thinking, “with this I’ll be able to play any music I like, regardless of technique!” So from then on I was drawn to this technology that played back any music I programmed in on its own. Around that time, I created a movie without any images, “Eion”. Using a Casio SK-1 and an Aiwa tape recorder, I combined music, sound effects, and the sounds of sampled gunfire and explosions to depict interstellar warfare. Later on I reused the track, attaching it to video game footage. At the time I spent a great deal of time playing Famicom and going to the arcade, and I would go to a friend’s house and talk while listening to the game music CDs he had collected.
Chris: It seems that, before you entered Namco, you were involved in several amateur game projects and original albums with Cyber Factory. Could you share your experiences?
Kohta Takahashi: In high school and college, I studied programming at computer clubs. Our college club, Cyber Factory, purchased a Street Fighter II console, so we spent out days diligently studying video games. (laughs)
I initially composed the music for some doujin game projects. Curly Battle was a doujin game my friends and created for the PC-9801, with people competing for the coolest afro. I composed the music, and since the game only got as far as a presentation, the music is all that remains of it. WithNinja Striker, the case is very much the same. It was a parody game. The music preceded even the planning stage. It seems that, as in the case of Eion, I have a strong desire to create worlds and music, whether in film or in games.
Among my original albums, Kohta Takahashi’s F***in’ Sounds is a collection of music for the PC-8801 series’ sound board II, featuring twenty arrangements from PC, Famicom, and arcade games as well as five original pieces. My concept was to introduce people, through arrangements, to what I felt was famous game music.
G-Radius IV was a sample of what one could create with the X68000 shooting game maker we produced. I put more effort into the new version for the GE-ON-DAN CD, and I am very glad that it can now reach a wider audience.
Chris: These experiences established your desire to compose for video games. What then ultimately led you to enter Namco?
Kohta Takahashi: It was my job search during college that led me to become a game sound designer. My goal was to become a programmer, but knowing that companies would be looking for demo tapes, I tried sending off the music I had composed for my college club. I had revered Namco since childhood, so I tried it just so I could say I had, not expecting to get anywhere. As it turned out, just because I gave it a shot, I was the only person hired for the sound department that year. I had never imagined that I would be accepted, so I panicked. (laughs)
Although I had wanted to work in the arcade division, I was assigned to the home console division instead. I was afraid that I’d lost my chance to work on arcade games like Ridge Racer and Air Combat, but after I entered the company, the PlayStation gained ground in the console market, and I was granted the chance to do all that I had wanted with sequels in both series. I am thankful that fortune has been so kind to me.
Chris: Your popular breakthrough as a game composer was on Ace Combat 2, where you took a leading role. Could you reflect on how you asserted your identity here and created a new sound for the series? Do you think your work on this instalment set a creative precedent for the series?
Kohta Takahashi: Initially, the music for Ace Combat 2 was going to be a development on its predecessor’s rock band sound, focusing on live performances. So in addition to my continued rock guitar performances within Namco games, in my second year after entering Namco, I was brought on to the team as a composer. Wanting to bring in a near-future flavor to the game’s science fiction-infused atmosphere, I was able to bring my own sensibilities into the game’s world. “If conflicts like those in Ace Combat 2 were to actually occur, what kind of music would they evoke for the people of this world?” I wondered.
Upbeat rock may work for the pilots during battle, but it wouldn’t match the feelings of the civilians whose peaceful lives are threatened. So I looked into the kind of music used in foreign news programs and announcements, and brought that element of anxiety into the game’s music. To represent the soldiers before they depart for battle, to symbolize their pride and their sense of justice, I looked into the Olympic theme music, and added that element. And for the times when the player saves the game and returns to the title screen, I wrote a short piece with a heavy mood to help players remember the game’s world, the burdens of its people’s lives, and the meaning behind the fighting.
