Metal Gear Solid game series. The company was small at the time and the team creating the game was very small consisting from only about 20 people and they did not expect Metal Gear Solid to become so successful. Reflecting on her work dynamics on Metal Gear Solid series, Rika Muranaka states that she had to be a “mind reader” as she did not know the story line or where the music was intended to be used and had to imagine what Hideo Kojima had envisioned. She was only told by Hideo Kojima that she needed to create, e.g., 5 patterns for action, 5 patterns for sneaking and 5 patterns for ambient music. She also revealed that, when working on Metal Gear Solid, Hideo Kojima did not wish to hear any songs in English or any other language he would understand. When she suggested writing a song in Gaelic, Hideo responded: “What the hell is Gaelic?” While working on Metal Gear Solid 2, Rika Muranaka brought in British film composer Harry Gregson-Williams into the game industry to work on the game series. She believes by doing so she has contributed to setting the trend of attracting film producers to the music composition in game industry. During the years of her work at Konami she had not only composed music and written lyrics for some of the most popular songs that featured in the games, but also produced and edited music, arranged budget, hired the musicians and orchestra needed to produce the music for Metal Gear Solid game series. She involved jazz musicians, such as Gerald Albright, Kevin Eubanks and Hubert Laws, in creating music for the game series. Despite being fond of writing for games, Rika Muranaka gradually developed passion to writing music for films, television and animation. She describes the process of creating music for game and film industry as different. She explains that “in games, the music has to fit within a game, meaning you have to make a transition every 30 seconds and it has to be loopable so they can cut or stretch the audio to sync to the game visuals. For film, you actually have a trailer or something to work with, meaning you can use a time code to fit the music perfectly within a scene so you have an advantage of having a scene front of you to write with.” After terminating her