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  1. CAVE stuffs wat wat waaaaat???
  2. DoDonPachi DaiOuJou Wallpaper 1024x768
  3. DoDonPachi DoDonPachi DaiOuJou Shuri (Saidaioujou)
  4. Maria and Shotia Dodonpachi Dodonpachi DaiOuJou and Dodonpachi SaiDaiOuJou drawn by Ere (2516325)
  5. Run begins: 23:27 Player interview: 1:07:40 WASSHOI @ Stunfest 2018 Saturday. English restream and commentary by STG Weekly.
  6. Manabu Namiki Translated by blackoak. Central Works (He either did all or part of the soundtracks for these titles.): Dodonpachi Daioujou Ketsui Espgaluda II Mushihimesama Futari Deathsmiles Dodonpachi Daifukkatsu + Black Label Deathsmiles II —Please share your feelings about Cave as they welcome their 16th anniversary. Namiki: Shooting games have been around since the dawning of the game centers. I think its amazing the way Cave has shaped and pursued the evolution of the gameplay of "dodging and firing bullets." I also love these kinds of games, so I'm very happy that I've been able to support Cave through my music. I was employed by Cave before working with Basiscape, so our relationship goes back a long way. —Starting with your older titles, please tell us how you got involved with game production and writing music. Namiki: My first plunge into the game industry was a part-time job designing pixel art graphics. But I didn't have any artistic talent and never studied art. I just knew how to get the computer to display certain images and worked like that. It was the first time I learned color theory and such, from an art school professional who taught me while I worked. I was 19 then, and it was 1990. Listening to music had always been a hobby for me. When it comes making music, I had never studied, I didn't know piano, and I never went to music school. About all I had done was help a friend out a bit who had a band when I was a student. But I was a young kid who earnestly loved games, so I had all these personal ideas about how game music should be, or how the music should match the graphics of a game. I wrote music just with my imagination. Through my part time job, I painfully realized that I had no talent with drawing. (laughs) So I thought, if I'm no good at drawing, how about music? So with a synthesizer that I had at hand I started making chiptune style game music, and I'd keep diligently working at it until I'd finally have something worth hearing, and then I'd show it to a friend. While I was doing all that, I sent a demo tape to a company, and they hired me. That was my professional start, in April of 1992. After I joined the company as a "pro," while I made music there I also studied music, so that order was all wrong. (laughs) So, if anyone reading this has something love to do, I want them to challenge themselves and remember that you can pick up the technical stuff later. I think if you really love something, even the difficult parts won't seem painful. —Having worked on so many games, there must be some where the setting and world were very difficult for you to write music to. Namiki: When it comes to writing music that fits a shooting game, its different from normal music. I have to always keep in mind that it has to be a certain kind of music to work for a shooting game. I think this is a fundamental thing to remember, in a sense even coming ahead of the graphics and the setting. For example, to compare it with cooking, in cooking the ingredients are already decided, and the setting of the game is like the spice or flavor. In Dodonpachi Daioujou, when I heard the world was a retro-future sci-fi setting, I thought I'd give the music the same color and style, but a fundamental premise that I have to remember is that this is music for a shooting game. Another example, Mushihimesama, takes place in a fantasy world, and the feeling of nature flows through it, so musically I wanted to include folk music rhythms, and use flutes and drums as instruments. For each game I add all sorts of things to diversify the game world. All these different "spices" have to be added while I hold fast to the premise of it as a shooting game... to say it another way, how do I work it out with such limitations. In that sense, its a difficulty I have to face for every game I work on. —When you're creating the music for a game, what kind of things do you pay special attention to? Namiki: I've always really loved games. I've been playing what we would now call "retro" games since I was in elementary school. When I'd listen to the sound effects and music of those games, I'd think about how it could be made more enjoyable, or how it could better excite the listener as he played. I continue to research those things now, with my work, and its something I keep close to me everytime I'm writing. I'm making "music for video games" so I really focus on how to make the music synergize with the game and make it more exciting. —It must be difficult to achieve that effect in the noisy environment of a game center! Namiki: Like many kids, when I was young, I'd often ride my bike to the game center, and when I stopped my bike in front, and the automatic doors opened, and I heard all the music flow out... I was like, "Alright, let's play!" and it would really get me excited. I'd like it if I could recreate that excitement in my music. In game centers, there aren't only video games... there's also medal