As the game progresses, fantastic machines appear alongside the realistic ones. To underline this twisting of reality into fiction, I fused the rock and funk that express reality with sequencers, synthesizers, and break beats that express the science fiction elements. It also helped a good deal to have the additional musical sensibilities of the other sound staff who came in part way. By using these contradictory elements in complementary ways, we were able to give expression to the game’s individual worldview, and thus a new kind of soundtrack was born.
Thanks to which, Ace Combat 2 remains very popular within the series, and even today it has its share of passionate fans. One of those fans was later to develop the Ace Combat series’ music further: Keiki Kobayashi. He entered Namco at around that time, and when we met, he expressed his enthusiasm forAce Combat 2‘s music, saying that it was the reason he had chosen this line of work. He played a big role in expanding the series’ musical world further and raising it to a very high standard of quality. As a creator, it is always moving to see one’s ideas giving birth to the next generation of creators. It’s the best thing that can happen to a creator.
At the time, we were unable to release the soundtrack on CD, and the calls of the fans for a release went unanswered, but thirteen years later, in 2010, a CD soundtrack was released as a special edition bonus item. Thanks to the efforts of my old comrades at Namco, Ace Combat 2‘s music was brought back to life, just like the phoenix that shines in its logo.
The project allowed me to grow a good deal as a composer. When I first started, I knew absolutely nothing about the equipment, so I am deeply grateful to my seniors for the on-the-job experience they provided.
Chris: Your talents as a guitarist were also reflected on this production, along with Violence Guitar, World Stadium EX, and Ridge Racer Revolution. What do you think the live guitar work to these productions? As a guitarist, what are your main influences and what are your preferred models?
Kohta Takahashi: The truth is, when I created my demo tape while searching for a job, I wasn’t able to play the guitar. I programmed the guitar part in MIDI. As the creator, I felt that this was leaving it incomplete, so after submitting the demo tape I began to practice the guitar. I practiced for eight hours a day for half a year, so by the time I entered Namco, I felt I could play at a reasonable level.
Violence Guitar was a Super Famicom-based beginner’s training program. My guitar performances were sampled and appeared in a hard rock style. World Stadium EX and Ridge Racer Evolution were on the PlayStation, which could play back recorded audio directly, so my guitar solos were recorded. At the time I wasn’t able to build a solo by myself, so during recording my senior taught me how to create fusion-style phrases. I am truly grateful for my senior’s perseverance and friendship. Thanks to my on-the-job training, I was able to do so much more with the guitar parts for Ace Combat 2 and the Ridge Racer series.
As for my influences as a guitarist, my solos at Namco are primarily inspired by Jay Graydon, but I also count Megadeth, Metallica, Yngwie Malmsteen, Randy Rhoads, John Sykes, Lionsheart, Praying Mantis, Dream Theater, Van Halen, Steve Vai, and Richie Kotzen among my influences. The guitar I used then was a Yngwie Malmsteen Stratocaster from Fender. It had a scalloped fingerboard, with the spaces in between the frets forming valleys. Now I use a Horizon II from ESP.
Chris: Nevertheless, it is the Ridge Racer series that you have most regularly contributed to, with contributions for Ridge Racer 4 to 6 and the PSP titles. When creating electronic music for this franchise, what are your primary inspirations? What are the key differences in creating music for a driving game like Ridge Racer with a flight game like Ace Combat?
Kohta Takahashi: The best way to get inspiration for electronic music is to go to clubs and raves. So I followed the tradition started by my seniors Shinji Hosoe and Ayako Saso, who constructed the first games’ style, and went to clubs nightly. Personally, I find the high one gets from a large-scale rave, like the famous ones overseas, incredibly stimulating, much more so than the feeling of immersion one gets from a small club. I retained that influence in subsequent games as well.
Fundamentally, game composition is the same, no matter what the genre. Three points are common to every game. The first is service. In order not to induce feelings of discomfort or disparity in the player, one must ensure that the sounds match the game in function and quality. In the selection of genre and arrangement, one must create a balanced plan, keeping in mind the game’s overall structure and dynamics. Then one must create a schedule based on these specifications.
