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DMC1 Sound DVD booklet text


I Saw the Devil
Provably old but I don't see it anywhere. I found this on another tread.​
DMC1 Sound DVD booklet

This is Laryna6 of Yahoo and ff.net and mediaminer.org and lj and AIM and IGN and so on and so on. I'm posting these things here because Gryffindorstef of lj, who I think is Veronika here, asked me to. I hope you like them.

Transcriber's Notes:
This was transcribed by Laryna6, and if you post it as yours the 6 hours I spend doing it will cause me to be very cross with you. This was done as a thank you to chaoticchicken and janegray of lj for transcribing scripts of Lucia's disc of DMC2 and Dante's game in Viewtiful Joe respectively, and also for the transcriber's future reference. The transcriber is well aware there is a thin line between passion and obsession, and has it clearly marked so as to be sure she does not inadvertently wander back onto the normal side. It was also made as complete as possible so that the transcriber would not have to go back and add things in later. And for the sake of doing a good job. (The transcriber is considering submitting this to gamefaqs.com)
This transcription is of the text and interviews and so on in the DMC1 Sound DVD The Sacred Heart booklet. To help you read it:

-pages will be signaled by
Pg.X or a description
And separated by two blank lines.

-a single blank line indicates a gap in the text

- [ ] contains descriptions of the positions of things on the page, and of pictures/screenshots. Pictures are page backgrounds unless indicated otherwise

- [sic] means the preceding word is exactly the way it is in the booklet, and is not a typo.

- (Japanese text) means Japanese text. Any other parentheses except within brackets are parentheses present in the booklet.

- each song is accompanied by composer's commentary and game description. It should be easy to tell which is which.

And on to the booklet:

[Devil May Cry logo with women with handguns, upper left]

[Artbook picture of Dante with one normal eye and one slit pupil]

[upper right]
Devil May Cry Sound DVD
The Sacred Heart

Inside Cover:

Pg. 1:
[Ornamental iron gate (there's a term for it, the kind they have in old churches) blocking off a hallway]

Pg. 2-3:
[grayscale spread of an ancient-looking castle-type wall, highly ornamental]

Pg. 4:
[red and black picture of Dante pointing a gun through an open shuttered window]

The Sacred Heart

[2/3 down]
(Japanese text)

To all the dedicated fans of "Devil May Cry":

More than a year has passed since the game went on sale and based on what we have seen,
We can say that this is a game that really delivers when it comes to sound and images.
This is just not another typical soundtrack and official strategy guide DVD.
The material written for "Devil" is in a class all its own. It is a very stylish and unique work.

I think everyone, whether they have played the game or not, will be highly pleased with the results.

"Devil May Cry" Producer Hiroyuki Kobayashi

Pg. 5:
[Alastor on the right]

[very faint grey-on-black possible illustrated background]

[title page]

001: Devil Sunday
The Theme of Sparda
002: Pubic[sic] Enemy
003: Psycho Siren
004: Red-hot Juice
005: Ultra Violet
The Theme of Vergil
006: Lock & Load
The Theme of Dante
007: Flock Off!
008: Karnival
009: Mental Machine
010: Evil Vaccuum
011: Anarchy in the U.W.
012: The Theme of Eva
013: Legendary Battle
014: Bloody Bladder
015: I'm Coming!
016: Blue Orgasm
017: Dante & Trish~ Seeds of Love
018: Pillow Talk
019: Super Pubic [sic] Enemy
020: S

Pg. 6:
[Purple and yellow-tinged illustration of a highly ornamented hall]
[upper right] 2000 years ago. The forces of evil led by Mundus,
Emperor of the Underworld, began their invasion of
the world of men. Their intelligence surpassing that
of humans, men were powerless against this evil force.
Then one man appeared. Though evil, he was a lone
swordsman who saw the light of justice. His name was
Sparda. After a fierce life-and-death fight, he left
the evil forces.