games, crane games, photo sticker booths, tv displays... its a place where all these sounds and more are jumbled together. I've been involved in making music for games in game centers for almost 18 years now, and I still find it hard to hear a game's music in the flood of all that sound. Its something you just can't get away from. But when I write music, I think if I can at least match the mood of the music to the game's progression, even if you can't hear it properly with headphones, the basic parts of the rhythm and melody won't get lost as you play, even in that noise-saturated environment. When I play my favorite games, too, if I get overwhelmed by the other sounds in the game I get disinterested and will soon end up dying. (laughs) And its further disappointing then, not even being able to hear my own explosion! So that sense of excitement and tension from the music is important. When you've cleared a stage and hear music that feels good, you get pumped up and think, "Alright, what's next!" When you can't hear it, though, its like there's no response from the game and its lonely. I feel like even now I'm still fighting against the flood of sound in the game center to avoid that. (laughs) —Its true that your music really gets people excited to play, starting with the character select screens. Namiki: Players who aren't very good at shooting games will still always hear certain music: the stage/ship/character select screen, and the music you hear before you start playing and take-off. Before I start composing I always get some hints from the graphics and rules of the game, in order to understand what I should be emphasizing. Each time I work hard at this aspect of the composition. I consciously try to write the stage select screen so that it gets players excited, and to make it feel like an inviting door into the world of the game. Of course the more stage select screens I make, the more I exhaust my tricks. (laughs) I haven't counted exactly yet, but I think its been... 9 games? If you add in arrange versions and console ports its probably well over 10. For Daioujou, Ketsui, and Deathsmiles I did all the music myself, but for the other games, in order to keep on schedule, I've asked for help from other Basiscape staff for several songs. Of course I'd like to do everything myself, but its just too difficult. —The CD soundtracks for those titles were also very popular. Namiki: Before I started working at Cave I worked for another company making shooting game music, but almost all that music has never been put out on cd. When the soundtracks for the Cave games came out on CD, I got inquiries about putting out my older work on CD, too. My response was, please ask Cave about that. (laughs) But after that things became more open, and I participated in the Cave Matsuri events, too. The truth is, people then were saying the outlook for shooting games doesn't look good, and that fewer and fewer game centers are carrying shooting games. There was a feeling of danger that, at this rate, shooting games would disappear. I made my music then with the feeling that, if I write good music, the people who love it will carry the torch forward. That was all around the time of Daioujou and Ketsui. —You must have a lot of attachment to the music from those games, then? Namiki: I feel that way for all the music I've written, but those early days were particularly memorable because they were full of trial and error. Back then the music couldn't be realized with the same level of quality as a CD, and the waveforms for the different instruments all had to fit on the space of a floppy disk. Now that I think of it, I remember that the music score had to all fit on the same floppy, too. Its not exact, but I believe we had about 1.2MB of space. When the music got recorded for the CD soundtrack, that was the first time we even heard them in stereo. Even now, pcbs with stereo capability aren't common. That's another difference between normal music and music you hear in a game center, you know. Lately there's been an increase in stereo capable arcade games, but the influence of that older time is still strong. After all, its already been 8 or 9 years since Ketsui and Daioujou were released. I believe it was December of 2001 at my first meeting with Cave that I was told about the space and sound limitations, and I was shocked. It was a real struggle but somehow we managed to release Daioujou in April. I remember staying up late all night sometime in February and delivering the finished product to the office. —Daioujou also has a lot of tracks, and you were on such a tight schedule! Namiki: More than the number of tracks, the development environment and the technical specs were special and difficult to deal with, and it was really frantic. But for Ketsui and Daioujou, I felt I had really grasped the essence and feel of "Cave shooting," and that it was very clear to me how a shooting game should be, so my vigor came back. Since then, the hardware has been improved for games like Mushihimesama, Espgaluda II, Mushihimesama Futari, Daifukkatsu, and Deathsmiles...and each game has brought its own new challenges, but it was my experience with Daioujou that formed the firm base for me. Everything since then has been about how can I build off that base, and it has never once failed me, except once. That was for Daifukkatsu Black Label. Well, I