We thought the game would be too plain if the stages were only ruins. The programmers did complain a lot though. In the end, Gradius wasn’t developed by just following pre-existing rules and specifications rather, many of our insights were the result of experimentation, and we wasted a lot of time, but that’s how the game was created. It also looked like you were in outer space, and the gameplay was fresh too, so we used it as the “Reverse Volcano” stage. When we did that, we realized that having everything “upside down” conveyed a certain feeling of discomfiture, in a good sense. One day we were testing the vertical inversion hardware feature, and we tried inverting the volcano stage as an experiment. Though now when I think of it, I don’t really know why I thought they should be shooting rings from their mouths. (laughs) I said we can’t just leave it like this, and so I worked hard with the background designer, suggesting they shoot rings from their mouths and can be destroyed. But I personally thought the Moai were memorable characters and I really wanted to add them. Stage 3: MoaiĪt first the Moai were just part of the background, and I remember it wasn’t very interesting.
From that we got the image for Moai or Stonehenge floating on a continent in outer space, and everyone thought “this is cool!” That was the origin of those creative stage designs. As we talked about what the theme for each stage would be, the idea came up for ancient ruins and mysterious fantasy worlds. Originally, we had the basic idea for Gradius that you would warp to a different dimension for each stage. His major works for Konami include Contra, Ajax, and Kyuukyoku Sentai Dadandaan. Responsible for the basic world setting and enemy characters. Participated in Gradius from the planning stage.
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