The Origins of the Phantom Blade Sound
Phantom Blade Zero composer Caisheng Bo is known as a pioneer in Chinese experimental music. As the soundtrack for the action game releases today—a four-disc, 81-track collection published by Milan Records—the backstory of the project reveals an 18-year evolution. The musical foundation began with the indie game Rainblood 2: City of Flames, which eventually grew into the Phantom Blade franchise.
Bo, a Beijing-based composer and University of Virginia graduate, recently discussed the creative direction behind the score.
Challenging Traditional Musical Conventions
When asked how the music reflects the game's folklore and cultural themes, Bo explained his desire to move beyond rigid, stereotypical associations of traditional Chinese instruments. He noted that while the erhu is typically used for heroic action and the pipa for battlefield danger, he sought to challenge these conventions by establishing a polarity between traditional meanings and new, modern interpretations.
In Phantom Blade Zero, the erhu represents both heroic action and "manipulation," while the pipa signifies both danger and "discordance." Other instruments like the matouqin and Hoomai throat singing evoke both righteousness and megalophobia, while the xūn clay ocarina is used to denote absolute authority.
The score also utilizes stuttering sound designs that intensify during cutscenes, mirroring the growing ambition and killing intent of the character Zuo Shang.
Integrating Music with Game Design
Bo describes his role as both composer and music director. During development, he received long-form gameplay footage to segment and score, allowing for a tight synchronization between the music and the game's combat and exploration. In some instances, the development team adjusted map design and boss fights to align with the emotional beats of his musical demos.
Defining Kung Fu Punk
Reflecting on the game's "Kung Fu Punk" aesthetic, Bo aimed to move away from the traditional imagery of ancient villages and ink-wash paintings. Instead, he drew inspiration from the modern, neon-lit landscape of Shanghai to create a sound that blends Eastern ethnic elements with Western genres like pop, trap, and metal.
Bo hopes that by combining these disparate musical styles, the soundtrack will transcend cultural barriers and offer players a distinct, universal listening experience.
IGN : What other works of art inspired you for this project?
Bao: The music of the Phantom Blade series dates back almost 18 years to an indie game called Rainblood—that is where I began composing for this franchise. The music of Phantom Blade Zero is therefore built largely on what I have written over the years, though it has since developed into something uniquely its own. Most of the melodies have been carried over, but the stuttering sound design and the polarity between traditional and new meanings are entirely new.
IGN : How did your score evolve as you saw the game come together over the course of development?
Bao: Over the course of development, alongside a complete script, Soulframe would send me in-game footage of an area once they felt it was about 60% complete. They would play through the entire area—exploring hidden paths, defeating enemies, and finding treasures—just as a player would. As a result, I would regularly receive 4-hour-long video recordings for different areas of the game. I would then divide these areas into segments and plan the music for each one. In essence, I work as both music director and composer, which means I know where the music should start and what emotions it needs to capture. Once the team receives my music demo, they fine-tune the map, the combat, and the boss fights to match my music, ensuring that the game and the music sync perfectly with each other.
IGN : What are you hoping players take away from Phantom Blade Zero's soundtrack?
Bao: In vague terms, I would describe the ethnic Chinese music most listeners are familiar with as beautiful ancient villages or sacred temples—something that looks as if it has come straight out of an ink-wash painting, surrounded by tall mountains, beautiful waterfalls, and tall, sharp parasol trees. Because of Phantom Blade's unique concept of Kungfu Punk, I was able to make bold musical decisions to match the visuals. For Phantom Blade Zero, then, I want to introduce the modern side of Chinese music—think of Shanghai, a city of skyscrapers and flashy neon that is undeniably Chinese.
Beyond the question of the music's origins, I believe music is a universal language we all speak. I wanted to show the endless possibilities of combining Eastern ethnic elements with Western modern genres such as pop, trap, and metal—and how we can all appreciate the aesthetically astonishing results, regardless of cultural differences.
