Exactly one year since the project's beginning, here we sit in front of the conclusion of the Taiko de Time Travel project made for Taiko no Tatsujin's 10th Anniversary, ending up with a public song release that happened shortly before the artist/charter interview from the Taiko Team on the official blog!
For streamlining's sake, we're posting all the sensible data about the final release in one post, with the Oni video footage right here and the interview after the jump, for one drummer-racoon-avatar-donning fella who had the honor of both starting and ending this project!
For streamlining's sake, we're posting all the sensible data about the final release in one post, with the Oni video footage right here and the interview after the jump, for one drummer-racoon-avatar-donning fella who had the honor of both starting and ending this project!
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GO ON ～Mirai e～ Taiko de Time Travel 2022/steμ respecting Time Travelers GO ON ～未来へ～ / 太鼓 de タイムトラベル2022 / steμ respecting タイムトラベラーズ |
★2 | ★3 | ★5 | ★8 (720) |
It looks like that being involved since the Taiko de Time Travel early planning phase while lending a hand to the creation of its very first song for last year's February the 21st wasn't enough for the BNSI-rooted steμ, so much so that he's also signing the track to end this musical journey!
As you may hear for yourself from the song in of itself, the 'respecting Time Travelers' subtitle blurb isn't as much for working with other artists per-se, but rather as to pay them homage by blending them all together for a pop world-tour pop piece to usher the time just gone while literally, 'going on(ward)' to whatever's next. The artist himself on the blog entry interview reiterates how pursuing the theme of "Roaring from ancient times from the East to the West and the Future, and then continue" has led him to a 'recollection track' of sorts where the shift to different tones under the familiar four-on-the-floor beats guides the listener in a number of different sceneries, leading to an experience similar to the one of an amusement park visit to its many rides.
The twice-song-contest-judge has also left quite the lengthy piece of his mind about Taiko and gaming enjoyment in general, spacing well beyond of simply stating his favorite color and his fondness for natural colors in general! More specifically, the subject of "what makes 'good gameplay' for players?" is what kept the biggest share of steμ's engagement, in the midst of the multi-sectorial tasks his position lead him to take under the Taiko mantle. There're players striving to the finest performance in terms of high-score enhancements and a limit-pushing attitude that leads to their 'good gameplay', as well as people who can achieve the same "good gameplay" mindset by spending an equal playtime but enjoying themselves the same, despite not aiming to the top; everyone, in other words, has their own priorities to pick up their own fun in gaming whether it's the struggle to reach a goal, music-sharing, communication, chatting about the fondest gaming memories and so on.
Strong of his continuing experience as a BNSI musician, steμ re-confirmed to himself his belief that there is no 'better' or 'worse' priority to set for fun in gaming, because each play is a different story in of itself, prizing the concept of possibility being the best aspect of a game and what gives meaning to the act of playing himself. With such a videogame franchise to touch multiple demographics of people, each with their own priorities in their quest for digital fun as well as his own strife to get better at the game, steμ strives in his audible craft to make content that may be enjoyed by men and women of all ages, a drive that's strongly made an example of with GO ON ～Mirai e～, with songs of different 'time periods' (=genres) blending together in a universally-palpable piece that doesn't subtract a thing from the source materials in play (hence the 'respecting').
We also got another returning BNSI talent one last time for the Taiko de Time Travel project with the (co-)notecharter SueP, whose first 20th Anniversary celebration contribution is also tied to Todoroke! Taiko no Tatsujin (as its guitar player). Full-on musical notation was chosen as the charting moder to better suit steμ's "worldwide" composing concept, to give a sense of unity to the spotlighted tracks one like time before the last curtain call. We find more fondness for the Taiko-developing job from her parting words as well, from the sense of relief to being able to carry out her role in the 20th Anniversary song-making journey in a satisfying way to the lingering impulse to play Taiko formations in your head when they appear on screen, even after more than 6 years of work for the series!
Between the song releases per-se and these staff interviews we got with the Taiko de Time Travel tracks, we surely had a lot on our plate to talk about, didn't we? Let's hope that what is yet to come will be guided with such uplifting attitudes as the ones making the magic for everyone to drum at!
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