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Sekiro: Dengeki Interview with Miyazaki (Translated)

16 June, 2018 ~ ElDynamite ~ Games, Translation, Souls

This interview is from Dengeki Online 664.

I translated the Famitsu interview as well, which you can find here. You can also read this article on Medium.

A new project based on a completely new IP. Today, we ask Mr Miyazaki about the choice of a Japanese setting as well as the game's design.

We've been looking forward to this game since the December teaser video. What's the meaning behind the title "Sekiro: Shadows Die Twice"?

Sekiro means "one-armed wolf", and represents the main character. He lost an arm, yet is as a wolf, that's the feel. As for the subtitle "Shadows Die Twice", it was originally supposed to be a catchphrase for the teaser, but the publishers really liked it, and made it a subtitle. "Shadows" is a metaphor for the essence of the ninja, and "Die Twice" signifies both the unique revival system in this game, as well as a warning to the player that they'll die a lot.

The last new IP From worked on was Bloodborne. When did development for this one start?

We started this project about when we finished Bloodborne's DLC. That was about the end of 2015.

When you wrote the planning document, did you already know this would be a Japanese-style action game?

That's right. When we were discussing ideas for new titles, naturally, one of the ideas that came up was a Japanese-style game. The planning document was based on that idea. From has worked on many Japanese-style games, but it's been a while since then, so for myself and many of the younger staff, this would be our first experience with a Japanese theme, so we expected to be able to create something new.

There seem to be a lot of influence from Tenchu. Was that intentional?

Yes. Tenchu was the original inspiration for this work. When we started the project, we initially thought about putting it under the Tenchu series, but we gave up on that quickly. Tenchu had been developed by a very different set of people, and we felt that we wouldn't be able to make anything but an imitation of it. So while this work was originally sparked by Tenchu, and borrows mechanics like the grappling hook and the ninja kill, it'll ultimately be our own new game.

Did you start working with Activision while this was still in the Tenchu stages?

Activision had held the IP for Tenchu before us, but that's not why we decided to work with them. Although it's a funny coincidence (laugh). The most critical reasons that we decided to work with Activision were that, first, they had great respect for the idea, and second, we thought we'd be able to work together in an interesting partnership.

What kind of work does Activision do on this project?

We follow their lead on ease of play, pleasure of play, and proper onboarding/tutorializing. Embarrassingly, it's something we're not that good at (laugh). The rest of the advice they give us on the game is founded, though, on respect of the game we want to make and the idiosyncracies we want it to have. While preserving the uniqueness of our design, we want to have as many people as possible experience interesting and fun play with this game. That's the perspective from which they give advice, and it's why we thought we'd be able to work together in an interesting partnership.

We want to merge the beauty of decay and the beauty of freshness.

Why did you choose the end of the Warring States period for the setting?

We decided very early on that the main character would be a ninja. That was the basis on which we built our game design. For a setting that could thus contain a ninja, we had Warring States or Edo, and we chose Warring States. There are a few reasons for that decision. First, the Warring States period is conceptualized as more raw and dirty. Then-- and this is something that's less definite-- Edo is more modern, while Warring States has that medieval feel, which still holds mythological significance. On top of that, we chose the end of the Warring States period in order to incorporate the nuance of decay which informs our conception of Japanese beauty.

What kind of imagery are you thinking of for your first Japanese-style game in so long?

With regards to Japanese beauty, we considered its two faces, one of decay and one of vividness. It may seem a contradiction, but we wanted to unite them. In our recent works, we've really been suppressing vivid beauty, so we consciously emphasized it this time. We really enjoyed creating the imagery, and we hope the players will as well.

The portrayal of blood in this game is a lot more vivid and showy than in previous games.

We often compare it to Bloodborne. In Bloodborne, blood is thick and gloopy, but in this work, it's more watery. I think it's a matter of the difference in worlds, or the characteristics of the work. But portraying blood is a difficult task, and we may still make adjustments to it.

I've seen that a certain character appears at certain critical important points in battle.