shouldn't say it failed, but rather that I wanted a different taste there. Everyone who plays shooters seems to have really good ears, so its very difficult meeting their expectations each time. (laughs) I think the graphics and design teams, and everyone involved in our games, has to face that same dilemma anew with each game. In particular, I have a strong impression from Junya Inoue saying during Deathsmiles, "I want to make something that isn't 'Cave style'." The way the difficulty and stages can be selected, and how players can choose their favorite stages, the way it scrolls horizontally and you don't die when you run into something... Deathsmiles, looked at objectively, really is different from Cave's normal style. At the first meeting for it, I heard from Inoue himself that the world was a "gothic horror, gothic lolita." That news came at just the right time because I too had been wanting to change the style I'd become set in. Inoue and I were kindred spirits in the sense that we both saw a lot of new ideas in that setting. So Ketsui, Daioujou, and Deathsmiles were all turning points to me, and I have a very special attachment to them. —In Deathsmiles, the "Halloweentown" song is very impressive. Namiki: That song came out very easily. It was very different from the music I'd written up till then, a sort of gothic style with classical airs, so of course I studied up on those things in order to incorporate them. I'd never written for that kind of a world, and to be honest, I felt I wasn't very good at it. The music of old Europe like Bach, pipe organ music and such... its famous, but I feel like the respect people pay it is sometimes not entirely genuine. I get the sense people are forced to listen to it for their musical training, and it often gets used in a hackneyed, cliche way whenever anyone wants to evoke churches or old Europe. But if I wanted to give players an image of a horror game, that was the way to go, and even if I didn't reference Bach, if I wanted something with that kind of feeling I was going to have to make my own "gothic horror shooting" style music in this way. It became easier when I realized I could put my own twist on it. After I wrote the Halloweentown song, like a picture scroll, the music for the other stages came out smoothly and easily. From the experience I felt how important a game's world was. For a SF, mecha shooting like Dodonpachi, where the world is already firmly set in stone, its become very difficult to add variety through the music. Using just a synthesizer and figuring out how to keep things interesting for each new game... I've finally hit a stalemate. When I hear other mecha style shooting games, it always cliched rock and techno, and it doesn't enhance or enlarge the world of the game. Since I've been given the distinction of writing music for Cave, after all, I've never wanted to cop out with some generic rock and techno cliche. I've always wanted to write music that really reflects the true core of the game's world, filtered through my own sensibilities. And I here I am today. (laughs) —Is there anything you've been wanting to do in the future? Namiki: By now I've made so many songs for boss fights that I'm really worried how I will make future ones interesting. Such worries are the fate of the creator, but I want new challenges without narrowing my ambitions and releasing something mediocre. I want Cave to make a shooting games with no boss music. (laughs) A boss-less shooting game... could it be the next big thing!? (laughs) —Are you saying a shooting game without stages?! Namiki: Yeah, the accomplishment from clearing stages would be lost... (laughs) Well, in place of bosses, just put some kind of boss-like obstruction in the way! —That's what a "boss" is. (laughs) Namiki: Ok then, let's have Ikeda make a new shooting game with no bosses at all. I only ask the world that they please stop making boss rush games. These games where its just one boss fight after the other from the get-go just end up giving you ulcers, anyway. So instead, please make a "journey shooting" game with no bosses. (laughs) Because that's what I've been saying about not getting trapped by mediocrity. I want Cave, and myself, to challenge ourselves by making games that aren't just rehashes of preexisting ideas. In shooting games there's a certain basic set of promises that games fulfill: zako come out, then a midboss appears, then you defeat the boss and clear the stage. I want to overturn such "common sense"... with a no-boss shooting game! (laughs) Or maybe we could do a single, really well-hidden boss. —If you do that, then the boss will have to have 5 phases or so, and with each phase the music will also have to change... Namiki: Why are you torturing me!! (laughs) Well, I know that's a joke, but it would be a new challenge, something different from everything we'd done so far, like Deathsmiles was. Shooting has this reputation as a hardcore genre, and I know Ikeda too has wanted to sweep that image away. Its difficult, you know, to make something that different people can all enjoy. That challenge will be an eternal theme for shooting developers. —Do you still go to game centers to relax or get ideas? Namiki: I go a lot. But I like older games, when there were more diverse genres. The number of new arcade games has really decreased, and there's almost no new large