Our final destination on the IGN First journey through FromSoftware was the sound studio—the creative heart where Lead Composer Shoi Miyazawa breathes life into the haunting, evocative soundscapes of *Elden Ring* and *Nightreign*. In this exclusive interview, Miyazawa shares insights into the art of crafting FromSoft’s iconic soundtracks, the directorial vision behind *Nightreign*’s music, and the personal influences that shape his sonic identity.
IGN: Let’s start at the beginning—how did you get into composing for video games? Are you a passionate gamer yourself?
Shoi Miyazawa – Lead Sound Designer on Elden Ring Nightreign:
I’ve always been drawn to the *Armored Core* series. When Hoshino-san reached out about joining FromSoftware, I was immediately intrigued—especially knowing the legacy of *Armored Core*’s music. Titles from my childhood like *Ganbare Goemon*, *Secret of Mana*, and the *Castlevania* series also left a deep musical impression. I still revisit them for inspiration and research.
Are there any composers—inside or outside of gaming—who’ve influenced your work?
I’ve always admired the experimental energy of King Crimson and Marilyn Manson. Their bold, genre-defying styles continue to inspire my approach to sound.
Shifting to *Elden Ring* and *Nightreign*, what’s your creative process when composing for these worlds? Do you work from concept art, mood descriptions, or narrative context?
It varies. Sometimes the director provides a brief on the emotional tone of a location or boss. Other times, we’re inspired by concept art or text-based details—like a boss’s backstory or the setting of their arena. Each piece begins with understanding the soul of the moment it will accompany.
Has composing for *Nightreign* differed from your work on the base *Elden Ring* game?
While *Nightreign* is a spin-off, we aimed to preserve the essence of *Elden Ring* while carving its own identity. I had extensive discussions with the director, who emphasized making the music distinct yet memorable—catchy in a way that sets it apart from the Soulsborne titles. That balance was central to our vision.
What specific direction did the director give for *Nightreign*’s tone? Were there recurring themes you aimed to capture?
Night itself is a core theme. We wanted to evoke a sense of isolation, unease, and the quiet melancholy that comes with darkness. That feeling of being out of place, of solitude under the cover of night—those emotions were essential to the soundtrack’s atmosphere.
Among your projects at FromSoftware, which has been your favorite, and which posed the greatest challenge?
It’s hard to choose, but a few stand out. Composing *Consort Radahn* for *Elden Ring* was unforgettable. I often work in dimly lit rooms, and while creating that track, I felt a presence—like someone watching from the shadows. That sensation bled into the music.
Another favorite is *Takes Me Anywhere* from the bonus soundtrack of *Armored Core VI*. Though different from our fantasy scores, it holds special meaning. *Armored Core* was a series I deeply admired, and when I joined FromSoftware, it was on hold. When we finally revived it, that track became a tribute to the years of unfulfilled ideas I’d carried. It’s a piece I’d envisioned long before joining, and finally realizing it was incredibly rewarding.
Elden Ring features multiple composers. How collaborative is the process? Do you work in isolation, or do you share ideas?
Typically, one composer handles one track from start to finish, though we exchange feedback and ideas within the sound team. Credits reflect individual ownership. However, *Nightreign* was different—some tracks involved multiple composers collaborating on a single piece, making it a unique experience.
We saw Libra: Creature of Night during our visit. Can you share any insights into that track’s creation?
Libra was unique—his character brief included specific musical direction. We wanted to reflect his exotic, almost demonic nature, and the duality present in his design and battle. Themes of madness, victory, and defeat were central. We aimed for extreme contrast, pushing the emotional intensity further than usual.
The day-night cycle in boss fights creates a dramatic shift, mirrored in the music. How did you approach those transitions?
Nightreign’s three-day structure heightens tension as night falls. Enemies grow stronger, danger feels more imminent. The music amplifies this—conveying a growing sense of isolation, of being overwhelmed. Each shift in time is underscored by a deeper unease, reinforcing the player’s descent into uncertainty.
Is there a track you’re especially excited for players to experience?
We focused heavily on the uniqueness of each boss encounter, especially those repeated across cycles. We asked ourselves: *How far can we push this?* The result is some of the most dynamic, boundary-pushing music we’ve created for a FromSoftware fantasy title. I hope players feel that ambition when they hear it.
Do you have a favorite instrument or tool you like to use in your compositions?
It’s not an instrument, but my foundation is DAW-based digital music production. I started with personal computers and DTM software, and that environment remains central to my process. It allows me to meticulously shape every note and nuance. As a creator, that precision is vital—even if I sometimes dive too deep into the details.
Finally, what’s your favorite game of all time?
Myst left a lasting impression. The way it used pre-rendered scenes to guide exploration, the quiet puzzle-solving, the immersive atmosphere—it captured me as a player. That sense of mystery and discovery is something I’ll always remember.
