Many are the work of Nobuo Uematsu, one of the most respected video game composers of all time. The tracks stand on their own but take new meaning when you know the characters, locales and events they were originally paired with. Delicate melodies that reinforce a party member's sadness, confusion or unrequited love. Sweeping scores that underscore tense, mystical battles. Whether it's the "Theme of Love" from Final Fantasy IV, or "One-Winged Angel" from Final Fantasy VII, every game has its share of memorable, distinctive tracks. "It wasn't, not having a desire to want to do it professionally," she offers. During that time, she never once considered what her own Final Fantasy score would sound like. Shimomura is an industry veteran, having worked with Capcom, Square Enix and Nintendo for almost 30 years. "I've been a fan of Final Fantasy for a long time, and I never thought that I would get the chance to do it," she says. She's a calm, dignified bundle of sunshine. The downbeat atmosphere has had little effect on Shimomura's mood, however. It's a cramped, gloomy space - a typical refuge, I suspect, for sound engineers - filled with squishy chairs, mixing desks and other high-end recording equipment. We're in a room overlooking Studio One, where the London Philharmonic Orchestra will be performing the game's tracks later that evening. I'm meeting Shimomura at London's iconic Abbey Road Studios. But overall, from a musical perspective, the concepts that we wanted to use from the start, they're pretty much as they were. There have been some changes, small scenario tweaks and the game's functionality itself has changed. "They're quite similar to what they were originally. "The basic scenario and story concepts haven't changed that much," she explains, speaking through a translator.
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