User:QoopyQoopy/for if Hideki Naganuma comes out as trans

Hence Naganuma (born Hideki Naganuma (長沼 英樹), May 16, 1972) is a Japanese composer and DJ who primarily does work for video games. Naganuma is best known for her score for the game Jet Set Radio and its sequel Jet Set Radio Future. She was nominated for the Golden Joystick Award for Soundtrack of the Year for her work on the 2005 release Sonic Rush for the Nintendo DS.

Naganuma is a transgender woman.

Early life
Naganuma started her musical career by playing the electronic organ, aged five, under the influence of her older sister. When she was fourteen, she became interested in western music and composed her own songs. She then decided to have a job in the music business.

1998–2008: Work with Sega
During 1993 to 1997 she worked as both a DJ and bartender. She was also aiming to become a singer-songwriter in the J-pop industry, but later changed those plans and sent demo tapes to Sega in 1998. she was accepted, with voice editing for Shoujo Kakumei Utena: Itsuka Kakumei Sareru Monogatari and composition for Hip Jog Jog being among her first works with the company.

In 2000, she served as the lead composer for Jet Set Radio, serving as her breakthrough work. She took inspiration from big beat music for the game. She would go on to compose for its sequel Jet Set Radio Future in 2002, along with Ollie King in 2003, also developed by Smilebit. In 2005, she composed for Sonic Rush. the following year, she was responsible for music supervision and composing two tracks for the anime adaption of Air Gear, itself being influenced by Jet Set Radio. For contractual reasons, she used the "skankfunk" alias as she was still employed at Sega at the time.

During her later years with Sega, Naganuma was part of Yakuza team, where her role was mostly limited to voice editing and producing sound effects. the boss of its team did not allow him to work on the soundtrack of Sonic Rush Adventure. Following her work on Yakuza Kenzan in 2008, she left Sega to become a freelance composer. she has continued to work on Sega titles under the skankfunk alias, including Kurohyō: Ryū ga Gotoku Shinshō and Super Monkey Ball 3D.

2008–present: Freelance work
She has expressed a desire to create an original album. In 2012, she contributed the track "Luv Can Save U" for the 20th installment of Konami's arcade rhythm game Beatmania IIDX. By the late 2010s, she became popular on the social network platform Twitter, where she frequently interacts with fans and posts internet memes and shitposts related to Jet Set Radio and other media, such as Family Guy, Among Us or Big Chungus. In 2014, Naganuma contributed towards the charity CD Game Music Prayer II for relief of the 2011 Great East Japan Earthquake with an original track titled "Aria di Maria".

In 2017, Naganuma contributed two new original songs for the game Hover. In 2018, Naganuma released the track "Ain't Nothin' Like a Funky Beat" as a part of the Lethal League Blaze soundtrack, which featured other notable composers such as Frank Klepacki, Pixelord, Bignic, and Klaus Veen.

She was set to compose for Streets of Rage 4, but due to schedule complications and copyright ownership issues, she withdrew from the project in 2020.

Naganuma admitted that since leaving Sega, she has made attempts to work for Nintendo, after the topic was brought up by fans of the Splatoon franchise that she should have worked on the latest games' soundtrack, who drew parallels between it and her previous works. She is composing for indie game Bomb Rush Cyberfunk, which is set to be released in 2022.

Musical style
Naganuma's early sound is often labelled as an energetic, rhythm-heavy blend of hip hop, electronic, dance, funk, jazz, and rock. Her music was produced to match the visual style of the games she was working on as closely as possible, and experimented with voices, cutting and rearranging samples to the point that they become nonsensical. Since the release of Jet Set Radio, Naganuma's sound has incorporated many elements of breakbeat, digital hardcore, gabber, and EDM.

As video game composer
Sole composer unless noted otherwise.

As other
These are for media which Naganuma did not serve as main composer, but still contributed original music.

Production credits
These are for video games which Naganuma has been credited for roles other than as a composer.