Yes, the appearance of the kanji! It is a Japanese-style game, so we thought to try that (haha). As a result, we found a unique flair for this game. By the way, the kanji will appear overseas as well, with nearby text describing the meaning for each localization. Initially, we wanted people to think of it as an effect instead of as a letter, but they wouldn't listen (haha).

A character-focused tale of rescue and revenge

This time, in contrast to Bloodborne and the Dark Souls series, the main character has a defined style and look. Will the depiction of the story likewise differ from previous works?

That's right. This work features a fixed main character, who serves as a focal point of the story. Since the story revolves around this fixed point, it'll be significantly different compared to Dark Souls, which lacked anything similar. The themes of this story would also be difficult without the fixed main character, so this will also serve as a fresh aspect of the work. But, in order to prevent any misunderstandings or undue expectation, this isn't a game that will particularly focus on storytelling. With respect to how we tell stories, this will be the same as our previous works.

The prince the main character serves-- will he and the samurai who abducted him serve as a key to the story?

That's right. This story fouses on rescue and revenge, so the prince and the Ashina samurai will be keys to the story.

The one-armed Buddhist statue carver is also interesting. What kind of place does he occupy in the story?

He'll provide hints to the player, and serve as a sort of curt navigator. To compare to Demon Souls, he's kind of like a Crestfallen Maiden in Black, I guess? Of course, he has a backstory too, and it'll become more clear during the game's story.

What kind of enemies will appear?

In addition to runaway soldiers, armored warriors, and bandits, there'll also be many types of enemies from demonlike giants to great white snakes-- as seen in the E3 trailer. The enemies will be quite unique, so look forward to them!

Will the story diverge based on choices made during play?

Most of the story will be the sam, but there will be multiple endings.

Action emphasing "Kill Wisely"

What is the fighting like in this game?

As in Dark Souls, the goal is to provide a challenging experience that feels good to overcome. In this work, we also emphasize the freedom of strategy, and the creativity you can employ to solve challenges. You can face challenges head-on, or alternatively use one of a multitude of create strategies. Unlike a samurai, the ninja's image is one of: any method is good, as long as it produces results!

It sounds like this work will have a different essence from previous ones.

True. First, the image of swordplay is different. This work focuses on the clashing of swords, and searching for a moment's weakness to deliver a final blow as you wear down your enemy. It's a style that fits both the Japanese and ninja aesthetics, and that serves as the foundation of this game.

Will swordplay involve stamina, as the games up till now have?

"Balance" would probably be more accurate. If you strike at your opponent's torso, their posture will crumble, and you'll be given a chance to deliver a finishing Ninja Kill blow. Unlike in previous games, there's a unique emphasis on massive conditional swings. In normal combat, you slowly whittle down your opponent's health, but we focus heavily on the Ninja Kill in our design, which emphasizes creativity as is necessary to bring down your enemy's balance. However, this is only a starting point for our conception of combat, and there'll be more to it. This swordplay focused around single strikes will open up many strategic options, and the prosthetic arm will be a significant part of that.

What is this prosthetic arm like?

It primarily serves as a ninja weapon. There will be many variants, like shuriken, firecrackers, and sparks, that all contribute to the freedom of strategy and the creativity of approaching challenges. For example, if an enemy is wielding a shield, you can use the hidden axe to take down his shield and strike his torso. It'll be critical that you select your tools properly to stand against various enemies and situations. There are a few weird tools as well, like the steel umbrella featured in the E3 video. They'll all serve various creative purposes, as well as give the game a unique feel.

Will you be able to switch your prosthetic tools on the spot?

Yes. You'll be able to select several tools beforehand, and switch between them in combat..

Can you tell us more about how the grappling hook will be used in combat? It looks like it'll be focused on providing movement capabilities.

That's correct. First and foremost, the grappling hook will be a means of movement. As in Dark Souls, the game will feature three-dimensional maps--which I love-- and the grappling hook will give you a unique way to traverse the map vertically. Within the three-dimensional maps that we always created, this time we wanted to emphasize vertical traversal, and this actually became one of the reasons we made the main character a ninja. I hope the players will enjoy vertically exploring the maps. However, the grappling hook will also have combat uses. You can use it to maneuver behind your opponents, or beat a retreat into the trees, or make many other dynamic movements.

