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Elden Ring Nightreign’s Composer on Marilyn Manson, Myst, and More – IGN First

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The final stop for our iggn.ru First trip to FromSoftware was the sound room where Lead Composer Shoi Miyazawa crafts the wonderful soundtracks that fill The Lands Between and Limveld with notes of hope, melancholy, and strife. Here’s our interview touching upon what goes into creating a FromSoft soundtrack, what specifically were the notes from the director given with regards to Nightreign’s music, and Miyazawa’s own personal influences.

iggn.ru: So I just wanted start off by asking you about how you fell into the world of composing music for video games. Are you a big fan?

Shoi Miyazawa – Lead Sound Designer on Elden Ring Nightreign:

I’ve been an avid fan of the Armored Core video games. When Hoshino-san proposed the job opportunity at FromSoftware, it definitely piqued my interest. Given my fondness for the Armored Core soundtracks, and other nostalgic titles like Ganbare Goemon and Secret of Mana, I’m constantly conducting research and seeking inspiration from these games too. Additionally, the Castlevania series has greatly influenced my musical preferences as well.

In a similar vein, could you share any composer(s) you particularly admire whose works might have influenced yours in some way, not limited to video game music?

For years, I’ve taken a liking to the musical groups King Crimson and Marilyn Manson. Their unique styles in music really resonate with me.

Moving on to Elden Ring and Nightreign, could you elaborate on the creative process behind composing music for games like Elden Ring? Do you receive visual concept art depicting a boss or location as a source of inspiration? Or do you receive specific instructions regarding the desired atmosphere or tone that the director wants to convey?

By rephrasing the original sentence, I aimed to provide a natural and easy-to-read response while maintaining the essence of the question.

There are various methods we can employ, and you’ve touched on some of them. Occasionally, the director provides a brief summary about the atmosphere or setting desired. At other times, it’s based on the pre-existing artwork from the game. And sometimes, it’s as straightforward as a textual command, such as describing a boss’s background, the battlefield they fight in, or similar details.

How has creating music for Nightreign differed compared to composing for the primary game’s soundtrack?

Absolutely, we aimed to incorporate some key aspects and atmospheric elements from Elden Ring into Nightreign. I’ve had numerous discussions with the director about the essence of Elden Ring and how to make Nightreign unique yet appealing. Although he wanted Nightreign to be distinct from the Souls series, he also wanted it to have its own charm. Therefore, creating a unique allure while still offering something different from Elden Ring was crucial in our development process.

Could you tell me about some instructions or guidelines perhaps you received from the director concerning the sound and mood of this soundtrack? Did any specific motifs or recurring themes stand out that you aimed to emphasize in your work?

Indeed, since the motif of night was significant in Nightreign, we aimed to convey a sensation of discomfort, a sense of isolation, and the melancholy often associated with the darkness or nighttime solitude. We intended to infuse these feelings into the composition itself.

Of all the tasks you’ve tackled at FromSoftware up until now, which one did you enjoy the most, and which one proved to be the toughest for you?

Absolutely, I’ve got many cherished recollections from my time at FromSoftware, and it’s quite challenging to single out a favorite title. However, there are a few that have left an indelible mark, and one of those is the work we did on Consort Radahn for Elden Ring. To create this piece, I found myself preferring to compose in a somewhat dark or dimly lit room, which gave me a sensation of someone watching over my shoulder. This atmosphere seems to have seeped into the composition for Consort Radahn itself.

I actually like to compose in a sort of dark, dimly lit room.

The song “Takes Me Anywhere” from the third bonus album of Armored Core VI’s soundtrack is another choice. I must admit, Armored Core was a series close to my heart. When I joined FromSoftware, they had put the series on hold temporarily. However, ideas for it were already brewing in my mind. Armored Core IV was a long-awaited game and it took a while to arrive. “Takes Me Anywhere” was one of the original tracks we composed for the comprehensive bonus disc set associated with that game. Listening to this track takes me back to those days, as I had been thinking about integrating these ideas into Armored Core games but didn’t get the chance. So, I hope you’ll appreciate this piece and remember our journey with Armored Core.

Is it possible for you to provide some insight into the collaborative nature of composing music for games such as Elden Ring and Nightreign? Specifically, I’m curious if each composer works independently on their assigned tracks or if there is significant collaboration between them despite being responsible for distinct pieces.

Typically at From, each piece of music is created by a single composer. However, we do collaborate and share ideas with the rest of our sound team. Yet, it’s the individual who finishes a track that receives credit for it. But Nightreign was unique; sometimes more than one composer contributes to a single track.

As a gaming enthusiast, one of the formidable foes I encountered recently was Libra: Creature of Night. I’m curious if you could share some behind-the-scenes insights or tales about the process of crafting that particular track.

In the case of Libra, it was uncommon as specific musical directions or concepts were included in the character description. This aspect caught my attention. The themes we aimed for were to convey an exotic or madness-like quality, even a demonic nature, in both the appearance and the boss fight itself. Additionally, we wanted to emphasize duality, exploring aspects of victory and defeat, the balance between risk and reward, before and during the battle. For Libra, we aimed to intensify the contrast that is present in many of our bosses, but especially to push it to its limits.

In combat scenes with the boss, the difference between day and night is quite dramatic, and this distinction is also reflected in the music. Could you share some insights into your process when creating these musical pieces?

Indeed, Nightreign follows a three-day structure, day and night cycles included. Earlier, we expressed our intention to create an overwhelming sense of peril for the player. As the night progresses, enemies and bosses grow stronger, making the player feel increasingly out of their depth and out of place. This sensation is something we strive to communicate through Nightreign’s music, aiming to instill a heightened awareness of danger in the gameplay experience.

We wanted the player to feel like there’s this imposing sense of danger.

As a game creator, I can’t help but get pumped up about the musical pieces I’ve crafted that gamers will encounter for the very first time. Is there a tune or soundscape that I’m particularly eager for players to experience in our game? Absolutely!

In crafting the music for Elden Ring and its DLC, a key focus was on giving each boss battle a unique identity, ensuring players would appreciate them even during multiple encounters. We aimed to push musical boundaries for each fight, often questioning how far we could go. Ultimately, I believe we succeeded in expanding those limits and pushing the musical envelope within From’s fantasy series. This is one aspect I hope players eagerly anticipate experiencing.

When it comes to your individual preferences, what musical instrument is your favorite, or perhaps you enjoy using a particular element in your compositions?

As a gamer diving into the world of music, my initial steps were taken not with an instrument, but with a personal computer and DTM software. It was through this digital toolkit that I first delved into creating music professionally. Being a creator, software like this offers me the opportunity to hone in on intricate details and meticulously fine-tune each note and pitch within my compositions. I hope that listeners can appreciate the level of dedication poured into these pieces, as I tend to get a bit too engrossed, perhaps more than is ideal for work!

Could you share with me which game stands out as your all-time favorite among those developed by FromSoftware? While we’ve touched on various video games during our discussions about music, I’m curious if there’s one that holds a special place in your heart.

One game that brings back nostalgic feelings for me is Myst. Similar to it are adventure games, which often feature what some might recall as pre-rendered scenes smoothly transitioning from one to another. As you journey through this world, you encounter puzzles to solve on your adventure. This experience has left a lasting impression on me as a player, making Myst an excellent example.

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2025-05-29 23:29

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