Poetic Fantasy – The Music of Edge of Memories
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Hello everyone & welcome back to our latest Dev Blog,
Creating a JRPG means trying to blend several key pillars inherent to the genre, such as storytelling, art, and above all, music. For veteran players, iconic JRPG themes like Terra’s Theme from Final Fantasy VI still ring in their ears and stir their souls to this day. At Midgar Studio, we are committed to delivering original experiences while drawing inspiration from the works that defined the genre. Cédric Menendez, Audio Director and Composer, is himself, a long-time gamer and pays tribute to his Japanese counterparts in his work. [/p][previewyoutube][/previewyoutube][p]Cédric playing an early version of the Nekaroo theme for Edge of Eternity in 2015.
The Edge of Eternity OST was composed over several years, from 2015 to 2021, but preliminary work began as far back as early 2010. We wanted to stay faithful to the genre, with music that characterized our main characters, enemies, and boss battles, while punctuating exploration as our party travelled the Astryan continent. Whether in free exploration or turn-based combat, the music was designed to evolve in response to the player’s actions in the world. This was achievable as there was clear separation between combat and exploration.
Hoever, that style isn't replicable in Edge of Memories. Rather than more traditional, linear music tracks, we created a dynamic audio layering system tailored to both the new real-time combat system and the exploration phases. These musical layers adapt and respond to player actions, whether riding a Nekaroo across the Kalden-Uzaris desert, battling a giant crab, or shopping in the markets of Sarlah-Durah. The music reacts to Eline’s behavior, accompanying her throughout her journey. If a player initiates a battle during exploration, the music transitions dynamically into the combat theme, which itself evolves especially when Eline transforms into her Berserk mode. [/p][previewyoutube][/previewyoutube][p]This new system was made possible through the use of FMOD software. User-friendly and with a visual interface similar to DAW, FMOD eliminates the need for creating dedicated tools within Unreal Engine. Its integration with the engine significantly streamlines workflow. For example, switching between English and Japanese voiceover with a single click or layering reverb seamlessly in a scene.[/p][p]As mentioned in a previous devblog, we’ve switched both our game engine our art direction. The musical compositions reflect this new momentum, moving away from a more orchestral style and aligning closer to Japanese anime soundtracks. While Edge of Eternity aimed to follow the musical codes of Final Fantasy, this new title embraces a slightly more "old-school" simplicity.[/p][p]Cédric's goal is to give more space to melody, making it more memorable. This choice is deeply inspired by the music of early console JRPGs from the 1980s. Back then, limited to 8-bit cartridges, composers had to simplify tracks to prioritize other structural elements (like graphics and storage). According to Cédric:[/p]
The music creation process is extensive. First, Cédric composes the themes on piano in his home studio, then handles arrangement and orchestration using his DAW (Digital Audio Workstation). Next, the theme is transcribed into sheet music and sent to different orchestras for recording. Finally, post-production includes mixing in an external studio before Cédric completes the final mastering. This workflow is particularly important for dynamic themes composed of multiple layers.
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Cédric with the crew of the external mastering studio, Canopée Studio at Uzès
Given the large cast of playable characters in Edge of Eternity, individual themes were created to reflect each character’s personality. But in Edge of Memories, the only playable character is Eline, so Cédric had to take a different approach. Melody and instrumentation still serve as emotional drivers, lyrics now play a more prominent role in linking the game and its music. The voice has become a central element of the soundtrack, elevating key narrative moments, thanks to collaborations with exceptionally talented artists.
As huge fans of the NieR series — both for its exhilarating gameplay and enchanting music — it was a great honor to collaborate with Emi Evans. Emi lent her voice to eight tracks, with the lyrics written by her father who is a poet (in English) and her friend SAK (in Japanese). Emi also performed a powerful duet with Marion Schneider, in which the two artists engage in a kind of epic vocal "ping-pong".
After her unforgettable work on Edge of Eternity, Marion once again brought her brilliance to this project, even writing lyrics in multiple languages—including Heryonese, the fictional language of the Heryon people. The Heryonese language, featured prominently in the music, was designed to be poetic and figurative, much like a Haiku. You may have heard a sample of it in the track "Eline’s Journey", recently performed at the USG Festival during an orchestral concert. This piece represents a blend of emotional simplicity and lyrical significance, capturing Eline’s inner journey as she battles the Corrosion.
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Cédric and Emi happily sharing a tea in Japan
Following her fantastic contributions Mariam Abounnasr (Xenoblade Chronicles 2 & 3) to Edge of Eternity, we’re thrilled to have worked with her more intensely on Edge of Memories. With her having complete creative freedom on four new tracks for the sequel. We can't wait to share these with the community.
And what would a new instalment be without the artistic contribution of Yasunori Mitsuda? A key part of the original game’s soundtrack, we are proud to continue our collaboration with the legendary Chrono Trigger and Xenoblade Chronicles composer. Mitsuda composed the final theme for Edge of Memories, sung in Japanese by Emi Evans—an emotional piece to close out your journey.
Ultimately, the music in Edge of Memories is the result of the contributions of the various composers, lyricists, and the artists who bring those notes to life. When listening to some of these new tracks, hardcore fans might notice some musical callbacks, but we don't want to spoil all the surprises.
Stay tuned for more dev blogs from our team and drop a wishlist if you want to support the team and receive a notification when Edge of Memories launches!
