![]() Instruments can get bogged down in the wall of noise and the meshing can leave it's original promises unfulfilled. On the other hand, such a process can leave the quality of sound low. Compression is a double edged sword, on paper it can be used to disguise over-dubbing and enhance more intense songs. Shiina intended to express the tension and size of the game through high energy composition utilizing over-dubbing and ultra compression to dull the sounds and create the illusion of an orchestra of 1000, when there was really only a tenth of that actually playing. In it, Shiina employed a bombastic collection of tracks, filled with erupting choruses and pulse pounding instrumentation. Indeed, while his previous works were great, Code Vein's soundtrack would stand above them all. Critics and gamers praised it's character customization, deep lore, and especially, Shiina's soundtrack. And yet, as if once again defying destiny the game exploded in sales on release. It was simply meant to be a cash-in clone of Bandai's Dark Souls games but in an anime style. Like God Eater, Code Vein wasn't meant to be a huge success. He needed a project to work on that allowed him to start from scratch, and show critics that he was more than just "Music master of God Eater". The problem was, while his work in God Eater was fantastic, it was his only claim to fame. Things suddenly heated up when God Eater 3 was released, as it sold extremely well, and brought Shiina newfound acclaim from those who didn't even know he existed. It exploded in popularity overnight, and more attention was suddenly being given to Shiina. Things began to change when the God Eater anime was released, bringing the cult hit to a brand new audience. The success of the game prompted numerous remasters and a sequel, and though these releases also saw major success, Shiina was still being overlooked when compared to his contemporaries. Surprisingly however, the game itself found a massive cult following, and Go's soundtrack received acclaim. It was simply meant to be a Monster Hunter-clone to cash in on the series popularity. Then, in 2010, a ragtag team within Bandai named Shift, took him in to work on the soundtrack for their upcoming game God Eater.Īt the time God Eater wasn't expected to be anything special for the company. For 12 years Go Shiina toiled in the studio, never being given the chance to spread his wings and fly. His soundtracks for Klonoa 2 and Tales of Legendia were serviceable, but not anything to scream from the mountaintops about. That isn't to say he didn't do any notable work. Although he showed promise and talent, he was rarely given the opportunity to show what he was made of, usually working with other composers in the games he participated in. ![]() He became one of their many composers for video games. In 1997 then video game juggernaut Bandai Namco saw something in the young Go Shiina that so many others didn't. He applied to at least 47 companies, including a fast-food company and was rejected by almost all of them. Despite this, Shiina was consciously overlooked everywhere he went. It's why he would often join multiple different avenues as a way of expressing his love of music, an example of which was his membership in a Megadeth cover band for a time. ![]() Since he was young, Shiina had lived and breathed music, and strove to play music anywhere and for anyone. Go learned to play music when he was very young. Go Shiina is without a doubt one of the biggest rags to riches stories in the video game soundtrack scene.
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