arcade machines at all. So if I want to play something like that it always ends up being something older. [[ translator note: the terms Namiki uses are kogata games and taikan games. A kogata game just refers to a normal sized arcade game, like a standard candy cab size. Taikan games are large arcade machines with enclosures designed to give greater sensory immersion, things like F-ZERO AX, Darius Burst, many racing games, etc ]] By the way, I have two children, and my son is a big fan of Cave's shooting games. He's in his third year of elementary school now, but he can clear their games. He 1cc'd Deathsmiles Mega Black Label at the game center. (laughs) It began with him listening to the roms I'd bring home from work, and him asking "Can I hear Dad's music on this?" but lately, rather than hear Dad's music, he's awoken to the intrigue of Cave's games. I thought there's no way he'll spend enough time to clear these, and that he'd just give up after awhile, but I was shocked when I saw him weaving through these danmaku patterns! He cleared Deathsmiles II with about 60 million points! Someone saw his score ranked on the Xbox Live leaderboards around 100th place and said to me, "Maniki, your score is amazing!" and I replied, "That's not me, that's my son!" (laughs) —Your son shows great promise as a future shooter. (laughs) Namiki: If there are more kids like him, then I think a way will open up for the next generation of shooting. I also want to hear what shooting music sounds like in 10 years. I wonder if I'll still be writing shooting game music then? I'd like to still be writing and be included in the 25th Anniversary Cave shooting book. (laughs) I'm excited for however it will turn out, but please let everything be in stereo by then. Maybe we'll even have "live orchestra" shooting music. I know it would be exciting to have a live orchestra playing shooting music at some future event! I hope there are more events and such in the future. I'd like to involve kids more, like with a caravan shooting competition. If you do that you'll get kids named "Naniwa Casper" gathering in Shinjuku Gyoen. [[ translator note: where Cave's offices are located ]] You know, the original shooting game generation is now in their 30s and 40s. Soon we'll be Grandfathers! When our eyesight starts to go bad, there's no way we're going to see these danmaku patterns... it'll be "Oohh, where's my ship?!" and the arcade cabs may start needing reading glasses or handrails attached to them. (laughs) "Barrier Free Shooting" won't be referring to a shooting game with no barrier! And since our hands will be shaking all the time, they'll have to add "shake correction" to the games to keep the ships from moving about... ok, I'll stop thinking of all these ways our bodies will degenerate. (laughs) So please, show your children ages 10 and below the wonder of shooting games. [[ translator note: I cracked up at this. "Barrier Free" in Japan is a term that means handicap accessible. Otherwise, in Japanese shooting games, the term barrier means the same thing as in English, a shield/barrier. Nice one, Namiki. ]] —And the music too should appeal to the younger generation as well. Namiki: Maybe we'll start seeing bouncy punk music by 10 year old girls be added to shooting games. (laughs) Let's sign some of these girl bands for production! You'll hear them screaming out while you struggle with the boss! I was saying I wanted boss music to have an impact, so I've got to try some strange things, you know. (laughs) —Looks like we've finally come back to the subject of bosses... you really do hate them. (laughs) Namiki: When I first started writing boss music it was fun. But gradually I started running out of new things to do. (laughs) Now that its come to this I just have to keep trying new things. But when the tempo gets over 200 BPM, it becomes difficult to construct music that way. And at 300 or 400 things everything juts sounds like a drill. I'm really at an impasse here. When I'm trying to write boss music at my PC I'm just grinding my teeth with frustration, and its raising my blood pressure! If you don't get the right tension to make it feel imposing like "I'm the BOSS!" , then the song ends up being more appropriate for a mid-boss or something. If I can just convey to the readers of this book the terribleness of bosses, I will be saved. (laughs) Its terrible making their music, its terrible for players struggling to defeat them, its terrible for Cave from start to finish creating them... everything about bosses is terrible. Who benefits from this madness?! (laughs) So please, think about a shooting game without bosses! —Please give all your fans a final message. Namiki: As everyone knows, shooting is a very interesting genre. While you can naturally enjoy it on your own, please also share it with your friends. Or if you have children, please don't think it will be bad influence on them, add playing together as one of his/her activities. And as a composer it would make me happy to see parents and children playing together and getting excited. Also, if you've understood how terrible the work involving bosses is, despite all this, please crush them. (laughs) Shooting games will surely be decreasing, and there will be less chances to play them, but I think Cave will continue to put out high quality shooting games, so please keep watching us.
