Peace Walker: Interview with Sound Director Muraoka Kazuki

This was taken from the recent Famitsu scan. I took the liberty of translating it for the fun of it. I tried to keep the flavor of the interview in so it might sound a little awkward here and there.

The scans:

NOTE: The interview was brushed up due to some mistakes here and there,  I hope you can understand it better now!

F: Famitsu
M: Muraoka

F: What role do you play in MGSPW?

M: I am the so-called “Sound Producer”. Instead of just the music composition, [This scene’s direction, the way it’s done, I want the music to portray that image”] is how I instruct the staff to do the work. In addition, I instruct checks on the AI Weapons sound and Special Effects.

F: Speaking of production, was the bringing of “Artist Demo” difficult?

M: Yes, so basically they were stop-motion images so there were times me and the team had to put our imagination when creating the sounds. A simple image slide show cannot help, it must be able convey the situation’s atmosphere.  For example, during a conversation, I try to make the sound of the character’s bodies moving around. For people sitting on a chair, I try to add small creeks here and there, I cannot attach an unnatural sound to it.

F: Was the sounds effects made one by one?

M: Sound effects wise, commercially available CDs of Sound Effects is usually used. But when MGSPW was announced, “barefoot walking in the jungle”  sound was not in the disc, so a new SE had to be used.  Sand being spread, the sound of a cassette tape running, stepping sounds, all these had to be made from scratch. During the cassette player playback scenes, the small noises sounds were added in as well.

F: A lot of varied sounds were made huh?

M: Yes. It’s also a huge amount of data; the capacity had to be adjusted too. The codec voice production quality had to be lowered, music had to be small and simple and repetitiveness was reduced as much as possible.

F: Everyone is quite worried that it might be compromised…

M: No, on the contrary, the staff could put in alot of ideas, so they had quite a lot of fun. Some of the sound team was from the time of MGS1, so they were quite accustomed to the traditional way of producing (the sound). MGSPW is produced on a portable game machine and it’s post MGS4 so we can’t go backwards.

F: This game has a new element, the Vocaloid song producer. Please inform us about it.

M: The AI weapons sing two songs, both of them chosen by Kojima himself. [The drunk has returned!] was the first thing Kojima thought of as a joke. But, when he used the Vocaloid data, [I’m surprisingly addicted to this] and it was adopted. One more is “Sing”, where the 1st version was just a singer. The 2nd version had a singer and Vocaloid mixed together. By the way, the Vocaloid song, both the English Vocaloid and the Japanese Katakana to English voice was used!

F: I see. Last words for the readers!

M:  When listening through the headphone, you can clearly determine the enemy’s position from the direction of the sounds. The external speakers are not able to create this sort of effect. Because it’s much more immersive than using the external speakers, I think you can really enjoy the game with that!


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