Are the maps designed with grappling hook traversal in mind?

Yes. The maps contain laid-out points where the grappling hook can be used to move around. Furthermore, with one minor exception, the map is fully interconnected and will allow freedom of game progression.

The revival system seems like it will have a massive impact on the flow of battle. How did you come to add it in the game?

The revival system reflects the image of the ninja, which consists of always being on the edge of death, and therefore capable of dying easily-- but also serves the gameplay purpose of keeping the game's tempo steady. It will also be a critical mystery in the story.

It sounds like you'll be able to make strategies based on dying.

That's right. It's not the main purpose, but sneaking up on enemies who thought you dead and ninja killing them from behind will serve as a unique aspect of this game. There will also be paths this kind of strategy opens up.

Have you decided how many times you'll be able to revive?

There will be a limit, but it's a work in progress. This being said, we don't want people to lose the tension of playing on the edge of death, or to become inured to dying, so we're considering death penalties balanced with revival. I may be repeating myself, but the goal of revival isn't to decrease the difficulty, but rather to maintain the presence of death and the gameplay tempo. Perhaps given the revival system, we can make the death penalty harsher...

Finally, why did you choose to focus on singleplayer and omit multiplayer?

There are many reasons. First, multiplayer places many restrictions on game design. With a fixed character and a fixed class, we've removed most of these restrictions, ad it seems much more optimal to focus uniquely on the singleplayer experience. As a result, this work will carry its own unique feel and charm, so please look forward to it!

Sekiro: Famitsu Interview with Miyazaki (Translated)

13 June, 2018 ~ ElDynamite ~ Games, Translation, Souls

This interview is from the 2018 June 28 edition of Famitsu.

See the 5-minute video recap here, or retweet this article! You can also check it out on Medium.

With the influence of the Tenchu series still lingering, this is the kind of game they want to make now.

From Software's newest project SEKIRO: SHADOWS DIE TWICE has finally been announced. First, how did you come to develop this project?

Miyazaki: This project started roughly when we finished development of Bloodborne's DLC. That was about the end of 2015. At the time, we were still working on DS3, and we had a few ideas for titles to develop afterwards. From had originally worked on projects like "Ninja Blade" and "Otogi(??)", as well as the Tenchu series from the third game on, so we thought we'd like to make a more Japanese-style game of one of those. Free of the games we had been developing up until then, to myself and many of the younger developers at the studio, this would be our first chance at making a Japanese-style game, so we looked forward to picking up some new ideas and taking a new turn with a new title.

From originally started with Japanese-style action games, didn't it?

Miyazaki: Yes. Within the genre, we especially focused on ninja games. You might be able to tell, but the biggest influence on the early stages of this project was the Tenchu series. We initially considered publishing this under the Tenchu series, but we gave up on that idea quickly. Fundamentally, Tenchu was created by a very different set of developers with idiosyncracies that shone in the work, and if we were to develop under that name, then we feared it would come off as an imitation. So while we received many influences from Tenchu-- including the grappling hook and Ninja Kill-- we created our own foundation for this game.

Were you [Miyazaki] also interested in creating a Japanese-style ninja action game?

Miyazaki: Of course I was interested. I expect I'll be able to expound on this later, but the idea of a three-dimensional map, or the combination of showiness and tension in battle, or the idea of there being a multitude of ways to conquer obstacles-- I feel like all these concepts I love mesh very well with the essence of the ninja.

It's been widely reported that From is working with Activision on this title. What kind of collaboration exists?

Miyazaki: Excluding actual game development and sales within Japan and Asia, we've left sales in the rest of the world to Activision. One of the most significant reasons for choosing Activision as a publisher was that they could give us adivce about the entire length of game development.

We don't often hear of From working with that level of collaboration.