  7. Junya Inoue Translated by blackoak. Central Works: Dodonpachi Esprade Guwange Progear no Arashi Dodonpachi Daioujou (part of the illustrations) Deathsmiles series * Mainly oversees character design, game setting, and story. On Deathsmiles he also directed as "graphics president." His manga "BTOOOO!" has been in publication since 2009. —Please share your thoughts regarding Cave's 16th anniversary. Inoue: It feels like the child who was so small is finally all grown up! (laughs) I joined Cave about 2 years after they had started, in the middle of Dodonpachi. Since they were in the middle of it, I wasn't given too much of the main work. Judging from the style of the team making Dodonpachi at that time, the main work was the bosses and stages, and things like the story, opening, ending, and ship select weren't thought of as very important. So my boss at the time told me, "Its not that important, so Inoue, you do it." Since I had essentially been told "do whatever" with the story and ending, I was really lost as what I was even supposed to do. (laughs) I mean, since the stages and the protagonists and the ships were all already completed, how in the world am I supposed to come up with a story after the fact?! Even now I wonder about that. Anyway, I ended up studying up on the prequel, Donpachi, and realized it didn't have that deep of a story. Well, now I could relax a little... and with that feeling my work at Cave began. Since then, I've quit the company but I'm still connected to them even now, with my work on Deathsmiles II this year. Its been a long, lasting relationship. Though Deathsmiles II will be my final game with Cave... (laughs) —Weren't you saying the same thing when Deathsmiles was released? Inoue: I… am a liar. (laughs) The truth is, I hadn't been involved in any of Cave's sequels so I was interested this time. From the start I had wanted to do sequels to the various projects I had worked on; there's ideas you just couldn't fit into the first game, and new ideas keep coming up even after its finished, and I wanted to somehow bring those to life. It ended up that when I talked with Ikeda about all this he was like, "Ok, you do it then," so the direction became my responsibility for Deathsmiles II. I was busy with my work as a manga artist, and I wanted to change the atmosphere from the first game, so I was going to hire a different illustrator and focus on direction myself... that was the plan, but somewhere along the way it turned out that I had come up with all these new design ideas, so in the end I did the illustration myself. Its controversial to change the visual design like this, but if I can't get the feeling of satisfaction I'm seeking from the first and second designs, I will change it again for Deathsmiles III. (this is also a lie) —In Dodonpachi, how did you come up with lines like "Shinu ga yoi"? [[ translator note: a translation would lie somewhere between the gruffness of "now, die" with the nuance of permission, ie "you may die now." the key point is that its not a crazed SHINEEE!!!, Hokuto no Ken style threat. ]] Inoue: There's always various tensions when you make a game, but with Dodonpachi I was pretty relaxed. So I think that's why that kind of catchphrase and character came about. I touched on this before, but I think that for each game you work on you have to take things according to their circumstances, and not be too hung up on particular ideas. I think that in a game's characters and background, you find the core of the story, and the world of the game flows from there. Many games at the time which were called "masterpieces" had a world and story which were closely intertwined, after all. But with Donpachi and Dodonpachi, that wasn't the case at all. So no matter how seriously I tried to create a backstory I thought I would never reach something on the level of the Raystorm games. With that being the case, I had a very blase attitude about it and the result was that I just worked on things in a very casual way, not taking it too seriously. (laughs) After I had finished working on Dodonpachi, sometime later when I saw the words that come up before the last boss, "Saishuu Kichiku Heiki," I exclaimed, "Ikeda!! Yet again you've put more of your insane pillow talk into this game!" To which Ikeda replied, "YOU wrote that!" (laughs) I guess I was so relaxed I forgot what I even did. (laughs) So please don't give me too much credit or respect for Dodonpachi. The one who deserves that is Ikeda, for the feat of designing those charismatic bosses. Only in doing so we'd end up adding some strange language to the game. At the time a senior employee at Cave (he was something like a director) was announcing to the development team that his image for the game was Uchuu Senkan Yamato, and I thought that here was a Star Wars lover who'd just revealed his true colors. With that, I told him I was thinking about refining the story for Dodonpachi to be more like 70s era sci-fi, and the phrase "shinu ga yoi" just came out naturally. I'd completely forgot about all that... (laughs) They seemed like phrases that Battleship Yamato villains like Lord Desler or Emperor Zwoda would say. [[ translator note: saishuu heiki is a normal word that means "ultimate weapon." Adding in kichiku, which means "brute" or "cruel" makes it "ultimate brutish