The second point is inspiration. Sound supports the invisible aspects of a scene. The player needs to be transported into these fantastical worlds, whether brighter than reality, or more brutal, or perhaps more dream-like, and through sound and arrangement one can bring out the small details: its landscape, its wind, its smells, its dust, its sweat, its tears, and its shades of emotion. I believe that the games that people continue to cherish are the ones with rich, expansive worlds.
The third point is entertainment. Players should be elated, joyful, anxious, excited, and surprised. In the music and in using the music, one must combine originality, unexpected twists, and humor. It is here that a creator’s individuality comes out the most.
Those who are interested in creative work may wish to listen to the music of the Ridge Racer series, the Ace Combat series, and the Klonoa series while keeping the above three points in mind. Also, you could mute the volume of the game you are playing, and put on another game’s soundtrack. Choose anything, even music from the same composer, and I am sure you will realize how much of a difference sound makes to the world of a game.
Chris: According to Asuka Sakai, the composers of Ridge Racer Type 4 initially struggled to receive acceptance for their contributions, given the acid jazz style was unconventional for game music. Did you also find this on tracks like “Naked Glow” or “Urban Fragment”? Were you pleased that the score went on to become popular and acclaimed despite its experimental edge?
Kohta Takahashi: The composition of Ridge Racer 4… it is certainly a tale of sweat, tears, and growth. At the beginning, I had no knowledge about club music. Acid jazz, drum ‘n bass, techno; it was quite difficult to take in all of these genres that are outside of my own tastes.
The first piece I composed came to nothing. Afterwards, the leader of the project, Okubo-san, pointed out the things in it that didn’t work in the club sound, and taking advice from my fellow creators, I presented piece after piece, and I don’t know how many ended up being scrapped altogether. The normally kind Okubo-san had become the gatekeeper to club sound hell. So, the cool Namco sound had developed as a result of such strict spartan measures, I thought. Of course, just composing club music isn’t enough; I needed to create something that would have use as game music before it would be of any use. When my music began to pass the test, I felt a renewed sense of my duty and pride as a Namco sound employee.
With “Urban Fragment” I worked in tandem with the opening movie graphics team, and composed based on my impressions of the sounds and images, with a structure separating silence and motion, keeping a strong link between the music and sound effects. “Naked Glow” was written right around the time I was getting used to working with break beats. During development, when I saw the beautiful sunset graphic that appeared on the course, I wanted to let people feel what I felt; “I love the tension of battle, but it’s an amazing feeling, driving while watching such a stunning evening sky.” To achieve that effect, I developed the music to match the progression of the course as one’s field of vision opens up in an instant and the sunset comes into view. “Move Me” was also composed in response to the climactic emotions evoked by its corresponding course.
Ridge Racer 4‘s stylish nature helped to attract attention, but I believe that it was the emotions of the human drama and the subdued shades of the visuals, infused with feeling, that the tinge of sadness in the acid jazz and house music matched so well. After one had finished playing, one was left with a gentle echo, very rare for a racing game. As one of the game’s staff, I am overjoyed that it remains loved to this day.
Chris: The music for Ridge Racer V was equally pioneering with its darker breakbeat sound. Could you tell us about how you developed this sound with breathtaking tracks such as “Euphoria”, “Junx”, and “Dare Devil”? As sound director, what was it like to work with the Boom Boom Satellites and Mijk van Dijk on this production?
Kohta Takahashi: Ridge Racer V was a launch title for Sony’s PlayStation 2, so we needed to point to the future of the next generation of consoles. In order to create an exciting new experience, the production would have to be an exciting new experience for its creators as well, so I called up cutting edge artists along with the cutting edge of Namco’s sound staff, so that they could perform together on the same stage, for a style resembling a combination rave party and rock festival. The tension we felt during development came out on the soundtrack.
Also, the behavior of the cars and the overall tempo differ with each new Ridge Racer game. Ridge Racer V‘s tempo and physics are particularly heavy, so the bright, uptempo music in the previous games would not have fit in. In particular, the combination of the Boom Boom Satellites sharp, laid-back beats and the work of Namco’s graphics team is breathtaking, and it certainly felt like a true next generation experience.