Miyazaki: That's right. But let me say this clearly: all decisions about game development are made by us. Activision respects the game that we are making, and that we desire to make, and offers play impressions as well as advice about what we could do to improve the game. As always, we ask that all decisions after the title screen be left to us, and we've been successful in collaborating under this framework.

I didn't expect that Activision would be involved in the creative aspects of the game.

Miyazaki: "Creative aspects" is quite vague, but what Activision principally focuses on is ease of play, comfort, and appropriate onboarding [tutorial-ish]. It's embarassing to say, but we're not particularly strong in those areas, so it helps greatly.

If I recall correctly, you [Miyazaki] will be serving as the director for this project.

Miyazaki: Yes, that's right. We currently have a large and reliable staff, as well as many well-performing departments. The game's level design, artwork, and general style are as you've seen up until now, and we mostly have the same people working on this project as worked on the Dark Souls series. Our staff often comes up with great ideas in private discussions!

In the picture of "Japanese beauty" we wanted to paint, we needed the nuance of decay.

Proof that you have a great development environment! This may be slightly off-topic, but in the trailer revealed at The Game Awards, there was an emphasis on the symbol "Shadows Die Twice". Can you explain the meaning of that with regards to this project?

Miyazaki: The phrase "Shadows Die Twice" was originally a short catchphrase I designed for the trailer, but the publishing people really liked it and ended up making it the subtitle (lol). But there's definitely significance behind it. "Shadows" is a metaphor for the essence of the ninja, and "Die Twice" is a reference to the idea of revival in the game's systems as well as its philosophy. Also, it's a bit of a blunt message to the players that they're going to die a lot.

"Sekiro" is written in kanji as 隻狼, correct?

Miyazaki: Yes. 隻腕の狼 [one-handed wolf]. It's the main character's nickname or the like. A man who lost an arm, but who carries the ferocity of a wolf, that kind of feel. Since it's a Japanese-style game, we thought about the name starting from the kanji, and ended up using the kanji 隻 which interested us on a design, meaning, and feel level. Unexpectedly, Activision, which doesn't do much in the field of kanji culture, was interested in this decision.

I'd like to ask about some of the game contents. What era is the game set in?

Miyazaki: It's based on the end of the Warring States period. As with our previous works, the actual setting isn't firmly placed anywhere, but it has an image of a cold and elevated rural area. To explain why we chose the end of the Warring States period: first off, we had to make a choice between Warring States and Edo, given that the game is about ninjas. The reason we chose the Warring States period is because, first, combat in the period is thought of as more raw and dirty, which conforms more closely with my conception of ninjas. Second, with regards to conceit, Warring States is closer to the Middle Ages, which has more of a mythological feel, and Edo is closer to the modern age, with more of a living, breathing feel. Then, we chose the end of the period in order to incorporate the idea of decay. My conception of "Japanese beauty" requires it!

So you're going to create a uniquely From Software vision of the Warring States period?

Miyazaki: That's right. Realism is necessary, but we don't focus on it too much. As we reimagined medieval fantasy in Dark Souls, we're reimagining the period with our own flights of fancy.

Face and conquer difficult obstacles. I want people to experience the pleasure of achievement. The theme for that idea will be "kill wisely".

The main character's motives are retrieving his master, taking revenge against the man who cut off his arm, and understanding the mystery of revival.

Unlike in previous titles, you're going with a fixed character this time.

Miyazaki: Yes. This will be my first project with a fixed main character, but I think it's necessary to mark a fresh turn. The themes of this story are difficult without a fixed character. I think we'll enjoy this style, though. However, to avoid any misunderstandings, let me be clear: this is not a game in which the story takes priority. There are times when the story pushes the characters, but otherwise, in most respects, storytelling is little different from our previous works.

Are you [Miyazaki] creating the plot?

Miyazaki: Yes. I came up with the foundational ideas, and worked with another staff member to refine them. While I'm looking over their work closely, I've left most of the actual writing to that developer. While this is the first time I've directed the plot but not done the writing, I think it'll be a good and fresh perspective for this work, especially given the idiosyncracies of my writing style.

Can you tell us about the main character?

