On June 25, Daichi Miura released a compelling double A-sided single titled “Horizon Dreamer / Polytope”. This musical project is produced by Nao’ymt, a frequent collaborator of the J-pop sensation, and both tracks are integral parts of DEATH STRANDING 2: ON THE BEACH, the much-anticipated video game developed by the legendary Hideo Kojima. The 37-year-old pop icon expressed his thoughts to Billboard Japan, elaborating on the creative journey behind these tracks, showcasing not only his artistic process but also his enduring passion for gaming during the interview.

“Horizon Dreamer” and “Polytope” were specifically crafted for the highly acclaimed video game DEATH STRANDING 2: ON THE BEACH, designed for PlayStation®︎5. The first track, “Horizon Dreamer”, showcases a uniquely primitive rhythm paired with a captivating melody that resonates deeply with its audience.

According to Daichi Miura, the song possesses an earthy essence, evoking imagery of individuals traversing the wilderness, step by step, towards uncharted territories. It integrates elements reminiscent of bluegrass, featuring instruments like banjos, giving it an indigenous and physical quality. While “Horizon Dreamer” was conceived with the visuals of the game in mind, Kojima-san encouraged Miura to create a track that could stand independently as a pop single, thus ensuring it conveys both its artistic identity as a new release and its significance within the game’s universe. As a result, Nao’ymt crafted the song to reflect the evolution of Miura’s music while embracing its essence.

Could you shed light on the initial discussions with Nao’ymt during the production phase of these tracks?

My enthusiasm for video games has been a constant in my life, and I had the privilege of connecting with Kojima-san during an interview while working on the initial DEATH STRANDING. Being an admirer of both Kojima-san and Nao-san, it became evident that a collaboration between the two would yield something extraordinary. Thus, the project began to take shape in a remarkable manner, and we agreed to collaborate as a creative triangle, merging our talents and visions.

This collaboration sounds like an exciting venture for you.

Absolutely. I recognized the potential for synergy between them, and I was eager for that connection to flourish. There was a remarkable moment regarding “Horizon Dreamer” that I believe is worth sharing.

What was this remarkable moment?

Kojima-san informed me about the development of DS 2, mentioning that a ship would play a pivotal role this time, which wasn’t present in the previous installment, and that players would embark on a journey aboard it. Coincidentally, I received a demo from Nao-san shortly after, describing the imagery of a man floating in the ocean, who is then rescued by a ship and taken to new lands. The synchronicity of these ideas felt like pure serendipity, highlighting the connection that led to the creation of “Horizon Dreamer” and “Polytope”.

Your passion for video games is well-known, particularly through your TV show. What makes Kojima-san’s games so engaging?

Reflecting on Kojima-san’s creations, I’ve come to appreciate his unwavering commitment to craftsmanship. Throughout the creative process, there are times of uncertainty where one might question their direction. However, Kojima-san approaches these challenges without compromise. Every detail, from the narrative and visual style to the emotional depth he infuses, showcases a relentless pursuit of excellence. His artistic vision pervades all aspects of his work, making him an extraordinary creator.

Returning to your music, how do you perceive the grand sound of “Horizon Dreamer”?

The initial demo was incredibly impressive, and my focus was primarily on how to authentically convey the music. While the two songs differ significantly in tone, they form a cohesive set, each complementing the other. “Horizon Dreamer” embodies a primal essence, yet Nao-san skillfully transformed it into a contemporary Daichi Miura pop anthem that resonates with listeners.

What about the track “Polytope”?

With “Polytope”, Nao-san has placed his trust in my capabilities, allowing me the freedom to fully express the song’s essence. This track could only have emerged from the collaborative synergy within the DS 2 project and the influence of Kojima-san. The moment I listened to both tracks, I was filled with anticipation regarding how I would portray them to the audience.

You have already digitally released “Horizon Dreamer” and performed “Polytope” live before the official release. How did the audience respond?

I had the opportunity to premiere these tracks during my concert, but to be frank, my memory of performing “Polytope” is a bit hazy. I was entirely immersed in the moment, focusing on how to convey the music effectively. The atmosphere in the venue was electrifying, and the audience seemed to be buzzing with excitement. Many expressed that they felt they had witnessed something truly unique, which fills me with joy.

Given that “Horizon Dreamer” encourages collective singing and dancing, do you perceive a connection between these two tracks in terms of their expression?

Indeed, “Horizon Dreamer” concludes with the lyrics, “The sun’s going down again today,” while “Polytope” opens with, “The sun’s setting,” illustrating a thematic connection. The live performance of “Polytope” also begins with a sunset, enhancing this link. Although the two tracks explore different sonic landscapes, I believe they share a common root, creating a seamless gradation. I encourage listeners to immerse themselves in both songs, particularly “Polytope”, and contemplate the world they depict, experiencing their journey alongside the game.

In your recent Instagram Live, you expressed a strong desire for people to try playing DS 2. What’s your perspective on this?

I believe that many individuals who are not gamers might have an outdated perception of what video games entail. Today’s games are truly remarkable. They offer a unique form of entertainment that allows players to engage directly and control the narrative. Incorporating elements of music, storytelling, drama, and cinematic aesthetics, they represent a comprehensive art form. As a passionate gamer and game enthusiast, it disappoints me that so few people recognize this potential. I genuinely hope this realization reaches a broader audience.

Therefore, if individuals become acquainted with me and subsequently discover DEATH STRANDING 2 through my involvement, I sincerely hope they take the plunge and experience it firsthand. I believe they will be pleasantly surprised; I wholeheartedly encourage everyone to give it a try.

Japanese video games have garnered international acclaim. Do you aspire to introduce your music to a global audience alongside DS 2?

I’ve never pursued a collaboration with a video game with the primary goal of reaching a global audience. My passion lies in music, gaming, and my admiration for Kojima-san and Nao-san. I’m immersed in the joy of dedicating my energy to things I love and creating something meaningful. However, since Kojima-san is known for crafting works adored by players worldwide, it would naturally make me happy if people discovered my music through his game.

—This interview by Takayuki Okamoto first appeared on Billboard Japan