You're Having a Laugh if Your Anime Worldbuilding Model Doesn't Include Music: Interview With yuma yamaguchi, Composer; Exploring the World of Goodbye, Lara's Music

It’s fantasy at its core. Closing my eyes, through a stream of consciousness; seeing the old Disney films through a window — its brilliant 2D worlds — then The Wizard of Oz , and visuals and feelings of halcyon days and imaginary worlds never experienced, to here, getting off at a train station (figuratively) to speak with Goodbye, Lara composer yuma yamaguchi and pick his thoughts. Like riding a train, you sometimes get off at a place you rarely visit. You think in a different way; you re-examine things that are supposedly trivial.

If someone said worldbuilding includes music, you’d probably get a “ Yeah, obviously ” in return. (Except maybe if you’re speaking to people on Twitter. It’s become a popular copypasta to poke fun at someone for suggesting that art direction referred to more than just backgrounds, after all.) But so what if worldbuilding includes music? There’s a huge difference between what one knows trivially, and the fruit of the effort of proving this often-ignored fact. A soundtrack like Goodbye, Lara brings that sense of necessity to the fore. The entire creative process was a reminder. It proves that music is worldbuilding — yells it — and demands that if you want fantasy, you need to build it, using all of it. Music interview with yuma yamaguchi below. Hopefully you don’t feel any sense of rush, and you can listen to the music interspersed throughout this piece, even beyond the question the music is attached to.

Q) I told you that I would see you on payday! We’re getting to experience the soundtrack you composed in real time, but for you, it’s perhaps been finished for some time. How are you, and what are you up to currently outside of music?

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