weapon." An extra layer of meaning comes in from the fact that "kichiku" was popularly (mainly) used to refer to Americans and English soldiers as "brutes" during WWII. This would be more overt given the military theme of Dodonpachi. Also, regarding "pillow talk" or makurakotoba, the meaning is different from how we colloquially use the phrase is English; it refers to set phrases in classical poetry in Japanese, rather than erotic bedside banter. In other words, Inoue is referring again to Ikeda's known proclivity for using strange language. ]] —Speaking of Ikeda, from your perspective, what kind of person is he? Inoue: I probably shouldn't say too many weird things about him in public like this. But I have nothing to say but weird things! Strange people seem to always be drawn to him. One time, on the train he saw a man in a tank top who looked like he was about to be kissed by another man standing behind him. This guy in the tanktop was really well built, and the guy behind him seemed to have his lips puckered up as if to say "What a wonderful back! <3" Ikeda saw him posing luridly like this, as if he were waiting for the brakes on the train to suddenly be pulled so the man would fall into his waiting lips. Ikeda's always seeing weird things like that. He observes mysterious things too. On the last train of the night, he saw an old man go "UGH" as if he was about to upchuck the entire contents of his stomach, and yet he never threw up, but his mouth kept getting fuller and fuller, almost to bursting. Ikeda observes many things that one would just normally ignore. There's something in him that seems to attract these kind of strange people. Its a quality that can't be mimicked! Cave: (a Cave staff member who was sitting next to Inoue at the interview, hereafter "Cave"): Ikeda is always saying "Junya is strange." Inoue: He doesn't call me Junya! Ah, that's creepy! Cave: It would be funny at an event if you both did a routine with "Jun-chan" and "Ike-chan." I bet the fans would like to see that. Inoue: Yeah, it would be funny to see those two arguing. And with 1 mic between them. Ughhh, I'm disturbed! (laughs) —Do you often butt heads with Ikeda? Inoue: Quite often. If Ikeda is the King, then I am the Prince... neither of us will back down. But lately Ikeda seems to have withdrawn and is not too involved with development, so I haven't had much feedback from him. Cave: Whenever Ikeda calls me the phone calls go on and on. It gets to the point where even he says "I don't want to talk on the phone anymore." Inoue: Its worst when he's in high spirits, isn't it? Lately I've been keeping his number blocked. (laughs) Cave: When it happens that Ikeda has been talking for an hour and I can't believe he's still going on, I suddenly realize from the content of the conversation that its Junya he really wants to talk with. If only he'd just use email. (laughs) Inoue: Hey, these are important conversations! If you tried to do this in email it would take 8 times as long! Talking all these things over is the key to a good game. Cave: Why not just come to the office? Well, actually, then the meeting would never end... (laughs) It would be like, I'm STILL here?! There he goes again, just talking on and on with no consideration for his fellow man... Inoue: Oh, but there is. These are important conversations that will determine the basis of the game. "On men's moe obsession with girls" and so forth. When I first heard Ikeda say such things I thought, "what the hell did he just say," but due to his excellent powers of persuasion I have come around and sensed something very deep... he introduced me to some research materials, and I ordered them from Amazon... Cave: ... (embarrassment) Inoue: Ikeda called me one night at 11PM and shared his wisdom, "You can't make dressing in drag look so free and easy! You've got to make him look all frustrated, like he's saying 'No, no!'" As a result of that session I realized, "Yes! I've got it!" and the character Lei was born! —So that's how it was... by the way, which Cave character would you take as a bride? Inoue: Well, I'm not familiar with the characters of Cave's other titles, but if I had to choose one, I would say Windia or Irori. I have a lot of affection for the characters I've made, you know. You've got to love your own work, first and foremost. Though if that feeling is too strong, other people won't like it, you've got to be mindful of the balance. (laughs) So I feel I should say "daughter" rather than "bride," right? (I'm taking this too seriously) —...ok then. Of the games you've developed, which ones have a special emotional significance for you? Inoue: In their own way I feel a strong connection to various things, but in the sense of which one was the most challenging, ESP.ra.de. I felt inside that I had changed Cave with this game. Also, Guwange, for showing me that I could draw pictures like that. These two are most significant for me because I feel like I was able to express myself with them most fully. Deathsmiles, on the other hand, was more like "how do I make others happy?", and as far as my personal attachment goes, is therefore lower than Guwange and ESP.ra.de. Cave: The world of Guwange is very unique. Inoue: Cave made a big fuss about the Japanese aesthetic at first... I wasn't at the Guwange team at first. One day I