To start, could you please introduce yourself to the readers of Summon the Roses?
Hello everyone. My name is Takeshi Abo.
I entered the game industry in 1992, and after working at STARCRAFT and KID, I am currently with MAGES., where I handle music composition, arrangement, sound effects, and other audio-related production work.
Since the Super Famicom era, I have worked on music for games across many platforms, as well as anime soundtracks and music CDs.
My representative works include the Science Adventure Series such as STEINS;GATE, CHAOS;CHILD, ROBOTICS;NOTES, and ANONYMOUS;CODE, as well as the INFINITY series including Ever17 and Remember11, and the Memories Off series.
How did your career as a professional composer begin?
From around the age of 12, I loved programmed music from arcade games, PC games, and console games.
Using systems like the SHARP X1 and X68000, I enjoyed creating my own games while also composing music for them.
When I was about 19, I sent some of the music I had composed to a game company, and they replied saying they wanted to hire me. I joined the company as both a programmer and composer, and that was the start of my career.
Could you tell us about your usual process when starting to create a new piece of music?
There are various approaches, but the most common process for me begins with understanding the situation in which the music is needed.
I imagine where in the game the piece will play, how the story unfolds at that point, and consider the characters as well as the preceding and following scenes.
From that image, I jot down keywords and think about what kind of music would fit best.
I then consider suitable sounds, create them if necessary, and use them to produce the piece with an awareness of it as a “musical element of the scene.”
Over your many years of creating game music, how do you maintain motivation and creative drive?
I love making sounds and composing music, so I enjoy thinking about how to incorporate the music I want to create into a game.
In fact, my creative drive actually increases when I am not given instructions like “make music like this” or reference tracks.
That said, figuring out how to create something within given constraints reminds me of the traditional “programmed game music” approach.
Since I also work on sound effects, that process often fuels my enthusiasm, making me think, “I want to compose music as soon as possible!”
Steins;Gate has a very distinctive emotional tone. How did you express that world through music?
STEINS;GATE’s story is particularly striking, and even before production—while internalizing the story in my mind—I was filled with the feeling of “I want to read the next part already!” It was truly captivating.
As I read the story, I took notes of keywords while simultaneously thinking about the music that would be needed for the game. By the time I finished reading, I had a concrete list of musical ideas and a world view shaped from those keywords.
I remember creating the music driven by an impulse of “I want to compose the next track as soon as possible.”
“Gate of Steiner” is one of the most beloved themes in modern game music. How was this famous piece born?
After finishing the story, I decided to try expressing its grand flow as the main theme.
From the mysterious experiments onward, the story unfolds into the protagonist’s conflicts, sorrow, quick-witted decisions, the world lines he aims for, hope, and the future that awaits.
While consciously trying to pack all of these developments into the piece, I composed the music keeping close to the emotions I felt from the rich and intense story.
Which theme or track do you feel best represents the emotional core of Steins;Gate?
I believe it has to be “GATE OF STEINER,” which encapsulates the essence of the entire story.
Since this piece serves as the main theme, its motifs are incorporated into other tracks as well. Each arrangement expresses particular emotional states or plays an important role in presenting the story, so I can confidently say that the main theme is the true core.
The title of the track was also decided relatively early after I joined the project.
The Steins;Gate soundtrack is deeply loved by fans all around the world. How do you feel when you see the global response to your music?
I’m very happy and deeply grateful to hear feedback from overseas.
As a creator, receiving impressions of my music through games and anime is one of the greatest joys.
With the spread of the internet, we can now receive such feedback directly in a way that wasn’t possible in the past, and I truly think that makes the world a wonderful place.
This interview is also one of those joys!
What was the most difficult aspect of composing for Steins;Gate?
Looking back, I think the production process was actually quite smooth.
I had a clear idea of the music I wanted to create, and if anything was difficult, it was probably the schedule. It was a project that made me want to keep composing even more music.
How did you express the dark and psychological atmosphere when composing for Chaos;Head?
CHAOS;HEAD left a very strong impression of madness and a dark worldview.
Personally, I love creating dark and psychologically driven music, so I feel I was able to compose exactly as I intended.
I also enjoy synthesized, unreal sound textures, so designing sounds that help build a virtual world was one of the enjoyable aspects of this project.
You have composed music for many games and visual novels. How did your early works influence your later projects?
It depends on how far back we go with “early works,” but since each project has its own unique characteristics, they may not have a significant influence on each other.
Whenever I move on to a new project, I reset my mindset and approach it fresh.
On the other hand, for sequels or works that share the same world setting, those earlier pieces definitely influence the sounds I imagine and create.
In future projects, are there any types of stories or genres you would like to challenge musically?
I would like to try composing music for a fantasy-based, classic-style RPG, and I’m also interested in working on a shooting game.
I enjoy retro sound sources as well, so I’d love to create music for retro-style games and explore sound production across various genres.
Of course, I also want to continue composing soundtrack music that closely supports the story, as in visual novels.
Is there a message you would like to share with fans around the world?
It is truly an honor as a creator to have people enjoy the works along with my music and to receive their impressions.
Your kind words serve as a driving force for my creative activities, and I would like to express my sincere gratitude.
I hope that fans will continue to listen to my music, both old and new, and enjoy the works. Thank you very much for your continued support.
Website: VAL-SOUND
Social Media: https://x.com/valsound
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