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Castlevania: Grimoire of Souls isn’t just the long-awaited return of the vampire series. It also marks the return of big names, including character designer Ayami Kojima and composer Michiru Yamane, who left Konami in 2008. Yamane previously worked on Castlevania games like Symphony of the night and Dawn of sorrow, and after becoming independent, she teamed up with longtime Castlevania director Koji Igarashi on Blood stain. His credits also include Skull Girls, a few Suikoden games, and Monster Boy and the Cursed Kingdom, although she calls her work on Castlevania his “masterpiece”.
Before the launch of Grimoire of Souls, which is now available on Apple Arcade, I had the chance to email Yamane a few questions about his work and career.
How does it feel to be back in the franchise?
The Castlevania is my masterpiece of my time as a company employee, and it is also the series in which I have participated in the greatest number of titles. So I’m very happy to be able to participate in this project again as an independent musician after all these years, and to be able to please the fans of this series.
For you, what makes a Castlevania separate soundtrack? What are the intrinsically Castlevania?
The best thing about it is his worldview. Pipe organs, choirs, church bells and other instruments and musical styles typical of medieval Europe. In particular, baroque and classical music is of course a point of differentiation. In addition to Western academic classical music, there is also the essence of various music such as Ravel and Debussy, the essence of avant-garde music and modern music (progressive rock) in odd time signatures. For example, the desert scene contains music with Middle Eastern melodies, or the water scene uses modal melodies.
How do you think the sound of the show has evolved over the years?
It can be said that it has developed in parallel with changes in the performance of the game console. The PSG sound source from the NES, followed by the Mega Drive, the PlayStation and the PlayStation 2, has increased the range. expression over time. In the early days of video games the number of simultaneous sounds was three, but as technology increased the amount of data we can handle increased and the range of musical expression widened. The same can be said for the graphics. As a music manager, I have a feeling that as graphic expression has broadened, it has become possible to express artistic beauty by linking it to music.
Was there something you wanted to do differently this time around?
Currently my life’s work is music healing. For this reason, I create music in a slightly lower chord “A = 432 hz”, which is specialized for healing.
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