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Don: Takada san, what were some of the choices you made in regards to the music to differentiate the music for this game from that of the first game and the inspirations behind those?Takada: I had Kodaka-san’s request for a “tropical feel” as my base.

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The music also represents the headspace of the characters; they’re two sides of the same coin.

Don: Takada san, you have worked on a plethora of games, in a multitude of genres, and musically, you have composed equally as many styles.

Don: Given that Monokuma has his own antagonist, albeit one that gets bullied quite a bit, in the form of Usami in the second game, how did you come up with her theme and what did you want to convey with her theme? Monomi’s Practice Lesson,” I wanted to play with the fact that she’s been converted into a partial cyborg.

The character wasn’t set in stone when I wrote the song, so I like to think that Monomi developed to match her music. It’s hard to catch, but the computer voice as the beginning is saying “Monomi.” “M-O-N-O-M-I~” Listen for it!

Takada: Kodaka-san asked me for something with some punch!

I guess I took the energy from his project pitch and translated it into music. I didn’t have any time because I was busy with another project so I just banged it out in 20 or 30 minutes. (Laughs) During my stint at Grasshopper Manufacture I worked on the music for a title called -esque section on marimbas.

In this interview, joined by Kazutaka Kodaka, the creator and director for the Danganronpa series, the two discuss the music for the series, including the recently released Danganronpa V3: Killing Harmonyseries, how important is the music that accompanies the games in realizing your true vision for the story?

Kodaka: The music is super important, the entire vibe of the thing is just wrong if the story and music aren’t in sync.

Don: Kodaka san, another key element in the game is that of Monokuma. Monokuma’s Lesson and what are your overall thoughts about those pieces?

Did you have any specific instructions for Takada san regarding music that plays for when he is present in the game or his general theme (i.e. Kodaka: I asked for hijinks, and that’s exactly what Takada-san delivered!

It serves the same purpose as the BGM in a racing game.

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