These actions of Sparda have been passed down in legend
from generation to generation in the world of men.
The present. In a corner of Metropolis, there is a man
with a mysterious occupation. His name is Dante. He
is the son of the legendary dark knight Sparda. While
exterminating the demons and evil spirits that infest
the city he continues his quest for his sworn enemy.
It is to take revenge against Mundus, Emperor of the
Underworld, who was resurrected years earlier and
who took the lives of his beloved mother and brother.

[middle left]
Track 001: Devil Sunday ~The Theme of Sparda~

Pg. 7:
[Sparda artbook illustration]

[upper left, Sparda artbook illustration]

Pg. 8:
[Pink-tinted Trish artbook illustration]

[middle left]
It will be okay…
You can do it.

Pg. 9:
[Sparda devil form]

[Upper left]
(Japanese text)

[middle left Mundus statue seated screenshot]

[2/3rds down]]
In the name of my father,
I will kill Mundus!

(one line of Japanese text)

[bottom left]
(Japanese text)

[bottom right]
This is the first composition. It builds up expectations of what is to follow
by being heretically sublime. "What does heretical feel like?" I asked. The
director said, "Maybe it feels a lot like Desslok." [sic] Perhaps. In any event,
I sought my own answer by trying to create something heretical in the
style of Bach. Part of the melody is the theme for Sparda and fragments of
it can be heard throughout the game. I tried to subtly convey in this
composition the feeling that "Sparda had also visited this cathedral."

Pg. 10:
[left background a red-tinted marionette.]

[right background a green-tinted Sin Scissors]

[upper right]
(Japanese text)

(Japanese text)
An infinitely deadly atmosphere flows forth from the
darkness. Demons that have long overrun an ancient
castle begin moving about in search of prey. They have
but one desire: to strike fear and despair into all living
things. Probably in the eyes of these beasts licking
their lips, the man looks pitifully lost in the castle.
But the blood flowing through the body of Dante is
half evil. Unleashing a laser barrage from Ebony and
Ivory held in both hands, a smile of invincibility plays
across Dante's face.

[middle left]
Track 002: Pubic Enemy

Track 003: Psycho Siren

If I kill each one that comes,
eventually I should hit
the jackpot sooner or later.

(Japanese text)

Pg. 11:
[left red-orange tinted Death Scythe]

[right purple tinted Shadow]

[1/3 down right]

Track 002:
The stage compositions are solemn, however, whenever there is fighting they quickly switch to violent guitar sounds. This
becomes the "nucleus" of the sound of the "devil." This composition
symbolizes that direction. I don't think the courage of Dante when he is
fighting can be put into a composition per se, so after carefully selecting
the tempo, chords, drum and guitar phrases one by one, this is what
resulted. It goes well with the Dante's magnificent movements and the
sound of gunfire, and invigorates the fight sequences.

Track 003:
"Strong! + immanent death! + extreme danger = Siren?"
might be too simplistic a concept. But because there had not been any music
which brought Siren to life as a main melody, I came up with this
composition. At first, it seemed crazy and I wondered if it would fit in with
the game, however, as one gets into the game, the composition fits rather
well and it turned out to be one of my favorite compositions. If you listen
to it closely, Siren might sound like the cry of victory in "Fist of the North
Star." Realizing this may bring smiles of satisfaction to some, however,
I think this composition builds up the excitement in the fighting scenes.

[2/3 down left]
(Japanese text)
(Japanese text)

Pg. 12:
[2-page spread of blurred Phantom]

[upper left] Track 004: Red-hot Juice

[1/4 down, left Phantom screenshot.]

[lower right]
(Japanese text)

Crashing through the skylight of the cathedral,
a gigantic monster looking part spider and part
scorpion drops down right in front of Dante.
Glancing at the much smaller Dante, it gloats over
its greatness while sneering and ridiculing Dante.
The fires of hell bubble up through openings in its
shell-like skin. However, Dante senses the stupidity
beneath this hideous exterior. The ability to think
clearly is most important for this fight.

Pg. 13:
You puny pathetic thing…
I'll step on you like an ant!