took a peek at what they were doing, and they were saying the Japanese style would come from mechs with Japanese roof tiles as armor... and then I exclaimed something like "How exactly is that 'Japanese' style shooting?!" Well, after that, you know how it is... once you speak out you've got to help out, and I joined the Guwange team. So after that I aimed for a Japanese style that would include things like youkai, yuurei, the awe of sakura blossoms, the beauty of blood, the excitement of summer, and so on. To achieve this, I felt the image of Edo and Sengoku (warring states) periods were too close to current human civilization to be effective. The more ancient Heian, Kamakura, and Muromachi eras would really give a more "youkai" feeling to things. The divine presence of the kami and the sense of mystery would be greater, too. Cave: There aren't that many games with such a Japanese taste to them. Inoue: Within the already small genre of shooting, the number of games with a Japanese aesthetic is yet smaller. Speaking broadly there's the Shikigami no Shiro series, but that Japanese aesthetic is rather slight there. There's also the Vasara games. Ikeda loved the image of Tokugawa Ieyasu smoking a cigar in that game, and he said to me, "I want to blown away like this." —You did some fine voice performance in those games too. Inoue: That was just playing around. I absolutely can't do vocal performances. Like Hitchcock or Tarantino, I wanted to leave my... fingerprints? (laughs) on my work. Its an expression of the feeling I have as a kind of director, wanting to shower my work with love! On the other hand, projects that I haven't had much attachment to don't have my voice in them... like Yanya Caballista... right? I tried doing some voicework for Satan Claws, but we found someone perfect for that role. And we've been doing full voice work for our games lately, so the pretense for me adding my voice is gone. I stepped back a bit for Deathsmiles IIX and only recorded my voice for the boss Tamekosu. I'm really bad at vocal performance. You know, my lies always get found out, so my acting sucks. My specialty lies more in coming up with lies. Cave: I think its funnier with Junya's monotone readings! Inoue: It makes the passionate fans happy when they see little chinks in the armor like that. They like to find our little faults and enjoy brandishing them about and teasing us. "Haha, look at this dialogue!!" kind of thing. They're laughing at us! Cave: I know (laughs). As soon as you say "Cave" they start grinning. Inoue: We can use that to our advantage, in a sense. After all, our games are pretty slapped together... (laughs) You now, at a live event recently SawaXXXX-san's ass was half-revealed, and it was kind of chubby, and he was jokingly scolded "you've been slacking off!!" But I say, that's good! Because you can see the little flaws. If you can't see those, its lacks charm. When you get down to it, Cave also has a strength not unlike SawaXXXXsan's ass. How do you like it, my "ass theory" (shiririron)? Or "shiriron," to say it like Ikeda! [[ translator note: the typically inane Japanese pun here comes from the fact that "shiri" (butt) and "riron" (theory) share the sound "ri", so combining them in one word sounds like the kind of silly catchphrase Ikeda would apparently come up with. ]] —Speaking of Deathsmiles, I hear you forgot the name of your own characters... Inoue: You must be referring to the time we were creating merchandise for Deathsmiles... Cave didn't know the name of the character's magic. So they asked me "What was the name of Suupi's magic again?" I'm really bad at remembering names so I always choose things that are easy to remember. The magic names were based off what they yell out: "ho, ho!", "ki ki ki ki..." "boo boo", that kind of thing. So I was trying to remember what Suupi called out when she used her magic, and I thought, "gaago", that's it! and emailed Cave back. Later I learned that it was actually "gyaasu". (laughs) Because of that I think we had to reprint some things. (laughs) Please, don't trust me! —Are there other names you came up with in a similarly convenient way? Inoue: At this age, I have a hard time remembering those names. You try remembering something like "Colonel Schwarlitz Longhena"!! If there were some keywords or something it'd be easier to remember. With "Irori" from ESP.ra.de, there's the common word "irori" ("sunken hearth/fireplace") that everyone knows, and it conveys an image of Kyoto, where she's from, and it also evokes the winter setting of ESP.ra.de... with all these allusions, its the perfect name. And it has "rori" [["loli" or lolita]] in it! Perfect! It has absolutely nothing to do with the Okonomiyaki restaurant near Cave's offices. Other than that, most of the names I choose are named after something already existing. I think Its easier to remember that way. For example, in Progear everything is named after parts like "Ring," "Bolt," "Chain," "Nail," and "Rivet." Deathsmiles too, there's kazedukai -> kaze -> wind -> Windia. Shireidukai -> yuurei -> a movie example -> Casper. The fire user was faia -> foia -> Folette. For Suupi, based on an image of an impoverished girl selling matches, it went: himojii (hungry) --> nemui (sleepy) --> su~pi~ --> Suupi. There's not much to it, you see? When I was at Toaplan