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Creating a JRPG means trying to blend several key pillars inherent to the genre, such as storytelling, art, and above all, music. For veteran players, iconic JRPG themes like Terra’s Theme from Final Fantasy VI still ring in their ears and stir their souls to this day. At Midgar Studio, we are committed to delivering original experiences while drawing inspiration from the works that defined the genre. Cédric Menendez, Audio Director and Composer, is himself, a long-time gamer and pays tribute to his Japanese counterparts in his work. [/p][previewyoutube][/previewyoutube][p]Cédric playing an early version of the Nekaroo theme for Edge of Eternity in 2015.
The Edge of Eternity OST was composed over several years, from 2015 to 2021, but preliminary work began as far back as early 2010. We wanted to stay faithful to the genre, with music that characterized our main characters, enemies, and boss battles, while punctuating exploration as our party travelled the Astryan continent. Whether in free exploration or turn-based combat, the music was designed to evolve in response to the player’s actions in the world. This was achievable as there was clear separation between combat and exploration.
Hoever, that style isn't replicable in Edge of Memories. Rather than more traditional, linear music tracks, we created a dynamic audio layering system tailored to both the new real-time combat system and the exploration phases. These musical layers adapt and respond to player actions, whether riding a Nekaroo across the Kalden-Uzaris desert, battling a giant crab, or shopping in the markets of Sarlah-Durah. The music reacts to Eline’s behavior, accompanying her throughout her journey. If a player initiates a battle during exploration, the music transitions dynamically into the combat theme, which itself evolves especially when Eline transforms into her Berserk mode. [/p][previewyoutube][/previewyoutube][p]This new system was made possible through the use of FMOD software. User-friendly and with a visual interface similar to DAW, FMOD eliminates the need for creating dedicated tools within Unreal Engine. Its integration with the engine significantly streamlines workflow. For example, switching between English and Japanese voiceover with a single click or layering reverb seamlessly in a scene.[/p][p]As mentioned in a previous devblog, we’ve switched both our game engine our art direction. The musical compositions reflect this new momentum, moving away from a more orchestral style and aligning closer to Japanese anime soundtracks. While Edge of Eternity aimed to follow the musical codes of Final Fantasy, this new title embraces a slightly more "old-school" simplicity.[/p][p]Cédric's goal is to give more space to melody, making it more memorable. This choice is deeply inspired by the music of early console JRPGs from the 1980s. Back then, limited to 8-bit cartridges, composers had to simplify tracks to prioritize other structural elements (like graphics and storage). According to Cédric:[/p]
[p]"Back then, technical limitations pushed composers to be both simple and creative. I try to preserve that spirit in my own process. Today, freedom has narrowed the gap between video game music and general music, but we once had a true identity and originality in this field. That's why «old-school» video game music used this simple and effective method to enhance the player experience. Sometimes, you remember a game because of its melody (Zelda, Mario, DuckTales, etc.). I try to carry that legacy forward."[/p][p]
The music creation process is extensive. First, Cédric composes the themes on piano in his home studio, then handles arrangement and orchestration using his DAW (Digital Audio Workstation). Next, the theme is transcribed into sheet music and sent to different orchestras for recording. Finally, post-production includes mixing in an external studio before Cédric completes the final mastering. This workflow is particularly important for dynamic themes composed of multiple layers.
Given the large cast of playable characters in Edge of Eternity, individual themes were created to reflect each character’s personality. But in Edge of Memories, the only playable character is Eline, so Cédric had to take a different approach. Melody and instrumentation still serve as emotional drivers, lyrics now play a more prominent role in linking the game and its music. The voice has become a central element of the soundtrack, elevating key narrative moments, thanks to collaborations with exceptionally talented artists.
As huge fans of the NieR series — both for its exhilarating gameplay and enchanting music — it was a great honor to collaborate with Emi Evans. Emi lent her voice to eight tracks, with the lyrics written by her father who is a poet (in English) and her friend SAK (in Japanese). Emi also performed a powerful duet with Marion Schneider, in which the two artists engage in a kind of epic vocal "ping-pong".
After her unforgettable work on Edge of Eternity, Marion once again brought her brilliance to this project, even writing lyrics in multiple languages—including Heryonese, the fictional language of the Heryon people. The Heryonese language, featured prominently in the music, was designed to be poetic and figurative, much like a Haiku. You may have heard a sample of it in the track "Eline’s Journey", recently performed at the USG Festival during an orchestral concert. This piece represents a blend of emotional simplicity and lyrical significance, capturing Eline’s inner journey as she battles the Corrosion.
Following her fantastic contributions Mariam Abounnasr (Xenoblade Chronicles 2 & 3) to Edge of Eternity, we’re thrilled to have worked with her more intensely on Edge of Memories. With her having complete creative freedom on four new tracks for the sequel. We can't wait to share these with the community.
And what would a new instalment be without the artistic contribution of Yasunori Mitsuda? A key part of the original game’s soundtrack, we are proud to continue our collaboration with the legendary Chrono Trigger and Xenoblade Chronicles composer. Mitsuda composed the final theme for Edge of Memories, sung in Japanese by Emi Evans—an emotional piece to close out your journey.
Ultimately, the music in Edge of Memories is the result of the contributions of the various composers, lyricists, and the artists who bring those notes to life. When listening to some of these new tracks, hardcore fans might notice some musical callbacks, but we don't want to spoil all the surprises.
Stay tuned for more dev blogs from our team and drop a wishlist if you want to support the team and receive a notification when Edge of Memories launches!
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This view couldn’t have been made possible without the community’s support. (Edge of Eternity)
Our team at Midgar Studio inaugurating the new building (and floor).
[h3]What’s next? [/h3]