(Japanese text)

[lower right]
(Japanese text)

This is the only boss composition that was mad before the picture.
When I wrote it, the Phantom did not have an actual form yet, so I tried
to make a catchy tune that conveyed devilishness. Fortunately, it has a
feeling of speed and at the same time a feeling heaviness, and the
composition itself has good form. At the time I wrote it I was influenced
by music I liked in a fighting game of another company and I think
I blended that into the bass line and drum part.

Pg. 14:
[Indigo tinted Vergil artbook picture]

[middle right]
Track 005: Ultra Violet ~The Theme of Vergil~

Pg. 15:
[top half Dante & Nero purple tinted]

[bottom half silhouettes of the boys with wooden swords]

[upper left]
(Japanese text)

For some reason Dante did not feel animosity towards the man wielding the large sword standing before him. He was swept up in feelings he could not understand.

Narrowly parrying each lunging attack, doubts turn to conviction. The amulet that was a keepsake of his mother springs to mind. Carved on it together with his own name is that of another – Vergil.

[middle: a screenshot of Nero Angelo from the back]
Vergil, Dante, Happy Birthday.

(Japanese text)

[bottom left]
(Japanese text)

[bottom right]
Fragments of Sparda's theme are concealed in the intro. Vergil also has
the blood of Sparda in him and I wanted to convey that image in this
composition. The guitar brings out the sense of fighting, and I had
decided to sue a pipe organ for the melody from the start. I thought
about using something like metal or Yngwie [sic], but because I wanted to use
melody not normally heard, I wove in a synthesizers [sic] and breakbeats to
produce a new mood. Actually, the fast melody of the pipe organ in the
first half is Vergil's theme. You can also hear this theme in the intro part
of the last fight when he appears the second time.

Pg. 16:
[Dante on the right, pointing Ivory and surrounded by red light]

[upper left]
Track 006: Lock & Load ~The Theme of Dante~

[middle left]
(Japanese text)

(Japanese text)

Two automatics pulsing at the end of each arm.
Alternately growling, a double-barrel shotgun held level.
With each flash of gunfire, bloody red smoke rises
from the devil's chest.

Loading the barrels with shot each time,
white smoke overflows from the breech.

The melody playing from the guns is like a requiem.
Bullet holes carved into the corpses are like offerings of
flowers to the dead.

No one knows when it will end;
it as a feast of jet-black and red.

A sword?
Time to go to work guys!

(Japanese text)

Pg. 17:
[Dante with Ifrit]

[upper right]
(Japanese text)

This composition is probably familiar because is used in commercials
and in the title screen. Initially, it was just written as a standard fighting
music, but the director decided to use it for Dante's theme. When you
first hear it, it may be difficult to determine which is the main melody,
but I think that the overall impression is that it sounds pretty good.

In the fighting music in the early stage, "Pubic [sic] Enemy", I wanted to
convey the image of Dante not yet having a clear understanding of the
situation and that the fight was somewhat of a struggle. This composition
then clearly expresses his predominance.

Pg. 18:
[two page spread, with tan tinted architecture on the outer halves of each page, red lighening in the middle halves, and Griffon spread across it]

[middle left]
Track 007: Flock Off!

[2/3 down, left]
(Japanese text)

[2/3 down, right]
He refused to acknowledge defeat. Son of the
legendary Dark Knight, it would take more than that insignificant
being to defeat him.

This confidant of the Emperor of the Underworld who had lost its wings and fallen to earth looked up into the great sky where it had once flown freely, and summoning its remaining strength, beseeched its dark lord in anguish. Oh Great Mundus! Please give me the strength one more time to fight this fellow! Let me soar through the great sky and give me the strength to control even the wind and lightening!

Dripping blood from its beak, and struggling hard to remain conscious, the monster cried out its loyalty to its lord and master, hopes lingering until they were lost.

Master! Please grant me
one last surge of power…
the power to finish him!

