what age did you become interested in music?
Iwata: I became
interested in music from my early childhood. In high school
I started to compose music with my friends. Some early musical
influences were Arabesque, Yellow Magic Orchestra, John Foxx,
China Crisis and Bill Nelson.
How did you get in to the game business?
I applied for a part-time job at the game company, Bothtec.
The first game I worked on was BAKUSOU Buggy IPATSU YAROU, ending
music only (literal translation - A dashing buggy One shot guy).
What are some of your memories for your early days in the game
At first I was manipulating music to suit the games. In this
way, I learned the work and had many experiences to adopt myself
to hardware or tools with flexibility. Long after that I finally
was able to compose. Before that, I had little sense of composition.
How did you meet Hitoshi Sakimoto? What was your first impression
of Mr. Sakimoto.
When the coworkers whom I got acquainted with at Bothtec were
making coterie software, Mr. Sakimoto was part of the group.
He looked fearful (LOL). Seriously he looked like a grown-up
considering he was a senior high school student.
What do you think of Mr. Sakimoto's music?
I think his music is wonderful. I can't imitate his music, because
it has a magnificent scale.
How has your relationship with Mr. Sakimoto changed over the
We haven't worked together recently, but our relationship in
our private lives hasn't changed. We are good friends.
What are some of your thoughts on the newest Tactics Ogre for
the Gameboy Advance?
I was pleased to work with Mr. Sakimoto again. About sound hardware
for GBA, I had much trouble because it was my first experience.
What is the process you and Mr. Sakimoto use when creating music
We each take charge of a rough portion after looking at the
specifications or lists from the clients.
What was your experience working on the Evolution game series?
I had worked for about three months and composed about nine
pieces of music for Evolution. I was able to produce music with
a little bit different color than usual. I troubled Sting because
I delivered the music late.
Another game you made for Sting was Baroque. How was that experience?
The individuality of the game designer, the requested melodies,
and the contents of games were all new experiences for me. It
was difficult to grab their sense. I would like to thank Sting
and John Pee for this game, Treasure Hunter G and many other
Why do you create music and what inspires your music?
Because I'm fascinated with game music.
Game music fills the deficiencies of games and it has a meaning
more than sound. I use my life's experiences for the inspiration
of my music.
Who are some of your favorite game music composers?
Raphael Gesqua, Nathan McCree, Tim Follin.
Because they are individualistic and make music suitable to
give your name as REZON in many games. Please tell us the origin
of this name?
It's the name of the car which a hero drove. The hero appeared
in a special program for children which was broadcast about
ten years ago. I was pleased with the sound of the word, so
I began to use the name.
What are some of your thoughts
on the older Orge games?
The work gave me a big chance to change dramatically. My favorite
work is Tactics Ogre and the reason is that both the scenario
and the game design are profound, but easy to understand.
How was the experience working
on Final Fantasy Tactics? Did you feel any pressure working
on a game with Final Fantasy in the title?
I received a lot of assistance from Square. It was a
giant project, so I profited a lot from the experience. And
of ofcourse I felt pressure.
You are credited as sound manipulator
on the PSX 2's Shadow Hearts. What exactly is a sound manipulator?
There were the two contents of work, music data translation
and sound effect making.
It took me about one month to become familiar with the system,
because PSX2 is not much different than PSone.
What did you of Mr. Hirota's
and Mr. Mitsuda's music?
I sincerely think it's wonderful. I'm not just saying it to
flatter them. It was a very interesting procession of work to
be able to play their music using PS2. The work was troublesome,
but it was rewarding.
What has been your favorite
console to work on?
I have had troubles with every console I have worked on.
Are you happy with the state
and evolution of game music?
I think it's joyful, because increasing capabilities means widening
What's next for you?
I'm now working on an arcade game which will be released this
What is your most treasured
memory in the game business?
I have been truly moved every time I've heard the music or effective
sounds in the scenes which I made, both good and bad. So my
most treasured memory naturally is the time when my music was
first played in a game.
What advice would you give to those who want to create game
I'm not worthy to give advice to anyone, but I think it's the
will to achieve something and fortune that leads a man to a
Any final thoughts?
I myself am a game fan. Whenever I play games and hear good
game music and sound, I feel pleasure and think I have to do
From now on I'll do my work with the players in mind.
would like to thank Mr. Iwata for chatting with us and eagerly
await his next work!
Special thank to Mr. Sakimoto for helping to contact Mr. Iwata.
Also to Datschge for input. Mr. Iwata would like to give Miita
a special thank you for translation help.