Intermediate
Alleycat (Persona 5 OST)
4:06
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Browse piano sheets by Shoji Meguro on Zen Virtual Piano. Shoji Meguro started at Atlus in 1995 and was immediately tasked with bringing music to the PlayStation title Revelations: Persona. Like many video game composers of the time, he found composing for such limited hardware quite a challenge. He told NME that in the 1990s he did a lot of work on background music composition, arrangements, conversion for game systems and creating sound effects, and that the most challenging task was converting works of 100 or 200 kb to fit into sampler functions. A first assignment on limited hardware, and 1990s work that squeezed whole works into sampler functions, suggest a craft shaped by technical constraints. NME calls the soundtrack for Persona 5 his magnum opus; it was composed alongside longtime collaborators Toshiki Konishi and Atsushi Kitajoh, with a soundscape of acid-jazz chordal comps and harmonic ingenuity. A soundtrack that NME calls his magnum opus, composed alongside two longtime collaborators, suggests that a celebrated body of work can rest on shared effort. He says Shin Megami Tensei: Digital Devil Saga was the most fun while also being the work that caused the most hardships: he was in charge of producing just about all of the background music and the sound effects of fields and events within a short development period. He says it was not really a work that succeeded commercially, but he felt he was able to put everything into it. A short development period for most of a game’s background music and field sound effects suggests how much of the craft lay in working quickly. He says he enjoys making RPGs, so continuing to work on and produce IP was not painful, and that even within IP every work differed from the previous one, so he never really fell into a slump. Staying with one company while finding variety in its work suggests that the pull to leave was about independence rather than boredom. He left Atlus for a different reason: “For many years, it has been my dream to be in an environment where I can create the games that I want to create. I parted with Atlus because it would have been difficult to make my own personal game and release it while still being there.” Guns Undarkness is a game he drafted in 2005 while still at Atlus; development fell through for various reasons, and in 2016 he redid the plot writing using Unreal Engine. A game drafted in 2005 while he was still at Atlus and reworked in 2016 suggests an ambition that stayed with him.
Browse piano sheets by Shoji Meguro on Zen Virtual Piano.
Shoji Meguro started at Atlus in 1995 and was immediately tasked with bringing music to the PlayStation title Revelations: Persona. Like many video game composers of the time, he found composing for such limited hardware quite a challenge. He told NME that in the 1990s he did a lot of work on background music composition, arrangements, conversion for game systems and creating sound effects, and that the most challenging task was converting works of 100 or 200 kb to fit into sampler functions. A first assignment on limited hardware, and 1990s work that squeezed whole works into sampler functions, suggest a craft shaped by technical constraints.
NME calls the soundtrack for Persona 5 his magnum opus; it was composed alongside longtime collaborators Toshiki Konishi and Atsushi Kitajoh, with a soundscape of acid-jazz chordal comps and harmonic ingenuity. A soundtrack that NME calls his magnum opus, composed alongside two longtime collaborators, suggests that a celebrated body of work can rest on shared effort. He says Shin Megami Tensei: Digital Devil Saga was the most fun while also being the work that caused the most hardships: he was in charge of producing just about all of the background music and the sound effects of fields and events within a short development period. He says it was not really a work that succeeded commercially, but he felt he was able to put everything into it. A short development period for most of a game’s background music and field sound effects suggests how much of the craft lay in working quickly.
He says he enjoys making RPGs, so continuing to work on and produce IP was not painful, and that even within IP every work differed from the previous one, so he never really fell into a slump. Staying with one company while finding variety in its work suggests that the pull to leave was about independence rather than boredom. He left Atlus for a different reason: “For many years, it has been my dream to be in an environment where I can create the games that I want to create. I parted with Atlus because it would have been difficult to make my own personal game and release it while still being there.” Guns Undarkness is a game he drafted in 2005 while still at Atlus; development fell through for various reasons, and in 2016 he redid the plot writing using Unreal Engine. A game drafted in 2005 while he was still at Atlus and reworked in 2016 suggests an ambition that stayed with him.
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He started in 1995 and was immediately tasked with bringing music to the PlayStation title Revelations: Persona.
He says it had long been his dream to create the games he wants to create, and that making and releasing his own personal game would have been difficult while still at the company.
A game Meguro drafted in 2005 while still at Atlus; after development fell through he redid the plot writing in 2016 using Unreal Engine.