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Metaphor: ReFantazio sounds deliberately different from Persona 5. Composer Shoji Meguro describes Metaphor’s score as orchestra-based, “as opposed to the more modern style of the Persona soundtracks.” Its most recognizable signature is a rapid, commanding chant in an original language inspired by Esperanto, performed by monk Keisuke Honryo.
The comparison with Shin Megami Tensei V needs more care. Available official and interview material supports a detailed Metaphor-versus-Persona contrast, but it does not establish a reliable, claim-by-claim technical comparison with SMT V. The useful approach is to separate documented composer intent from personal listening impressions and compare the games by palette, vocals, battle function, atmosphere and album format.
The short answer: three different musical identities, but unequal evidence
Metaphor: ReFantazio is the most overtly orchestral of the three scores in the documented comparison. Meguro says he had to relearn aspects of composition and music theory because the soundtrack uses an orchestra-based approach rather than Persona’s more modern style. That is a statement about the intended palette and writing process, not a complete musicological description of every track.
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There is also a practical difference in how the music is collected. ATLUS released Metaphor’s complete original soundtrack as a five-CD, 131-track set in January 2025, while the separately listed vinyl edition contains a selected track list across four LPs. The formats are not equivalent in scope.
Who composed Metaphor’s music?
Shoji Meguro’s direct Persona connection
ATLUS identifies Shoji Meguro as Metaphor: ReFantazio’s composer and lists Persona 3, Persona 4, Persona 5 and Shin Megami Tensei III: Nocturne among his notable works. That establishes a direct creative link between Metaphor and Persona 5: the same composer is explaining how he approached the newer game’s music.
It does not establish that Meguro composed Shin Megami Tensei V. A shared publisher, series family or general ATLUS sound is not enough to assign authorship. Keep the lineage precise: Meguro’s documented comparison is primarily between Metaphor and the Persona soundtracks.
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Meguro’s wording is the strongest primary evidence for Metaphor’s musical distinction: “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.” The statement points to an arranging and composition priority. Metaphor is meant to derive much of its identity from orchestral forces and the weight, blend and dramatic shading they can provide.
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“Orchestra-based” should not be read as “every cue is a conventional symphonic concert piece.” Game scores can combine orchestral writing with rhythm, electronic processing, percussion, solo colors and short gameplay loops. The safe conclusion is narrower and more useful: Metaphor’s central musical concept is orchestral, and that concept was intentionally chosen to move away from Persona’s modern presentation.
Metaphor’s vocal signature: the battle chant
An invented language rather than ordinary song lyrics
The most immediately identifiable sound in Metaphor is its fast chant. Meguro says, “The chanting itself is in an original language with inspirations of Esperanto.” That makes the voice function less like a conventional pop lyric and more like an incantation or ritual texture. Listeners may recognize the human voice instantly without needing to parse a literal narrative lyric.
The chant is performed by monk Keisuke Honryo. Meguro says he wanted a commanding and eccentric effect, which explains why the vocal line can feel unusually forceful against the orchestral foundation. The performance is not merely decorative; it is one of the score’s principal identity markers.
How to compare the vocal presentation fairly
When comparing Metaphor with Persona 5, distinguish documented fact from interpretation. Metaphor’s original, Esperanto-inspired language and Honryo’s performance are documented. Describing Persona 5 or SMT V as having a particular vocal philosophy requires separate evidence or should be labeled as your own listening impression.
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A useful listening test is to ask three questions:
- Is the voice carrying intelligible lyrical content, or is it operating as a repeated sonic gesture?
- Does the vocal line sit inside the arrangement as a lead melody, a rhythmic layer or a ceremonial accent?
- Does the voice make the scene feel urban, personal, ritualistic, threatening or mythic?
Using the same questions for all three games prevents a vague “this one has better vocals” verdict from replacing an actual comparison.
How Metaphor’s music responds to gameplay
Intensity changes with the player’s situation
Meguro describes a deliberate relationship between action and musical intensity: “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.” The score is therefore not designed as a detached album sequence. It is expected to reinforce what the player is doing and feeling.
In practical terms, compare battle cues with dramatic or transitional material rather than judging the soundtrack from one track. Battle music should create forward pressure and immediate focus. A dramatic cue has a different job: leave space for narrative weight, uncertainty or grief. Metaphor’s design brief explicitly includes both ends of that range.
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Meguro also discusses introducing the soundtrack through the game over successive battles. This matters because a score’s impact depends on sequencing. A track that feels startling the first time can become a familiar combat signal after repeated encounters; later additions can refresh the sound of play without abandoning the game’s core identity.
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For a fair comparison, listen to each game in context for at least several encounters. A single standalone track cannot show how quickly a motif becomes familiar, how a battle cue loops, or how the game spaces contrasting moods between fights and story scenes.
Music, world-building and the feeling of place
Meguro says Metaphor’s spiritual tone was intended to complement its otherworldly narrative. The interview also describes music shaping the atmosphere of battles, cities, roads and travel. That gives the score a world-building role beyond “background music.” Orchestral mass can make locations feel ceremonial or monumental, while the chant can suggest ritual, belief and danger.
Persona 5’s documented contrast is its more modern style. It is reasonable to hear that as a different presentation goal, but the phrase does not by itself specify instrumentation, tempo, harmony or production techniques for every Persona 5 cue. Avoid turning one composer quotation into a claim that every track belongs to a single genre.
For SMT V, the responsible comparison is methodological rather than declarative. Listen to equivalent location types—safe hub, hostile area, travel section and battle—and record what you hear: acoustic versus electronic emphasis, density of percussion, prominence of melody, use of sustained harmony and the role of silence. Those observations can support a personal verdict without pretending that an undocumented creator statement exists.