(Japanese text)

Pg. 19:
[lower right]
(Japanese text)

For a bird, the Griffon is immense. The director said, "Imagine a
tyrannosaurus rex landing," so I decided to make it heavy. But still it's a bird.
Once it takes flight, it can attack from the air with lightening speed. After
much trial and error in trying to convey this image, I doubled the tempo in
the last half. It sounds about four times faster than the drum phrase just
preceding it. I think it turned out to be an interesting piece of music.

Pg. 20-21:
[two-page grey tinted spread of arches looking down into a courtyard they surround]

Pg. 22:
[two-page green tinted spread of three Blades]

[1/3 down, left]
Track 008: Karnival

[2/3 down, left]
(Japanese text)

Monsters in shapes that bring to mind reptiles dash
through a ravine enshrouded in thick mist. While
their shields deflect the repeated thrusts and slashes
of Dante's sword and their helmets deflect his bullets,
they steadily pursue their prey. These monsters are
not like the others that Dante has met thus far; they
move with the precision resulting from skillful
leadership. They are soldiers from hell, created to
assist Mundus in his subjugation of the world of man.

There is no denying that these assassins set on killing
Dante are much more formidable. It is proof that the
world is steadily being devoured by the Underworld.

Pg. 23:
Can't let a single one of
those suckers live.

(Japanese text)

[2/3 down, right]
(Japanese text)

Within the moans and screams eddying about, I repeated
layers of percussion to give the impression of a ritual or
ceremony in order to convey the sense of tension in the
Underworld. From this stage one is thrust into the last
half of the battle, so the music at this stage actively raises
the tension to another level. I wonder if you are able to
tell that the music does not change even when engaging
in battle in order to maintain the tension.

Pg. 24:
[two-page spread of Sargassos, tinted green on this page and red on the next, and other stuff, Nightmare? And architecture.]

[upper right]
(Japanese text)

[middle left]
Track 009: Mental Machine

Humans… what sweets.

Pg. 25:
[upper right]
Within the monster's womb assassins that should have
been defeated laid in waiting for Dante. A gigantic
skull floating in space, a monster resembling a spider
spewing forth fire, even that jet-black knight waited.
But something was different. There was not the
feeling of animosity that was openly displayed in
previous confrontations. It was no more than as
empty illusions reappearing in Dante's memory, yet it
persisted, a hollow feeling of former sensations
returning again and again like attacks on the field
of battle. He needed to defeat all of them if he was
to escape this nightmare.

[middle right]
(Japanese text)

Even though it is a being of the Underworld, its body is that of a
machine. I thought that if the enemy jumps about, the music should, too.
I really let the energy flow when I wrote this one, but the director wanted
"it always to be changing shapes," and I had difficulty building that up
into the image. I was able to express that by including a unique synthesizer
sound that grows on you in the high-speed sequence phrasing that come
intermittently from the start of the composition. Actually the music used
to pull you into a different dimension was produced by lowering the
pitch of the Nightmare fight music. Even though it's light, I think it
perfectly brings out the mood.

You should know better than to trust a stranger.

(Japanese text)

Pg. 26:
[two-page spread Dante with Alastor pointing Ebony (inscription and cameo visible) against an architectural sketch backdrop tinted red shading to green]

[upper left]
Track 010: Evil Vaccuum: [sic]

Even as a child
I had powers.
There's demonic
blood in me…

(Japanese text)

[bottom left]
(Japanese text)


I Saw the Devil
Pg. 27:
[bottom left]
Mirrors reflect reality and project illusions.
The mirror in the ancient castle stood between the
world of men and the Underworld. Opposite worlds
as different as light and dark, always projecting each
other. For thousands of years after the destruction
of the legendary Dark Knight, demons continued to
look on the forms of humans. Evil thoughts
accumulated to overflowing. The power of the
Underworld was like a damn bursting, and had become
so great that soon it would invade the world of men
on the other side of the mirror. Passing through the
mirror the balance between these two very different
worlds began to crumble.

