Topic: INTERVIEW: Yamane talks Inspiration, Lords of Shadow Music and more!

[Ahasverus]

- In the time you joined Konami, videogames were very different than now, composers did not have the resources they have nowadays to make the music they want. How do you decide you wanted to compose music for video games?

When I graduated from University, it was time for me to consider which way I should take. My high school handed me an offer to be a part-time lecturer of music, but I don’t know why I didn’t like the option.

I think I’d rather be composing or arranging music rather than teaching.

Around the same time, I found a classified ad from KONAMI, I applied immediately and I was hired. In the end, I joined a videogame company by chance.

-Are you a gamer? What kind of games do you like?

I do like playing games. When I joined my company I used to play a lot of shooters or action games. Especially Parodius, which had children thronged at the arcades. I also liked Vagrant Story, God of War or the Tomb Rader series.
Nowadays, I rarely play anything, but I like games such as ICO or the Professor Layton or Ace Attorney series, which require the player to think.

-What is your opinion about the music and sounds used by the classic video games (eg SD-Snatcher, Twinbee…) in contrast to the complex and orchestral current pieces? 


Unique techniques of composing and arranging arose, as we overcame hardware limitations and found great sounds and music with its own personality. That music suited its games, and though it was simple it had depth, and it is still worth to listen even nowadays.

-Do you think the “chiptune” it is still a valid way of making music for video games?

Yes, I think so. It has become a musical genre itself. Although modern hardware allows graphics or sound to be more free. If you create 2D pixel art games the music is more suitable if it’s done in traditional ways.

-Listening to the soundtracks of Nemesis III (ゴーファーの野望) Contra: Hard Corps (魂斗羅 ザ・ハードコア) or Castlevania: Symphony of the Night, it can be seen that you master different styles, like music for action, epic, sci-fi… As composer, what style are you most comfortable?

When considering what music will I compose for a game, no matter what genre, if I come up with a good idea at once then the process will be smooth. On the other hand, when I can’t find a good idea I end up messing with the trial and error method. Though it is hard, I love composing for what it is, so I try to enjoy doing any kind of music.

-There are songs in Castlevania: Symphony of the Night OST, like Wood Carving Partita, or Dance of Pales that have a melancholy feel, almost sad. What feelings you want to transmit to the player with the soundtrack?

As for “Wood Carving Partita” or “Dance of Pales”, I felt those were maybe too lyrical to be background music for an action game. 
I remember that I got stuck trying to make them fit in the atmosphere and the graphics, instead of telling how I felt. Maybe those feelings ended up in the music in some way, some kind of melancholy.

-Your music fits perfectly in the games you worked, music and graphics works together. How is your usual process of composition for game music?

If it’s possible, I play the game to decide about tempo or style for the music. I also ask the level designer or the director about their opinion. If only graphics are available to me, then I need to focus on that for an idea. In very early development stages I sometimes compose based only on storyboards or references.
After I decide tempo or style for a song, I compose basic things like its melody or harmony aided by a piano. Then, I input everything to the computer and do the orchestration.

-Is it hard to work for a company as big as Konami? I mean, in terms of exigency, enough time to work, creative freedom… What are the pros and cons?

I’d say a good point is the stable income. And for me it really was a valuable experience that people around the world could enjoy my music along with a game such as Castlevania. If you don’t care only about game music and you want to do other kind of music, it’s a good thing to be freelance.

-One of the keys to success in the Castlevania series is its music so characteristic, mix of romance and action and catchy melodies. What inspires you?

The game world itself. Regardless of how old or new, I drew inspiration from films and novels relates to Dracula, of course. Also Ayami Kojima’s aestheticism and visionary illustration was a big help for me to compose, as well as the beautiful graphics created by background artists.
Besides, ethnic music that I listened to when traveling has given me a lot of inspiration. 
I have been to Spain, and I was touched by flamenco passionate music.

-In 20 years at Konami, you have made a lot of music, do you have any song that you feel especially proud, a favourite?