and Batsugun came out, people complained that they couldn't remember the names of Beltiana and Alteeno.. "is that German?" So it comes from a reaction to that. (laughs) —How did you get into manga and games? Inoue: I've always liked manga, but for games, when I saw Makaimura at a game center, my destiny was changed. And it was in my second year of junior high, when you're most vulnerable to obsessions, so I really got addicted. Thus began my disreputable life of going to game centers. After that, I temporarily set aside my goal of becoming a manga artist because I entered the game industry. Lately I haven't been able to play games at the game center, but I do occasionally play "Tomb Raider: Underworld" at home. As for manga, I draw at home and in the office for my own pleasure and to keep my skills sharp. (laughs) —Do you think making games and drawing manga have anything in common? Inoue: To me, they're pretty much the same. There's a world, and characters, and you're thinking of the best way to show all that as you create. You imagine characters and scenes, and you're trying to figure out what their goals, how they act, and finally you decide to show the best parts in this or that way. I really get into all that so its interesting for me. Following that logic, I think making games and making manga are the same to me. My style is to create a world and setting, and from that a story, so I don't spend too much effort establishing the characters (laughs). The Colonel was made much more deliberately, so that's a different story. But ESP.ra.de and Guwange were that way. I place a lot of importance on the packaging and the coloring. As there's 3 or 4 heroes in those games, I can't spend an inordinate amount of time drawing any single one. This story-centric way of doing things causes the same kind of things to happen in manga too. Though in today's era, its not really a good thing, but... —I imagine its very difficult to work on both manga and games at the same time. Inoue: I'm the type of author who really gets absorbed in one thing, and if I can't develop the world even deeper than the players and readers end up seeing, then I feel like I can't present it. So if I end up having to do too much, I can't focus on one thing at a time deeply and I end up losing interest entirely. When that happens the work falls apart. I'm always afraid of that. —Will you be attending future Cave festivals, where you get to mingle with your fans? Inoue: If I do some work with manga, then maybe... when I release something new I feel like I should attend, but it seems a little strange when I'm a guest everytime. When I think about how others might see my attendance it seems somehow improper, so I'm planning not to come for awhile. (laughs) That reminds me though, last year at the Cave Matsuri I met a guy who told me he had met his girlfriend because of Deathsmiles. I was very happy to meet someone like this. I was curious how it happened. I worked hard on making Deathsmiles a cute game that a girl could look at and not feel weirded out by, and wanted it to be a game that people who don't normally play shooting games could get into. So when I heard some two people got together through Deathsmiles I was like, "I did it!" Cave: Fans of your manga and fans of your games both come to Cave Matsuri events. Inoue: Yeah, there are many Cave fans who keep an eye on my work. When I did a signing event in Oosaka, close to 80% of the fans said they were fans since my Cave days. Those are the people who support me and my work. I have fun drawing pictures and such at the Cave Matsuri events, too. —If there's anything you'd like to say about Cave, please take the occasion now to speak freely. Inoue: I'd like them to make major games, like the kind you see on commercials. Doing that, of course, would mean graduating from the world of 2D shooting. But Ikeda is a person who operates on the logic of "is it interesting?", so I think its a waste for him to be so bound by 2D shooting games. I've been saying this for 15 years now. In the future the world of shooting games is going to get smaller and smaller, but I think it will remain without disappearing. It has a kind of strength, being a genre with a solid fanbase, and the games aren't expensive to create either. Even if it shrinks, I don't suppose it will completely disappear. Cave: Well, how about Deathsmiles III then? Windia's children's generation? Inoue: Don't tell lies! (laughs) That would change the setting in a strange way because it would have to happen before Windia went to Gilverado. I'd rather remake Esprade. I'd update the graphics and world and call it "Esupriredo" or something. "Guwange RPG" sounds interesting too. The character wouldn't be Shishin and them, but would be the player's own customizable avatar. I'd keep the stages short and increase their number and get to draw a bunch of different motifs. It would be like going on a pilgrimage through ancient Japan. Well, I should stop now. If I say any more they'll ask me to start drafting a design plan. —Please give any final message for your fans. Inoue: I, Junya Inoue, and Cave, are supported by the love of all our shooting fans. We will keep this devotion close to our hearts as we continue to do our best. Thank you for everything.
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