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Meteo Xavier

Interview With Hiroki Kikuta - Seiken Densetsu 3

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Howdy. Today I present you our nearly long-lost interview with Hiroki Kikuta that was done during development of the Seiken Densetsu 3 ocremix project. For some reason, this interview was very difficult to keep a hold on, we lost the first version that Jahan Zoltan graciously helped us with in translation and I'm still embarrassed that I asked him to do it again after that, and then there were some obstacles in getting it posted where people could read it after that. I've been in the web development/marketing/blogging industry for 16 years and I'd never had a document be so slippery!

But thankfully I was recently able to recover it once again (this thing is cursed by Annabelle, I swear) and to make it easiest all the way around for everyone, I just had it posted to my websites www.meteoxavier.com and www.jslawhead.com with credits going where credit is due.

Proper linked version is here: http://www.jslawhead.com/2019/02/my-interview-with-hiroki-kikuta-seiken.html

Thank you and please enjoy.

Kikuta+2.jpg

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I was looking for the midi data from when I produced Genesis from the Seiken Densetsu 2 arranged album, and when I heard it, I thought it sounded amazing. Even I was surprised to hear that the musicianship and my ideas for composition didn't sound old. This is just my opinion, but I think the fact The Beatles still sound so good despite the advancements in recording and instruments says it all. If we could create great things simply by using high-performance machinery, humans would be obsolete. We could just let the machines do it.

bold and honest, i like it.

secret of mana's OST is like mike oldfield's 'tubular bells' to me...unparalleled greatness and timelessness, never again achieved by the artist. not to say the other stuff was bad.

his latest stuff on bandcamp is quite good: https://hirokikikuta.bandcamp.com/

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In my opinion, it came out perfectly, but I knew that if I did Seiken Densetsu 3 the same way, I wouldn't be able to surpass Seiken Densetsu 2. So I thought long and hard about a way to surpass Seiken Densetsu 2 with such strict hardware limitations. The answer was not to focus on translucence but on atmosphere and presence.

Ah, so that's why the two games sound different! He had a different goal in mind, different traits to judge his music by.

Thank you for translating -- and re-translating! -- this. It can be interesting to see into a creative person's thought process. It was an interesting read.

 

 

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