“Euphoria” was the first techno piece I ever wrote. Even though I had decided to invite guest artists over and compete alongside them, I was still a beginner (laughs). Thanks in part to my friend the engineer Kei Kusama’s ideas, it is a powerful track with both speed and weight.
I’ve received more questions about the ideas behind “Junx” than any other piece. In order to retain a sense of tension in a scene without movement, it would need thrilling music, and I took on this challenge enthusiastically. Using strings, piano, and synth brass over a breakbeat rhythm, I took a stylish 4-bar chord progression and compressed and dissected it to fit the changing patterns of the one-bar breakbeat meter.
“Dare Devil” was composed quickly to fill what I felt, as sound director, was a gap. Specifically, something bright and major key, with a slightly over-the-top style of guitar playing. I wanted to make something new, so it ended up being the first piece in the Ridge Racer series with company staff on vocals. Most of the vocals and chorus are myself, the death metal vocals are KAWAGUCHI, and the low pitched talking and high pitched shouts are yosimizu. The keywords for the lyrics were given in Japanese, and the foreign staff members helped with translation and checked for problems with the expressions. Some people in the company voiced their reservations, asking “can we really put something like this in a Ridge Racer game?”, but since it was made specifically to fit in, it turned out just like I had planned. It was fine within the overall balance of the game.
By the way, “SAMURAI ROCKETS” was derived from Genpei Touma Den (1986, arcade). As a secret in the strict world of the game, it was a completely enjoyable, just-for-fun track. There was already a tradition in the Ridge Racer series of adding a bit of retro game music, but here I went all-out. Kusama-san, the engineer, and I experimented to create the track.
Chris: Your offerings on the Klonoa and Klonoa 2 contrast considerably to your other scores. Could you elaborate on what it was like to work on these releases?
Kohta Takahashi: After I had finished Ace Combat 2, people in the company had the impression that I was “the one who writes violent music” and “the one who doesn’t emphasize melody”. Then, just at the right time, I was brought on to Klonoa, a fantasy project that would allow me to give full rein to melody. By the time I began to compose, my seniors had already provided a flood of memorable melodies, I was able to compose as melodiously as I could ever want. The people around me complimented me on the music, but they were surprised at how different it was from what they imagined. I was pleased to have that misunderstanding cleared up.
The Klonoa series takes place in a very detailed fantasy world with vibrant characters. So I tried to emulate the sounds that one would naturally hear if one were in that world. For the first piece I composed, “Inquisitive Waltz”, I remembered the time when I had just started piano in kindergarten, and developed a simple set of variations on a waltz theme. In “Baladium’s Drive” I combined the rock and fusion styles of Ace Combat 2 with the flutes and ethnic flavor of Klonoa. “Cursed Pamela” is a symphonic piece based on a piece by Junko Ozawa. In Klonoa 2‘s “Cursed Leorina”, I mixed together symphonic instruments, the same kind of synth bass used in Ridge Racer V, hard rock chord progressions, and a number of other elements into a variation on Imura-san’s original melody.
Chris: You developed your orchestrations further on Space Raiders. Do you enjoy working in more orchestral and cinematic productions or do you consider your primary passion to be rock and electronic music?
Kohta Takahashi: For Space Raiders, the producers requested the so-called Hollywood sound. Instead of sticking to a strictly orchestral sound, I inserted beat-heavy electronic music in the more intense scenes. It was a great project to work on. So I also mix in different styles and genres when composing cinematic music as well, instead of sticking to a traditional orchestral sound.
There are many people who have studied the special technique of creating the traditional cinematic orchestra sound, and as a listener I prefer their more specialized work. The same goes for rock and electronic music, in that there are many masters who have devoted their energy to honing their skills entirely in that style, and I prefer listening to their work.
