Music helps bring video games to life, and few series have proven that more than the Persona games. Shoji Meguro, the composer behind the beloved RPG franchise, has widely experimented with an array of styles, from acid jazz to bubblegum pop. For Atlus’ latest game, though, Meguro had to embrace a completely different style – something that harnessed the grand, almost legendary feeling of a high fantasy epic.
Metaphor: ReFantazio was one of 2024’s defining games, and its soundtrack accordingly received a lot of attention. In particular, players couldn’t get enough of the game’s ear worm of a battle theme, an infectious tune with a methodical, almost rap-like chanting.
“For the battle theme, I was tasked by the development team to create something commanding and eccentric. With that in mind, I started doing my research and I came across a monk by the name of Keisuke Honryo,” Meguro tells Inverse, “The chanting itself is in an original language with inspirations of Esperanto. One of the greatest challenges of the song is being able to sustain a fast rhythm while reading, and Keisuke executed it beautifully.”
Six months after the release of Metaphor: ReFantazio, Atlus is partnering with iam8bit to turn the game’s soundtrack into a stunning vinyl set. Each disc of the set is meant to represent one of the party members of Metaphor – with brand new cover art to boot.
To celebrate the release of the Metaphor’s vinyl, Inverse had an exclusive interview with Meguro, digging into the creation of the soundtrack for Atlus’ fantasy epic. Pre-orders will go live starting today at iam8bit.com.
This interview had been edited for clarity and brevity.
Did working on the Persona series inspire the team at all on Metaphor? Were there lessons learned on recent Persona games, like Persona 5, that could be applied here?
Meguro: Since this soundtrack is orchestra-based, as opposed to the more modern style of the Persona soundtracks, I had to re-learn some composition and musical theory. It was both challenging and exciting, and I love the way it turned out in Metaphor. I had so much fun making it.
Past Atlus soundtracks have been inspired by very specific genres. Was there a similar inspiration with Metaphor? What kind of feelings were you hoping to evoke with the game’s music?
Meguro: I can’t name any specific inspirations, everything I hear can inspire me in some way. However, there are many high fantasy games and films out there that have a certain feeling that makes up the medieval and fantastical world. One of the big twists to the fantasy genre we included is the very spiritual tone of the music, which I believe complements the otherworldly nature of the narrative. We created something distinct and compelling, which I feel is so hard to do these days.
How do you ensure that songs that loop over and over don’t get old for players? How do you make sure they stay dynamic?
Meguro: One of the important things I discussed with the game’s director, Katsura Hashino, was connecting what players are hearing to what they’re experiencing in the game at any moment. As the player enters a battle, the music will be more intense, whereas the music will slow down to a more somber tone in more dramatic moments. We also think deeply about how we can build upon the soundtrack throughout the game, and how the music is introduced beat by beat and battle by battle. It’s both a science and an art form. I’m honored that players have reacted positively to the soundtrack.
Metaphor has a real theme of travel and experiencing an adventure. How did you make sure the music aboard the gauntlet runner evoked those feelings?
Meguro: Similar to the above, we want players to feel immersed in the world and feel like they are just as much a part of the story as the characters. Every aspect of the game plays into that immersion, but especially the music. Whether it's a battle, walking around the city or a dirt path, the music creates the atmosphere that players, in that moment, exist within. That same philosophy applies to the gauntlet runner.
I think to everyone the most iconic element of Metaphor’s music is the chanting during the battle theme. How did that element come into the game, and what’s the meaning behind the chanting?
Meguro: For the battle theme, I was tasked by the development team to create something commanding and eccentric. With that in mind, I started doing my research and I came across a monk by the name of Keisuke Honryo. As soon as I listened to him, I immediately knew his voice was the key element I was looking for. I reached out to him for the project, and he quickly accepted the offer and was happy to be a part of Metaphor. The chanting itself is in an original language with inspirations of Esperanto. One of the greatest challenges of the song is being able to sustain a fast rhythm while reading, and I think Keisuke executed it beautifully. It is rewarding to see players enjoy the song so thoroughly.
I’d like to ask about the musical themes for each city in Metaphor. How did you try and make sure the music and sound made every location feel even more distinct and vibrant? And was that an important factor for the team?
Meguro: This approach is very much in line with what I’ve said about setting the atmosphere for the game and creating a greater sense of immersion across the project. Each location lends itself to a different tone, and we hope players felt that was reflected throughout the game.
Metaphor is a massive game with a massive soundtrack, but were there any pieces that ended up getting cut? If so, what was the reason?
Meguro: There certainly was some music that did not make the cut. With what I’ve explained above, it’s a matter of the whole team feeling that we’ve captured the essence of what’s happening at any moment in the game. If a track does not do that, we cut it. We strived to create the best soundtrack and audio experience possible within Metaphor, and we hope players continue to enjoy the music for years to come.