Miyazaki: I can't reveal many spoilers right now, but... The main character is a skilled ninja. He's a lone wolf without any particular affiliation, and is a cool-headed man who rarely shows emotion. But the prince he was bound to serve was kidnapped, his arm cut off, and he killed. After he thus lost everything, a one-armed sculptor of Buddhist imagery found him, "revived" him, and gave him a prosthetic shinobi arm. This is where the story starts. Then, the main character's motives become retrieving his master, taking revenge against the man who cut off his arm, and understanding the mystery of revival. This story begins with the ideas of rescue and revenge.

The prince is a boy... right?

Miyazaki: Yes. He's another key to the narrative, and as another lonely soul, he raises the question of what will happen to this lonely master-servant pair. We haven't worked with this type of character before, so he's one of my favorites.

Sounds like he'll be a popular character.

Miyazaki: I really can't say. His face is shown clearly, and while From has in the past worked on characters that use that clarity as a key character point, it's a first for me. As such, there's a lot of groping around... The prince and the main character are both like that, and I have a lot of memories of worrying about them. Even though exposing your face is something that should be pretty normal (lol).

With regards to the action parts, I've received the impression that, while it retains much of the style of your previous works, it's more three-dimensional, and flows with a pace different from even Bloodborne.

Miyazaki: There are three major sides to the action design in this game. First, action uses the grappling hook. Being able to vertically traverse a three-dimensional map, which is unique to this game, will allows players to better enjoy the map. Furthermore, the grappling hook enables movement during combat, and widens the range of combat options. Second, the swordplay. This work has a unique perspective on swordplay, based on the Japanese style of swords furiously clashing together in mixed offense and defense, as fighter seek to wear down and debase their opponent's posture. We have a finishing blow, the "Ninja Kill", based on this idea. The core of the battle structure is seeking a moment of weakness in a battle on the edge of death-- just like a ninja. And third is the idea of "kill wisely". In this work, we've expanded greatly on fighting styles with an emphasis on allowing for creativity in approaching obstacles. We've prepared many means of solving these problems, with many applications across situations and enemies. You can attack head-on, or use the surroundings and your weapons to "kill wisely" in a fashion more apt to ninjas than to samurai. The grappling hook and the swordplay also reinforce this style. Dynamic vertical movement with the grappling hook, or ninja-like swordplay based on exploiting a moment's weakness, or the vast range of ways to approach the game's challenges all contribute to that style.

It sounds like "kill wisely" will be a critical point for this work.

Miyazaki: Yes. It's actually one of the core themes of this work, as a means to allow many players to experience the thrill of overcoming difficult challenges. To speak plainly, if you're not that good at action, there will be other ways to play the game. Of course, you can always attack problems head-on. The swordplay is strenuous, without any tricks-- and may end up being harder than the stuff we've worked on up until now. In fact, the opportunities for ingenuity may end up being more interesting than straight combat (lol).

So the player can enjoy a variety of approaches.

Miyazaki: It reflects in our level design as well. Rather than simply get caught up in combat as you progress through the level, you'll look down on enemies from high above, with a naturally-flowing space allowing you to adjust your battle plans. The flow of battle is different, and you might even say it reflects on this diversity of approaches.

Do you think it'll be more fun to think of battle strategies?

Miyazaki: Yes. It's tied to the fun of exploration. You'll be able to eavesdrop on enemies' conversations before battle and freely use that information to seek out new strategies. We think it'll be fun.

The dynamic movement of the grappling hook will allow a fresh combat feel.

Variations in combat style will come from the combination of katana and prosthetic arm, I expect.

Miyazaki: Fundamentally, it's the katana, prosthetic arm, and also the grappling hook. The prosthetic arm will support the swordplay, as well as allow for greater creativity. There are many variations, including shurikens, firecrackers, and a hidden axe. For example, you can use the firecrachers to surprise animals, and this will allow for a lot of ingenuity. There are also several tools which are mostly style and show. Look forward to them!

Will you be able to carry multiple tools in the prosthetic arm?

Miyazaki: You will be able to equip several tools and use them on the spot.