From now on, the specialists in the traditional sound, whether they compose cinematic music or rock and electronic music — the masters of each style — should bring their individual specialties to the table, so that we can create new, unexpected things together. Through that, we can create the future, and I am interested in seeing what will happen.
Chris: While you’re principally known for your contributions at Namco, you have also worked for Konami on the beatmania series and the Konami School. Could you elaborate on such experiences?
Kohta Takahashi: I ended up working on the beatmania IIDX -IIDX RED- Original Soundtrack because a creator of the series’ movies, HES-san, asked for me directly by name. At that time, I was a lecturer at the Konami School, and there were many who loved the beatmania series, many amazing players among my students. Of course, there were also some who wanted to create beatmania music themselves. They were very interested in finding out what a freelancer, their professor, could produce. Wanting to see those students surprised and overjoyed faces, I composed wholeheartedly. Even though I was a newcomer to the beatmania series, my track was received very well on internet forums, and I attained god-like status overnight. On one fan site it received first place in a poll. Also, DJ Yoshitaka, one of Konami’s sound creators and a former student, was in charge of creating the bemani version, which was a great surprise.
I have seen the students whom I met through the Konami School study together and mature together. Along with the techniques to think through simple questions together, they also hone their attitudes. In the case of the above beatmania incident, I, as teacher, was able to put the attitude fostered together in the classroom into practice. We undertake projects, form teams, discuss, empathize, and work together. And when the project has been completed, I go to the arcade together with the students to play and share that feeling of accomplishment. I will never forget those experiences. Nearly twenty of the children I’ve taught have entered the industry. There are also some who are working hard as freelancers. There is no better feeling for me as a teacher than to hear about their activities.
I also wrote a number of articles introducing sampling CDs and software for Sound & Recording Magazine. I find it amusing that they have gained me a good deal of credibility among my musician friends. Amongst my published articles, the one I remember best is Ableton Live. An old acquaintance of mine works at the Japanese agency High Resolution, and they wanted me to write an official guide to the software. It was truly a great experience to meet the people who support the tools I use every day.
Chris: In recent years, you have also participated in several commemorative albums. Can you tell us about your contributions to the following albums and your memories on these projects?
Kohta Takahashi: On FM Sound Module Maniax, centred on the theme of the FM sound module, I was brought in to participate by my senior at Namco, Denji Sano, whom I had worked with on Ridge Racer V. The concept was to see how far we could get using the four-channel FM synth installed on 80s computers, applying generous amounts of reverb. I wrote a soft, minimalist track, since I was planning on converting it into a ringtone.
On Kono Aozora ni Yakusoku wo Piano Stories, I was contacted by Kenji Ito, and he wanted me to do a piano arrangement for him. I reharmonized the chord progressions in a style quite different from Ito-san’s. I think that I brought out a standard jazz influence. Now that I think of it, this was my first collaboration with Itoken-san.
Just as I was thinking of getting out of game music, I suddenly received an e-mail from Cave’s Asada-san asking if I could take part in the DoDonPachi Dai-Ou-Jou Arrange Album. I took on the job, but decided that if video game fans didn’t take notice of my arrangement, then I would leave game music and never return. I played guitar again for the first time in eight years, and built the piece to follow developments in the story. I was quite satisfied with the result. Then, at the premiere I met the people who would become the core of the GeOnDan.
As for Deathsmiles Arrange Album, my one track stands out among all of the smiling faces of the others. Thinking that something heavier would round out the overall meal, my piece takes off suddenly. I took out the original’s development, and allowed the bass and rhythm to carry the piece. To get the right thickness of sound, I piled on it six or seven different layers.
Chris: Since entering the games industry, you have principally worked as a collaborator rather than solo composer. What are the pros and cons of this work approach? Do you enjoy working with the various musicians in Japan?
Kohta Takahashi: The upside of collaborative work is that you can achieve more together than either could individually. You have multiple perspectives, a wider scope, and it’s great to build on each other’s creations. I have worked with so many different people, and I have always enjoyed it. You can encourage each other when the job becomes physically demanding, and catch your breath together when you can rest.
