I’ve listened to a lot of video game music over the years, but few developers have captivated me as much as FromSoftware with their soundtracks. One of the key parts was now freelance composer Yuka Kitamura. She has worked at FromSoftware for over ten years and now composes for games such as Bloodborne, Sekiro, Elden Ring and Dark Souls III.Last August, she Become a freelancer. I have wanted to interview her for a long time and finally got the chance to do so via email recently. She and I discussed a lot of things including music writing, live arrangements, instrumentation, her music, freelance life, and what we should expect from her this year. This interview was translated from English to Japanese and then from Japanese to English. It was then edited for clarity.
TouchArcade (TA): Tell us a little about yourself and how you got into making music.
Kitamura Yuka (YK): My name is Yuka Kitamura and I’m a composer who writes orchestral music mainly for video games. I started composing music because I was fascinated by video games and their music as a kid, and I wanted to create music that would touch people’s hearts.
face: How did you land a job in the games industry in 2011?
Yang Kai: I had already decided when I was a student that I wanted to be a game composer, so I really wanted to start working as soon as possible after graduating. I looked for a gaming company with a healthy department and got into the industry that way.
face: How has your workflow changed since you became a freelance composer?
Yang Kai: The actual production process has basically not changed much. However, although this has not changed, the working environment has changed from the previous company. I’m constantly in contact with new people, and I spend a lot of time in meetings before starting production so that I can understand the worldview of each work.
face: In the past you’ve worked with full orchestras, sampled sounds/backings, and mixed the two. Have you ever been in a situation where you wanted to do more with a song, but didn’t have the time or resources?
Yang Kai: This isn’t limited to game music production, many times I have to work on very short notice or with limited resources due to the timing of the projects I’m involved in. In this case, I focus on my usual goal of creating music that meets the client’s needs.
face: This was a question from a friend of mine, but in productions that involve live music mixed with sampled sound sources and backing, do you ever adjust between those materials to achieve the piece you envision?
Yang Kai: certainly. I record the chorus and violin myself during the demo phase of writing each song, so I basically adjust the balance between sampled sound sources and live music as I go. Most of the time, I make adjustments so that the live performance blends well with the sampled sound source and maintains its quality.
face: You’ve created many soundtracks that are loved by millions around the world. Have you read the feedback from players and critics who have played your game?
Yang Kai: Yes, I’ve read a lot of comments on X and YouTube. I’m really grateful and happy to receive feedback on a game we’ve poured our heart and soul into.
face: Your music expresses so much personal emotion and you masterfully blend elements of beauty, elegance and despair. Are there any songs based on the actual feeling of playing the game?
Yang Kai: All the songs used in the game are infused with the emotions we want the players to feel, as well as the background and feelings of the characters in the game. Basically, the direction of each piece of music is decided through discussion with the game director, and then I start making the music.
face: What have you learned about composing music for games over a decade ago? How do you plan to use this knowledge in future compositions?
Yang Kai: I’ve always loved game music, and there was a time when I only collected soundtracks. However, my game development experience tells me that game music does not exist independently, but as one of the elements of the game, coordinating with the map background, bosses, situations, etc. Going forward, I want to use my knowledge of the inner workings of game development to create music that is more in tune with each work.
face: Do you have a favorite recent score by another composer?
Yang Kai: My recent favorite is the soundtrack to the movie Suzume no Tojimari (Suzume in the West), composed by Kazuma Jinnai.
face: Have you ever played post-launch music that you created for a game?
Yang Kai: Since I’ve always loved playing games, of course I did. When I worked at my previous company, I used to fight various boss battles over and over just to adjust the timing of the music.
face: I’ve read in other interviews that you’ve preferred working with digital sound sources in past work. If you had the choice, would you rather produce a completely live performance/recording or a digital sound source?
Yang Kai: If I could spend a lot of time on it, I think it might be a good idea to do it entirely live. I really enjoy the sounds of completely live performances as I find them very moving. However, digital sound sources have come a long way, allowing composers to quickly create performances that are as close as possible to their imagination. Therefore, I feel that a combination of both methods is the best way for me to create music.
face: Over the years you have incorporated a variety of instruments into your music. Can you tell us about the use of shinobue drums and wadaiko drums?
Yang Kai: When trying to express a certain worldview, I feel that ethnic instruments can convey the atmosphere and soul of the area more directly than just using the usual orchestral instruments. Therefore, I incorporated a shinobue (bamboo flute) and wadaiko (Japanese drum) to help establish the Japanese background.
face: How do you collaborate with other composers? Do you share work ideas with each other or focus on your own work?
Yang Kai: Generally speaking, I don’t do a lot of collaborative work, but sometimes I invite other composers to work on the same piece. In this case, we may exchange ideas to better understand the environment and atmosphere of the work we do.
face: I know you play multiple instruments including violin and cello, but are there any other instruments you’d like to learn?
Yang Kai: I’ve never learned guitar, but I’ve always wanted to play!
face: Please tell us a bit about your day-to-day work as a freelance composer.
Yang Kai: Since going freelance, I’ve had more opportunities to do administrative work and meetings outside of my usual production, and the freedom with which I use my time has changed a lot. In between my day job, I compose scores for performers who request recordings, and I also change my pace by composing songs with different flavors. Because I have the freedom to work, I also go out and find inspiration.
face: What are your plans for 2024?
Yang Kai: I want to explore new directions and tastes in my music this year by working on some projects outside of the gaming industry.
face: Is there anything you’d like to say to your fans who are reading this interview?
Yang Kai: Thank you very much for your support. I am so inspired by the messages and other comments I have received from all of you. I hope everyone will continue to follow me and meet new challenges.
I’d like to thank Yuka Kitamura for his time and patience here, and Juon and Shaun Musgrave for their translations.
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