Is there going to be a sequel
to the movie, and are you going to be working on it, if so?
AY: Well there's nothing announced,
but there's some production website out there talking about it I think.
If I got the opportunity I'd love to do it again.
I'm curious to know what
you think of interactive music right now in video games. Is there more
that we could be doing with it? Games like Q Entertainment makes, or
all the other companies that are trying to do that, like
flOw on PSN.
AY: The interactivity makes
games different from other entertainment, music, movies, DVDs, or books.
Interactivity makes the difference. People who design games are seen
as creating interactivity, and I think musicians should also be recognized
as part of that... what should I call it -- entertainment group? Something
It should be recognized in a different way... maybe it should
be a new category, but sound and music creators need to be thought of
as part of that interactive creation process from the beginning. I think
if you do that, something different will happen, just from a change
of project perspective. I've always thought you should get everyone
thinking about the interactive and creative aspects of the game together,
from the very beginning.
Silent Hill series, for instance, most of the interactivity of
the music and background is either just sound effects or two tracks
of music -- one that's just normal state, and the other that is when
you're in the Silent Hill state. One goes down,
and the other goes up, and then reverses. Do you think that you could
go even deeper than that, and make something more like your actions
really affect how the environment works and reacts to you?
AY: Oh yeah, we could go way
deeper. There's nothing to say that we need to just have static state
changes all the time. There's no limit. You really should be able to
make the sound respond to the players' actions or movements. It's not
just like "battle music start," or "ambient music start"
and then crossfades like you were talking about... I think it's really
important to go beyond that. I keep thinking I'd like to have the games
and the graphics really and truly agree with each other. But it's still
a game. I don't really want to make it virtual, I don't want to emulate
Konami's Silent Hill 3 for the PS2
It seems like you could
have several similar tracks running simultaneously that could thread
in at different times. Not even just music, but also ambient sound that
will really bring the player inside of the environment.
AY: Yeah, I think that's good.
Will you be trying to do
that on the next Silent Hill, or is that even further in the
AY: Hmm, after all, the next
one's going to be on a next-generation platform, so we'll utilize Dolby
surround sound of course. We're trying to do some new things, but it's
nothing like the type of interactivity I was just talking about. The
music presentation could be more detailed.
What is it like working
with an American team for Silent Hill 5? Is it different from
having a team in-house with you?
AY: It's completely different
working with an American team. There are of course advantages and disadvantages,
but overall, I'm really impressed with the American staff and their
technology. Their graphical and technical ability is amazing. There's
a huge gap, actually. They're very advanced. I'm Japanese, and I think
this is not just with Silent Hill but with the whole of the industry
-- I look at what American developers are doing and I think wow... Japan
is in trouble.