The downside is that it can be difficult to retain consistency when working with others. As a composer it can be difficult on one’s musical style.
Chris: In the last year, you have formed a unit called RESONATOR with Kenji Ito. What led you to work together so closely? Could you elaborate on how approached the DoDonPachi Dai-Fukkatsu Arrange Album and Bullet Soul score?
Kohta Takahashi: It all started when Ito-san, with whom I have often sat together when we’re out drinking, gave me a call. Creating music together has been continually exciting and surprising. When the two of us talk, we come up with dream projects one after another, and they keep growing; there’s no end to it (laughs). The ideas come so fast that we can’t keep them straight. I hope you look forward to our work in the future.
I can’t discuss the details of our participation in Bullet Soul yet, but I will say that we were surprised by the depth of energy that RESONATOR contains. The theme song turned out quite powerful as well.
For the DoDonPachi Dai-Fukkatsu Arrange Album, Cave’s Asada-san requested RESONATOR by name. As opposed to the arrange albums I had worked on to that point, we were working together as a unit, and it was great to see how it worked out.
Chris: Another major collaboration is with Hiroshi Fujiwara on various records. What is it like to offer contemporary interpretations of classics from Satie, Tchaikovsky, and Beethoven with him? Have you also enjoyed your collaborations in rap and pop music together?
Kohta Takahashi: The concept for the album Classic Dub Classics was to reinterpret classical melodies everyone knows in dub and minimalist styles. I was a beginner at both, and as a result of studying them, I also came to appreciate soul and ambient. Also, it was thrilling to have Eric Clapton as a guest in the studio.
Whether he’s working in remixing or hip-hop or anything, for that matter, Hiroshi Fujiwara has an amazing sense for how to cut up melodies and rhythms, and the way he reinvents a piece never fails to surprise me. A visit to the studio is always enjoyable; I’ve met all sorts of people, the work of composing is different every time, and there’s no shortage of inspiration to be found.
Chris: Coming to a close, with your contributions to so many areas of music, it’d be interesting to hear about how you define yourself as a musician these days. Is game music still your primary focus or do you consider yourself more of a DJ and artist? Is there anything else you would like to say to your fans around the world? Thank you.
Kohta Takahashi: Earlier, I introduced myself as an SF composer, and from that I would like everyone to take away that “I am a composer because I want to be”. If I had used a musical genre instead (classical, pop, game music, rock, techno, etc.), I would be afraid of barriers coming between creator and listener. I believe that if I borrow a genre from outside of music, from movies, novels, and manga, (action movies, romance novels, gag manga, etc.), I can be free of musical genre distinctions and express whatever I wish. Personally, I have always found the details and the worlds of SF movies and near-future settings exciting, and I have made a specialty of SF elements in my work in games and elsewhere, so I decided to call myself an “SF Composer”. It’s been quite exciting to meet people since I started printing that title on my business card.
As a creator, I have no amazing ability; in reality I consider myself poor at it. In spite of that, from the works I have created that continue to be loved, from the fans of my work who have become my successors, from the children with whom I have shared the feeling of creating game music, from the fans with whom I have had discussions via e-mail whom I have met again as the equals they had aspired to become, I have received dreams, encouragement, and hope.
Because of these experiences, from now on I would like to give those with an interest in the work of creating games and music a place and a chance to experience how difficult and how wonderful this work is. It has been my fortune to have had such chances in the past, but from now on I would like to take the initiative and think about my role in society, what I should do. I would like to try to create these chances until I take up another project. I would like to create new projects, study together, and create places for education and opportunities for employment together with my fellow creators. I would like nothing more than to be able to give all of them the dreams, encouragement, and hope that I have received.
So I would like to create works that can impart those things, not just in games, but in music and other related forms of entertainment, through teamwork. Thank you so much for providing this wonderful opportunity.
Posted on June 15, 2011 by Chris Greening. Last modified on February 28, 2014.