I could say the one I did for Ganbare Goemon 2 for Famicom, which was entrusted to me when I had just joined Konami, and also the one for the Castlevania series, for which I did a lot of music.

-Is there any particular reason to choose these two games?
As for Goemon 2 the senior composer and I tried hard to make an effort everyday and devise better sound or music so that users could enjoy it. Those were times in which few people cared about game music, not like nowadays. In a way, we were researchers.
And as for Castlevania, there are a lot of fans who love the music for Symphony of the Night and they keep sending me encouraging messages. I’m very happy to know so many people enjoy my music since so much time ago.

-In the latest installment of Castlevania series, Lords of Shadow, the soundtrack has been composed by a non-Japanese composer, the spanish Oscar Araujo. Did you hear the soundtrack? Did you like it?

It's a solemn and big scale orchestration which draw listeners into the world of Lords of Shadow. In particular, the choirs reminded me the religious or philosophical elements of the Middle Ages. I was deeply impressed with the orchestration for the battle scenes. I think he has done a very good job.

- Recently you left Konami, and now you are a freelance composer. What new projects do you have?

I want to make not only music which revolves around visuals, but also music in its own.
I’d like to approach to jazz, and hopefully play something live

.

Original Interview Avaliable in Spanish http://gamikia.com/2011/10/rincon-musical-xxii-entrevistamos-a-la-compositora-michiru-yamane
 

[crisis]

I was deeply depressed with the orchestration for the all scenes. I think he has done a very bad job.

[Flame]

Well, I dont think abyone can really say the music as bad, it was really good, the problem was that the game repeated the same few tracks all the time, using it as mood pieces to instill certain moods.

[Jorge D. Fuentes]

Nice interview!

I smell the same tirade about LoS music, though.  Not a nice smell.
Hopefully i'm wrong.

[KaZudra]

I agree with Flame, LoS' music wasn't bad, but the approach of defamiliarizing the tune and on top of that Repeating the same tracks 50+ times got really old.
I wasn't expecting anything upbeat but I at least was expecting something to get stuck in your head and at least a new track per stage.
Overall it was okay, but Oscar's problem is that he was scoring more for a movie and not a game, which is also Konami's problem with LoS.
Video Games Aren't movies, Quit trying to make it that way, only bad things come of it!

[Flame]

I think its an interesting concept. Making a game with the production values of a movie. I liked the fidgety camera LoS had. Though it made me think of how l33t that cameraman must be to be able to follow all that shit so well.

[Munchy]

Thumbs up.

Like I've said many times, Araujo's music would be much better with identifiable stage specific themes. The looping between sets of three songs just made me think "oh look, it's the every-other-stage music!"

Some of the battle themes do admittedly get me pumped a bit, though.

I think its an interesting concept. Making a game with the production values of a movie. I liked the fidgety camera LoS had. Though it made me think of how l33t that cameraman must be to be able to follow all that shit so well.

The cameraman is actually Zobek.

[PFG9000]

Good find, Ahasverus.  How did I not know she did the music for Nemesis III and Contra Hard Corps?

[Flame]

The cameraman is actually Zobek.

THAT EXPLAINS EVERYTHING.

[Kingshango]

THAT EXPLAINS EVERYTHING.

Death follows Gabriel wherever he goes, figuratively and literally.

[Flame]

Yeah I know. I just never really thought about Zobek being the actual "cameraman."

[Maedhros]

So that's why I find Contra Hard Cops being the game with the best music in the series.

[A-Yty]

Without the whole "epic" orchestra to back it up, most of LoS music is hollow and forgettable. So it's completely ok to call it bad and not lose any sleep over it.

[Munchy]

Also Yamane is just being Japanese-polite and not telling the truth trollolololol.

I kid, I kid. The music is sort of like the game itself in that it's taken time for it to grow on me.

Gotta replay this and some other Castlevanias soon. 'Tis the season for autumny atmospheric stuff.

[Chernabogue]

Nice interview, it's good to her a bit from Michiru Yamane.