MegaDrive20XX
Segatron Genesis... call me the wizard.
Delicacy and strength practically lept from the art and soundtrack of Castlevania: Symphony of the Night in a way that captured the imagination of many players. It was as if illustrator Ayami Kojima and composer Michiru Yamane had sunk their teeth into the Castlevania formula and given it new life. Bound up in seemingly antithetical traditions, from classical to metal, Yamane’s score could even be described as a game-changing work of musical alchemy.
And so it was not a surprise when in meeting with the composer for tea at Café Pause in Ikebukuro that we sensed an undercurrent of enthusiasm giving force to her speech. The unassuming figure responsible for so much Castlevania music over the years has been an inspiration to listeners around the world. More recently in a several month span, the musician has appeared on stage in a kimono for Video Games Live, flown to Sweden to perform before a roaring crowd, having self-arranged her industry-altering game themes for a massive box set.
And so we began our informal conversation with Michiru Yamane on her recent transformation from an in-house Konami composer to a freelance musician.
1UP: Your official website features the work of Ayami Kojima, an illustrator whose art has been featured in the Castlevania series. How did it come about that your previous weblog and now your company website has included this image?
Michiru Yamane: The portrait on which it was based was sent to my office one day by Konami. I had been informed of its existence, but it was still a shock when it arrived. Kojima-san granted me permission, so I went ahead and used the image for my business card.
1UP: Would you consider yourself friends with Kojima-san?
Yes, both personally and professionally. We've even gone on vacation together.
1UP: When the two of you have worked on the same projects, have you found your music has been influenced by her art?
That's certainly the case. First I take a look at the art that Kojima-san has produced and then I begin the process of composing. I draw a lot of inspiration from her.
1UP: When you begin writing, are you considering the fine details of a given piece, or do you prefer to start off by defining a broader overall picture?
At the very start I like to determine the bigger picture. Will this be a classical piece, heavy metal, something more regional? Once I've arrived at a basic premise, I sit down at the piano and begin working out drafts. Those notes figure into the intricacies of the sound design, which takes place on the computer. These days, you can experiment with any number of simulated instruments on a personal computer, which can sometimes inspire certain phrases that I would not have considered otherwise.
1UP: What sort of experience was it inviting your sister Kahori to participate as a vocalist?
You've done your research. (laughs) She sang on "Prayer" and "Enchanted Banquet" for Castlevania: Symphony of the Night. She was studying at university at the time. We recorded those vocals in a humble little makeshift recording studio set up at the office. Of course neither of us had any idea that these modest recordings would still be listened to years later by people all over the world. This was at the beginning of my work on the Castlevania series.
1UP: How would you describe your approach to arranging music you wrote some time ago, for instance on the tracks included in the Castlevania CD box set?
Setting out to recreate the image of those songs brings back emotions from that time in my life. Sometimes I can't help but wonder how I managed to write such compositions in the first place, which must be a testament to the degree of sensitivity I had back then.
1UP: Prior to Symphony of the Night, you had written music for Castlevania: Bloodlines, which appeared on the Sega Genesis. How do you view the difference in styles between these two game scores?
Castlevania: Bloodlines has something of a macho, masculine image, though my approach to both games was similar. The biggest difference between the two was that seeing Kojima-san's art for the first time compelled me to write more expressive musical themes to match her artistic quality.
Toward the end of the first ten years of my tenure at Konami, the company made a transition from the Sega Genesis to the Sony Playstation, which represented a vast change in hardware capabilities. Everyone momentarily lost their bearings. However, amidst this turmoil Bloodlines was offered to me, and it complemented my interests as a musician. I gladly accepted the offer to compose.
1UP: You brought classical music forms to your scores for the Castlevania series, which had previously been dominated by more of a progressive rock style. At the very beginning, how did you go about preparing for contributing to the game franchise?