Is there RPG-like progression for the main character?

Miyazaki: Yes. While this is more action-adventure than RPG, we do have progression mechanisms for the main character. Details will come later!

It sounds like the grappling hook will increase the speed of action.

Miyazaki: Rather than speed, it's more a sense of timing. With regards to combat, and of course movement, the grappling hook should provide a new and dynamic feel. It works well with large enemies, and will allow completely new boss experiences.

I expect that the grappling hook will open up large areas, and I see that the design will focus on the intersection of exploring and developing strategies. How will this be reflected concretely in gameplay? Will it be like playing around within a sandbox?

Miyazaki: Map design will be very similar to Dark Souls 1. With one exception, the three-dimensional map will be fully interconnected, allowing a high degree of freedom in game progression. The grappling hook will allow you to maneuver effectively through that environment. We think the exploration will be fun.

What kind of setups will exist with regards to the map?

Miyazaki: I can't say much currently, but we'll mainly be expressing Japanese-style setups in a three-dimensional map. There's a wide range of situations, including vivid Japanese-style ones. Look forward to it!

Will there be a lot of otherworldly enemies, like the snake-- which was clearly a mythological creature?

Miyazaki: That's right. Fundamentally, most enemies will be people, like fleeing soldiers or samurai generals or bandits, but not all of them will be normal people, and there will be non-people. You'll see a lot of weird and thick guys (lol).

Incidentally, I've heard there's no online play in this title...

Miyazaki: That's right. There are many reasons for the decision. We wanted to remove the restrictions surrounding multiplayer and focus entirely on the single-player experience in this work. Something like that. Then there's also the fixed main character, which is most appropriate to this work and gives it a unique play feel.

We want to both establish strong challenge and make available the pleasure of overcoming it.

You mentioned "revival" with regards to the meaning of "Shadows Die Twice". What is that system like?

Miyazaki: By consuming some resource, you will be able to come back to life on the spot where you died. As we want the tension of death that accompanies a ninja's fighting style, you will occasionally actually die-- but if you have to die and redo the level too often, the gameplay tempo becomes stilted... and so we implemented this system to attenuate that. It's not so much the feeling of one play that we want as the sense that your achievements are recorded even if you die, even while every battle had the tension of death behind it. Revival is also an important part of the narrative, and you can even use it as a battle strategy-- sneak up on enemies who thought you dead, and Ninja Kill them from behind.

Dying also becomes a matter of strategy. I'm not sure whether that's new... or just cruel (lol).

Miyazaki: Well, it won't happen often (lol). But it's part of the game philosophy.

How does the number of revives work?

Miyazaki: Currently, we have a setup where you have one free revive every time you start, and then it consumes resources. However, we're in the process of tuning it. We have to ensure that the system doesn't remove the tension of death. The goal isn't to make the game easier or to remove the fear of death-- it's more about maintaining that tension while also keeping the tempo steady. We may add death penalties or the like. It's not really at a point where I can speak much about it. Maybe the revival system will allow us to make a more pointed death penalty? Who knows.

It seems like this title will incorporate many features to balance its difficulty. In your opinion, how does this game's difficulty compare to your previous works?

Miyazaki: The idea is to make a game that is more difficult than previous entries, but that will allow you to use creativity in addition to action to overcome those challenges. On one hand, we don't want to disappoint the players looking for a hardcore game, but we also want as many people as possible to be able to experience the pleasure of overcoming a challenge. In order to achieve both those goals, we've implemented many systems that we will continue to adjust. At the least, we don't want to make that is excessively difficult or excessively simple.

I'm glad to hear it. Is development going well for that "early 2019" release date?

Miyazaki: Uhh... yes. I'm not sure if I can say that this early on, but look forward to more news about development!

Hirasawa Susumu: The Stillborn City

11 February, 2018 ~ ElDynamite ~ Translation

It's interesting how much this song resembles Made in Abyss. The sky represents stalled progress and fear, whereas the unrealized potential of the underground pulls at us to gaze into the "city yet unborn". Even the modulation between the vaguely melancholy and the intensely hopeful tone fits perfectly. And some of the lines are a bit too coincidental, like this one: "Passing through countless layers, the voice I hear calls out your name."

