The situation mentioned by Mineshima actually exists. Iwahashi Shinichi has also heard of this in the industry. Not only that, he has such a person around him.
Before Nakamura-san made his official debut with DreamSeTrue, one of his jobs was to write soundtracks for games.
It’s hard to be a musician these days. In other words, no matter what age it is, the majority of musicians are hard-to-make music. While some musicians are emerging and becoming popular, other musicians have to find a way out of their own.
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Either they can make a smooth debut, but they can't, or they can go behind the scenes to provide songs for other idol singers. If they can't get a piece of the pie, the booming game industry and the booming animation industry will become the outlet they can come into contact with.
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It goes without saying how developed Japan’s game industry is. In terms of game hardware, Japan has almost achieved a complete monopoly. On this basis, Japan’s game software is also leading the world. It was brewed in the mid-1970s and now dominates the world.
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In Japan, there are companies that make a lot of money from games, there are players who become celebrities by playing games, there are cafes saved by tabletop game consoles, and there are Yakuza who have reached out to the game industry to obtain huge profits.
elements.
In this case, there are also musicians who make a living by writing soundtracks for games.
Of course, the game industry cannot accommodate so many musicians. Therefore, other musicians are attracted by the animation industry to write soundtracks and theme songs for animations.
However, as far as musicians are concerned, not many set out to become animation and game soundtrack composers from the beginning. Most of them still cannot find a suitable outlet in the mainstream music industry, so they can only switch to composing soundtracks for games and animations.
The reason for this idea is that soundtracks cannot be the protagonist in games and animations. Being a musician who works for games and animations can be said to be sacrificing a part of yourself and giving up your pursuit of music.
At this moment, Mineshima mentioned to him that underground musicians have switched to the game industry and animation industry, and there was a sense of regret in it. However, when Shinji Iwahashi heard Mineshima talking about this matter, he seemed to be inspired, and another brand-new thought suddenly passed through his heart.
possible.
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Mineshima said that underground musicians were being sucked away by the gaming and animation industries for their livelihood, but Shinichi Iwahashi saw an opportunity in this.
At this stage, whatever he thought of, he would immediately put it into action. Therefore, after meeting Mineshima, the next day, he went to meet Watanabe Manyumi and told her his ideas.
"Cooperating with an animation production company?"
When Watanabe Manyumi heard Iwahashi Shinichi's suggestion, her reaction was a little subtle.
Iwahashi Shinichi nodded seriously, "Yes, cooperate with an animation production company. In this way, you can also have the opportunity to get the animation theme song and soundtrack, wouldn't it be a good idea?"
After finishing speaking, he looked at the face of Watanabe Wan Yumi, who had been silent, and suddenly said: "...it's really informal."
"What?" Watanabe Manyumi was startled.
Iwahashi Shinichi smiled and said, "This sentence is written on your face right now."
"Can I write so many words on my face?" Watanabe Mayumi heard that Iwahashi Shinichi was using the words she said before to tease her, and she also used his words to retaliate to him.
"Do you want me to try it?" After finally fighting back, Shinichi Iwahashi climbed up the pole.
Watanabe Wan Yumi didn't answer his question.
He accepted it as soon as he could, and it was almost over. He changed the subject back to the main business, "I guess you also feel that being associated with the animation industry is a bit cheap?"
"It's not that the price has dropped." Watanabe Manyumi shook her head, "It's just that there are too many restrictions."
Iwahashi Shinichi retorted to her, "On the contrary, I think there is much to be done."
Shinichi Iwahashi is very clear about how prosperous the game industry and animation industry are in Japan. Not only that, he also knows how prosperous these two things can be.
Since the 1970s, Japanese animation has been exported to foreign countries in large quantities, and later, together with the Japanese game industry, it exported culture to foreign countries.
The Swiss children watching "Girls of the Alps", the boy from the rabbit country saying "Coach, I want to play basketball!", and decades later when Tokyo bid for the Olympics, the plumber and electrician who were Guo Jia's business cards
The mouse can already explain everything.
Compared with movies and TV series that feature real-life scenes and live-action shooting, animation and games are more easily accepted by audiences outside their own country.
One of the important reasons for this is that animations and games dilute the different customs between Japan and other countries, weakening foreign audiences' resistance to cultures different from their own countries.
In a two-dimensional world, any element can be used as you wish. Even if the core of the story is still Japanese, you can also add OME elements naturally.
East Asians and Westerners can appear in the same picture without any sense of incompatibility, and Japanese teenagers can have blond hair and blue eyes. In the two-dimensional world, "country" is blurred, and "race" is blurred.
"globalized".
Even if you don’t know Japan, don’t like Japan, or are blind to yellow people, you can still easily accept animations and games made by Japanese people. This feature is an important reason why animations and games are loved around the world.
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At first glance, animation may sound like it is associated with younger people, but animation is by no means something only for younger people. On the contrary, works that can truly reach the national audience are by no means simply works for children.
If the animation works are not just for children, but also for adult audiences, then providing and singing theme songs for the animation can be a pretty good way to promote it.
Shinichi Iwahashi, who has great confidence in Japan's animation industry, will never think that being associated with the animation industry is a bargain.
"...To put it this way, it should be said that it is very broad." Shinichi Iwahashi said to Watanabe Manyumi.
If the door to the mainstream world was not open to those musicians, they would not choose to score games and animations. But for Shinichi Iwahashi and Manyumi Watanabe, even if they established a record company, they were still in the initial stage.
From the perspective of the industry, the outsiders are no different from the musicians who have to score games and animations in order to make a living.
DreamseTrue's debut single was paired with a Glico commercial, which earned it ample exposure on TV. This was also an inspiration to Shinichi Iwahashi.
That is, theme songs and advertising songs are very powerful in terms of promotion. If the style of the song matches the content it is paired with, the effect will be even better.
Among various publicity techniques, Iwahashi Shinichi is quite fond of this one.
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