In writing for Bloodlines, I had already been intimately aware of the Castlevania games for some time, but I realized that it was necessary to start listening to a lot more rock music. Though I'd had favorite bands as a teen, somehow it never occurred to me that one day I might be asked to write in the style myself. First placing myself in the role of a listener, I analyzed the rhythmic styles and guitar phrases of numerous artists. Dream Theater, an American progressive metal band, is one I like. For boss battles, I think that it's hard to find anything as effective as progressive rock.
continued at this link:
http://www.1up.com/do/blogEntry?bId=9033452
And so it was not a surprise when in meeting with the composer for tea at Café Pause in Ikebukuro that we sensed an undercurrent of enthusiasm giving force to her speech. The unassuming figure responsible for so much Castlevania music over the years has been an inspiration to listeners around the world. More recently in a several month span, the musician has appeared on stage in a kimono for Video Games Live, flown to Sweden to perform before a roaring crowd, having self-arranged her industry-altering game themes for a massive box set.
And so we began our informal conversation with Michiru Yamane on her recent transformation from an in-house Konami composer to a freelance musician.
1UP: Your official website features the work of Ayami Kojima, an illustrator whose art has been featured in the Castlevania series. How did it come about that your previous weblog and now your company website has included this image?
Michiru Yamane: The portrait on which it was based was sent to my office one day by Konami. I had been informed of its existence, but it was still a shock when it arrived. Kojima-san granted me permission, so I went ahead and used the image for my business card.
1UP: Would you consider yourself friends with Kojima-san?
Yes, both personally and professionally. We've even gone on vacation together.
1UP: When the two of you have worked on the same projects, have you found your music has been influenced by her art?
That's certainly the case. First I take a look at the art that Kojima-san has produced and then I begin the process of composing. I draw a lot of inspiration from her.
1UP: When you begin writing, are you considering the fine details of a given piece, or do you prefer to start off by defining a broader overall picture?
At the very start I like to determine the bigger picture. Will this be a classical piece, heavy metal, something more regional? Once I've arrived at a basic premise, I sit down at the piano and begin working out drafts. Those notes figure into the intricacies of the sound design, which takes place on the computer. These days, you can experiment with any number of simulated instruments on a personal computer, which can sometimes inspire certain phrases that I would not have considered otherwise.
1UP: What sort of experience was it inviting your sister Kahori to participate as a vocalist?
You've done your research. (laughs) She sang on "Prayer" and "Enchanted Banquet" for Castlevania: Symphony of the Night. She was studying at university at the time. We recorded those vocals in a humble little makeshift recording studio set up at the office. Of course neither of us had any idea that these modest recordings would still be listened to years later by people all over the world. This was at the beginning of my work on the Castlevania series.
1UP: How would you describe your approach to arranging music you wrote some time ago, for instance on the tracks included in the Castlevania CD box set?
Setting out to recreate the image of those songs brings back emotions from that time in my life. Sometimes I can't help but wonder how I managed to write such compositions in the first place, which must be a testament to the degree of sensitivity I had back then.
1UP: Prior to Symphony of the Night, you had written music for Castlevania: Bloodlines, which appeared on the Sega Genesis. How do you view the difference in styles between these two game scores?
Castlevania: Bloodlines has something of a macho, masculine image, though my approach to both games was similar. The biggest difference between the two was that seeing Kojima-san's art for the first time compelled me to write more expressive musical themes to match her artistic quality.
Toward the end of the first ten years of my tenure at Konami, the company made a transition from the Sega Genesis to the Sony Playstation, which represented a vast change in hardware capabilities. Everyone momentarily lost their bearings. However, amidst this turmoil Bloodlines was offered to me, and it complemented my interests as a musician. I gladly accepted the offer to compose.
1UP: You brought classical music forms to your scores for the Castlevania series, which had previously been dominated by more of a progressive rock style. At the very beginning, how did you go about preparing for contributing to the game franchise?
In writing for Bloodlines, I had already been intimately aware of the Castlevania games for some time, but I realized that it was necessary to start listening to a lot more rock music. Though I'd had favorite bands as a teen, somehow it never occurred to me that one day I might be asked to write in the style myself. First placing myself in the role of a listener, I analyzed the rhythmic styles and guitar phrases of numerous artists. Dream Theater, an American progressive metal band, is one I like. For boss battles, I think that it's hard to find anything as effective as progressive rock.
continued at this link:
http://www.1up.com/do/blogEntry?bId=9033452