The only thing blocking that destruction was Dante
who himself stood between the world of man and the

[bottom right]
(Japanese text)

I wrote this composition right after "Devil Sunday." Because this music
also strengthens the image of "Devil May Cry," the overall view of the
game is condensed. The lower sounds evoke fear, the chorus and pipe
organ a sense of history, and the drum evokes the feeling of the
Underworld. Originally I had planned to use this music for the castle in
the night stage, but it fit in perfectly with the music I wrote afterwards so
it was limited to just the world inside the mirror,. I think the reserved
mood perfectly fits the desolation of the Underworld. In the beginning a
lot more rooms were planned for the world inside the mirror, but in the
end there were only three.

Pg. 28:
[two-page spread, Frost on left, Nobody on right]

[upper right]
Track 011: Anarchy in the U.W.

Pg. 29:
I was getting tired of playing
your childish games.

(Japanese text)

[above middle, right]
(Japanese text)

It was a strange place.

Mundus' ominous mood enveloped the ill-omened sky.
Residents of the Underworld suddenly appeared and
began dancing crazily. It was a dance inviting death,
designed to suck away Dante's magical powers. The
monsters wore skull-like masks and all the muscles in
their bodies were made enormous. They skillfully
deflected the attacks unleashed by Dante and spewed
forth liquids with a choking stench from their mouths.
One false move and it would all be over because he
was on their ground now.

[bottom right]
(Japanese text)

I had the strange creatures of the Underworld, and especially Nobody, in mind when I composed this music. I thought it would go well with the lively, uplifting, folk-like music not associated with any particular country. When I especially remember is that the director, to my utter amazement and glee, unhesitatingly Ok-ed it! One of my favorite RPGs is a game called "Chrono Cross." It has very impressive folk-style music and this prompted me to write my own. What I came up with was this very evil-sounding melody.

Pg. 30:
[two-page spread, white gold background with Dante's back, wearing Alastor on the left and Trish on the right]

[upper right]
Track 012: The Theme of Eva

[middle right]
(Japanese text)

It was then that Dante first realized something.
Why did his father who was evil decide to protect
the world of man? Why did he decide to stand up
alone against all the dark forces? Seeing the form
of Trish who had protected him just as his mother
had and who had her same looks, Dante finally
understood. It was not just a fight for revenge.
He had lost someone he loved, and he fought so as to
make certain that such a tragedy would never happen
again. He had to protect and save her. This was the
true purpose of his battle.

Pg. 31:

Now get out of my sight.
The next time we meet,
it won't be like this.

(Japanese text)

[middle left]
(Japanese text)

Eva is the name of Dante's mother. This theme plays
during those important scenes when Trish, who looks
exactly like Eva, appears. I though I should begin with
the melody in order to make a strong impression. But,
because the director wanted "bright chords alternating
with dark chords," I had to work on both chords and
melody at the same time. There are several scenes in
which this theme is played, but I arranged it so that there
are subtle chord variations depending on the situation.

Pg. 32:
[two-page spread, Mundus on a black background on this page and a white on the other]

Track 013: Legendary Battle

Again, I must face a Sparda.

[2/3 down middle, cap of Mundus with three glowing eyes]

[bottom left]
(Japanese text)

[bottom middle]
The eveil king concealed n the pure
white for of a god looked down on
Dante with satisfaction. He would
go to his death at the side of that
woman. His body trembling in anger.
This man had the blood of Sparda,
who had threatened Mundus, in his
veins. By now the time had come for
that blood to die out. The king of the
Underworld let out a great cry of joy.

Pg. 33:
Strange fate. Isn't it?

(Japanese text)

[2/3 down right, cap of Mundus in the lava]

[bottom middle]
(Japanese text)

[bottom right]
The first time I saw Mundus, I was moved by
his divine appearance. It is not an exaggeration to
say that the chorus in the last half is a song of
praise to him. In order to give expression to this
fight, which was to become legendary, Sparda's
theme was essential. The director wanted it to
convey a sense of "a fighting man awash in
pathos," so I wrote this music in this way for
the first half. I dropped the tempo of the drums
down about half for the land fights, and pushed
the sense of heaviness all the way forward.