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A grounded comparison across five listening axes
| Axis | Metaphor: ReFantazio | Persona 5 | Shin Megami Tensei V |
|---|---|---|---|
| Overall palette | Composer-described as orchestra-based; Meguro says this required revisiting composition and theory. | Composer-described in contrast as having a more modern style. | No detailed, source-backed characterization established here; describe your own listening observation as opinion. |
| Vocal identity | Fast chant in an original language inspired by Esperanto, performed by Keisuke Honryo. | A direct contrast is not established by the cited material; avoid assigning a vocal philosophy without independent support. | No documented comparison in the available material. |
| Battle function | Meguro says battle music becomes more intense and the soundtrack is introduced across successive battles. | The cited evidence does not provide a matching battle-music analysis. | Use matched battle listening; do not attribute an undocumented design choice to the creators. |
| World and atmosphere | Spiritual tone intended to complement an otherworldly narrative; music covers battles, cities, roads and travel. | Modern-style contrast is documented, but a full world-building analysis is not. | Requires clearly labeled personal interpretation unless separately sourced. |
| Physical album scope | Complete release: five CDs and 131 tracks. | Not stated in the supplied material. | Not stated in the supplied material. |
How to perform your own three-way listening comparison
- Choose equivalent scenes. Select one regular battle, one major battle or high-pressure encounter, one city or hub cue, one travel or road cue and one dramatic story track from each game.
- Listen once without stopping. Note your immediate impression: ceremonial, modern, aggressive, melancholy, strange, intimate or something else. This captures the score’s first-impact identity.
- Listen again for arrangement. Track which sounds carry the melody, how much space the percussion occupies, whether the texture is dense or transparent, and whether the voice acts as language, melody or rhythm.
- Compare transitions. Pay attention to what happens when exploration becomes combat and when action gives way to a dramatic scene. Metaphor’s stated design specifically calls for stronger intensity in battle and a more somber tone in dramatic moments.
- Separate taste from evidence. “I prefer the chant” is a valid personal judgment. “The developers designed SMT V around the same vocal system” is a factual claim that requires a source; do not infer it from resemblance.
- Judge repetition in context. Game music loops. Consider whether a cue remains effective after several encounters, not only whether it sounds impressive in a one-minute sample.
Metaphor soundtrack editions and where they differ
ATLUS distinguishes several releases that are easy to confuse. The special-edition game page describes a two-disc soundtrack. That is not the same product as the later complete album.
| Edition | What is documented | What it means for listeners |
|---|---|---|
| Special-edition soundtrack | Two-disc set described on ATLUS’s game page. | A sampler or bonus release, not the complete 131-track album. |
| Complete original soundtrack | Released January 15, 2025; five CDs, all 131 tracks; catalogue AGM-008~012; booklet and special box; Japanese retail price ¥5,500 tax included. | The physical option for listeners who want the full documented track list. |
| Digital listening | ATLUS says the full album is available through download and streaming services, including Spotify, Apple Music and iTunes, with worldwide distribution stated in the release notice. | Availability can vary by country and can change, so verify the service and region before purchasing or subscribing. |
| Vinyl edition | Black Screen Records lists four LPs selected with the ATLUS Sound Team and mastered for vinyl. The listed selection includes “Warriors in Arms” and “Warriors in Valour.” | A curated physical selection, not an equivalent replacement for the five-CD, 131-track set; confirm stock before ordering. |
Which format suits which listener?
- Choose streaming or download if you want quick access, playlists and repeated comparison with Persona 5 or SMT V.
- Choose the five-CD set if completeness, liner materials and a boxed physical presentation matter more than convenience.
- Choose vinyl for the record-listening experience and selected tracks, understanding that four LPs do not contain all 131 tracks.
ATLUS’s stated ¥5,500 price applies to the Japanese retail release and includes tax; it should not be treated as a current price in every country. Stock, import costs and local distribution are separate questions.
Common mistakes when comparing these soundtracks
Calling every orchestral sound “classical”
Metaphor’s orchestra-based description identifies a compositional direction, not a promise that every cue follows concert-hall conventions. Use “orchestra-based” when discussing Meguro’s documented intent and reserve more specific labels for what you can actually hear.
Treating Persona’s “modern style” as a complete technical specification
Meguro’s contrast is valuable but broad. It does not, on its own, prove that every Persona 5 track uses the same instrumentation, production method or rhythmic language.
Assuming SMT V shares Metaphor’s authorship or design brief
The cited ATLUS biography links Meguro to Metaphor, Persona 3, Persona 4, Persona 5 and SMT III: Nocturne. It does not identify him as Shin Megami Tensei V’s composer. Do not turn series association into a credit or compositional claim.
Confusing a physical edition with the complete score
The two-disc special-edition soundtrack, five-CD complete release and four-LP selection are different products. Check disc count and track scope before paying a collector’s price.
Verdict
Metaphor: ReFantazio is best understood as Meguro’s orchestral, spiritual answer to the more modern Persona sound. Its original-language chant, monk-performed vocal attack and battle-to-drama intensity shifts give it a distinctive identity that is easy to recognize even before considering individual melodies. Persona 5 provides the strongest documented point of contrast. Shin Megami Tensei V belongs in a personal listening comparison, but not in a confident sourced ranking or technical claim without additional evidence. For the fullest ownership option, the five-CD, 131-track release is the complete documented edition; the four-LP version is a curated selection.
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