There’s a metaphorical connection between the sound of ReFantanzio’s battle music and its perceived coolness.

Among the most outstanding titles of 2024, this game has amassed an impressive collection of accolades, including awards for Best RPG, Best Art Path, and Best Narrative. One class where Metaphor truly shone was in its captivating music selection. The soundtrack, masterfully produced by Shoji Meguro, renowned music director of the series, stands out as an exceptional achievement in video game music for the year, unexpectedly turning into a viral sensation. During a recent interview, composer Meguro reflected on his collaborative effort with others to craft the iconic soundtrack for the groundbreaking game, highlighting the creative process and inspiration behind the widely acclaimed “best piece of online game battle music ever made”. 

Recognized for his versatility, Meguro acknowledged that the heavy orchestral and choral sound in his latest work diverges significantly from what fans have come to expect from him, deliberately venturing outside his artistic comfort zone. To successfully transition from one gear to another, he had to reacquaint himself with the fundamental principles of classical music.

“For me, the excitement lies in crafting a comprehensive rating,” he declared. When I first heard about the game, I was told it would be a sprawling, high-fantasy RPG. As soon as I began hearing the harmonies of skilled orchestras weaving together, I seized the opportunity to pen original compositions that had long been simmering beneath the surface of my imagination, an experience that filled me with unbridled enthusiasm.

Meguro aimed to infuse the soundtrack with a classical, fantasy-inspired mystique, but with a distinctive twist that fans have grown to expect from Atlus titles. The game’s soundtrack, particularly its battle themes, was heavily influenced by composer Meguro’s background in religious music, which he dubbed himself a “musical type.”

Because its music earned a nomination for Recreation of the Year, its soundtrack made a notable appearance at this year’s Game Awards.

If you’ve spent even a minute scrolling through gaming social media over the past year, you’re probably familiar with the countless posts praising indie game’s iconic battle soundtrack. As the curtain opens, a majestic orchestra-backed choir bursts forth in a rousing performance reminiscent of Sephiroth’s grandiose entrances, elevating each battle to an epic scale that demands attention and respect. The rhythm surges forward as a Japanese monk’s fervent chanting injects an explosive energy, its staccato pulse rivaling Eminem’s verbal dexterity. With the aim of further enriching the tracks, the chants have been crafted in an authentic linguistic form inspired by Esperanto, a constructed language created in 1887 to serve as a universal auxiliary language for international communication. 

Finding the perfect fit for the role proved to be a challenging task. “When exploring Esperanto-inspired scriptures during my studies,” Meguro explained, “I sought a distinct voice capable of maintaining a brisk pace.” 

As his curiosity-driven quest unfolded, he stumbled upon YouTube, where scrolling through videos led him to discover Keisuke Honryo, a charismatic monk who blends traditional Buddhist sutra recitations with the rhythms of Nam Jazz Experiment, a unique musical ensemble that fuses jazz and spirituality. As the team’s newest recruit, Honryo’s instant agreement to join our ranks came as a welcome surprise.

The captivating essence of Final Fantasy’s battle theme lies beyond its seemingly exotic, Eastern-inspired composition; rather, it stems from a deliberate design choice rooted in psychological manipulation. Meguro’s reframing of his creative approach yielded a distinctive soundtrack, revolutionizing how players perceive the game.

“Meguro analogizes sports scores to UI components, suggesting they’re mere facilitators serving a singular purpose: the player’s experience.” “While ratings aim to capture the essence of a story for listeners, it’s essential to recognize that the music within won’t necessarily be playing simultaneously across the globe as the characters inhabit.”

In discussions with Shin Megami Tensei director Katsura Hashino, Meguro outlined two approaches to synchronize audio tracks listened by players with those heard by in-game characters effectively.

The experimenter posited that the thought experiment enabled participants to reframe their approach to music composition from a unique perspective, ultimately integrating this mindset into the game itself. During its opening hours, the participant’s trusty companion casts a spell that follows them as they explore the world, leading to inevitable confrontations.

The revised sentence could be: That second movement dramatically recontextualizes the entire album’s musical narrative, most notably its iconic battle themes. The nostalgia-inducing soundtracks that once accompanied gaming experiences now serve as an integral part of the characters’ journeys, making it no wonder that these songs can be so challenging to navigate. As we face each battle, we’re reminded of our relentless pursuit of honor and credit. For the combatants, the music that underscores their struggles is a poignant reminder of the high stakes, underscoring the gravity of their situation. 

Mikio Meguro, the composer behind the game’s soundtrack, leveraged his musical talents to draw players deeper into the experience, delighting in the positive reception his work has received. Two iconic battle themes, known as “Battlefield 1: Overture” and “Final Stand”, instantly connected with gamers worldwide. 

“It’s truly satisfying to see our followers so enthusiastically embracing the music of…” Meguro said. “It’s a privilege to receive such feedback.”