Kanji lyrics from Hirapedia.

The Stillborn City

Stopping time and standing on the Nile's shore
the jailer of chances hears a cry of lament
Envying the immobility of the sky's constellations,
he inhales the dust of the piling calendars

The sound of the wind that only blows
comes to a meaningless sleep
If it disappeared on that day,
it will show us dreams of paradise

Occasionally the subway is captured, and comes
Surely the city is but an illusionary painting
Trash are the people who squirm
and weave room in the sky for unmoving towers

The sound of the wind that yet blows
hides gold behind its back
If you ask why we passed without seeing it
it will return to the Nile's shore

無数のレイヤ ー幾重も通り
聞こえる声は キミの名を呼ぶ
嘆きのレイヤー モアレを組んで
生まれぬままの 都を見せる
Passing through countless layers,
the voice I hear calls out your name
The layers of lament braid a moiré
showing to us the city yet unborn

The sage is shot at the tributary's edge
The knight of choice knows lament
Seeing the waves that uncertainly rise in the ocean
he does not chase the time of escape

The sound of the wind that yet blows
embraces the everlasting road
If we protect it without erasing it,
it will turn to the Nile's shore

無数のレイヤ ー幾重も通り
聞こえる声は キミの名を呼ぶ
嘆きのレイヤー モアレを組んで
生まれぬままの 都を見せる
[As before.]

聞こえる声は キミの名を呼ぶ
生まれぬままの 都から来て
The voice I hear calls out your name
from the city yet unborn

Hirasawa Susumu: Initial Value of Midair

26 January, 2018 ~ ElDynamite ~ Translation

By recommendation of a friend, I happened upon Hirasawa Susumu, a phenomenal artist. I feel that the lyrics in his music are incredibly poetic, and thus I'd like to try my hand at translating some of them!

This song is about the permanence of nature as contrasted with the ephemeral nature of human society. Despite the normally doomsaying nature of such a theme, the song is incredibly celebratory, both in lyric and in music. (Reminds me of Journey!)

Keep an eye on the human concepts in the lyrics (dream, fantasy, victory, city, enmity, voice, meaning). Even in a world where these concepts have been reduced to nothing, we still hear the call of "welcome", if only we care to (this is the word most repeated in the lyrics) look.

Kanji lyrics from Hirapedia.

Initial Value of Midair

飛べ王道の空 初期値
雲海の波 遠く立ち
Fly the royal road's sky, initial value
to the mountain where the waves of the cloud's sea
stand in the distance, appearing in a moment

Look at the boisterous dance of the fragmented dream
Washed away by the free sky, it now takes your form
as the fluttering of the leaves of time

The sky changes neverendingly,
leaving behind even fantasy
Ah, even victory must prostrate itself
before the meaningless stories* of the ceaseless clouds

Look, its afterimage is a white roof
Before our eyes, the city on the horizon
is ephemerally rebirthed* as a hill

The dancing specks of enmity
are caught in the waterfall of what simply is,
nostalgically returning to nothing, without a trace

The sky changes neverendingly,
leaving behind even fantasy
Ah, even victory must prostrate itself
before the meaningless stories of the ceaseless clouds

Look! Ascend beyond this white outlook
Look! Ascend beyond this white outlook
Look! I heard "welcome"
Look! The fog of illusion begins to clear
Look! I heard "welcome"
Look! The hidden painting has been revealed
Look! I heard "welcome"

Fly, cutting through these chaotic winds
In the valley of the cloud's sea, as we see it
The sun's particles rain down, incessantly

Listen to your fragmented voice
as it is washed by the free sea,
creating and releasing meaning, mimicking today


*The word I translate as "stories" is 履歴, which more generally refers to someone's personal history. Background check, career history, permanent record, etc.

*Rebirth here more specifically means the cyclic rebirth occuring in religions like Hinduism and Buddhism. It is often called Samsara.