Pg. 34:
[two page spread. This page mostly red, with a yellow line down the middle, other page black, with Dante holing Ebony and Ivory]

[top left]
Track 014: Bloody Bladder

[1/3 down left]
(Japanese text)

[1/3 down right]
Evan though they had lost their lord, the monsters continued to pursue Dante. But he did not have time to deal with them. Now without the power of Mundus, the air that had pervaded the ancient castle was about to return to the real world. There was no way that the ancient castle, let anole the whole of Mallet Island, would be safe; very little time remained until the Underworld and the world fo man were completely separated. The monsters relied purely on their instinct to block Dante's moves heedless of the changes that were occurring around them. They looked like crying children frightened of being left behind. Though filled with pity, Dante kenw that the only thing they could understand were bullets.

It looks like we have a winner.

- Jackpot!

(Japanese text)

[2/3 down, left]
(Japanese text)

Because it had to be escape music like that in "Resident Evil"
(escape – explosion), I realized that a melody with a devilish feel
was needed here. Because it also comes after Trish's death, I made
it a little bit tragic at first. After the director OK-ed it, I was later
told that "it did not have to be tragic and the mood shouldn't
linger afterwards." I also thought that Dante was not that weak a
fellow so revised the music and this is how it turned out.

Pg. 35:
[nothing but continuation of spread]

Pg. 36:
[two-page spread of a blue sky with clouds]
[top middle]
Track 015: I'm Coming!

Track 016: Blue Orgasm

[middle left screenshot of vanishing Mundus]

[middle right screenshot of Dante holding Trish by the shoulders]

[bottom left]
(Japanese text)

(Japanese text)

[bottom right]
A single biplane danced into the great sky above
Mallet Island now shrouded in thick smoke.
Dante had been prepared to die fighting the Evil
Emperor. Narrowly escaping death he had been saved
by the woman who had protected him and whom he
thought had fallen. With her help, he was able to bury
Mundus in the dark.

Trish cried tears like a human. Some might call it a
miracle, but few would have believed a miracle was
possible against the evil. Now, though, Dante had
everything. She had given him back the most important
thing: the joy of living that he had long forgotten.
The blues sky opening up broadly before him shone
brightly with the light of hope.

Pg. 37:
[top middle]
The sky is fair.
It'll always be above
everyone's head no different.

(Japanese text)

[middle left screenshot of Dante and Trish shooting in biplane]

[middle right screenshot of the biplane flying with the explosion behind it]

[bottom left]
Track 015: (Japanese text)
Track 016: (Japanese text)

[bottom right]
Track 015: The end is near, so you feel that if you can clear this area, it's all over! When composing this music I kept in mind the image of cautiously going forward yet at the same time maintaining a sense of anticipation. I wanted to convey the invigoration thrill of flying in a biplane through a scattering of the higher tones of the synthesizer. The director gave me the sound track of "A-JAX" which I used for reference, but even so, the phrasing in the middle part was the hardest to get right and I had to keep redoing it.

Track 016: This is composed of three sections: "Congratulations!" "Exhilaration after the Battle," and "Hope for the Future." I think the blue sky, which has not been seen elsewhere in the game, symbolizes a sense of achievement and relief. First I used trumpets and horns for the duet of horns in "Hope for the Future" at he end, but I changed it to as it is now at the suggestion of the director. The fanfare-like phrase imparts the feeling of, "this is all that is left!"

Pg. 38:
[plain black background]

[top middle]
Track 017:
Dante & Trish ~ Seeds of Love

Track 018: Pillow Talk

[1/3 down, middle, a yellowish full moon]

Okay, let's get it over with in 10 minutes.
– 5 minutes!
More than enough!

(Japanese text)

[bottom left]
(Japanese text)

Track 017: (Japanese text)
Track 018: (Japanese text)

[bottom right]
Perhaps she would share the same fate as his mother.
Gazing at her profile Dante felt a vague uneasiness.
Mundus' last words were that he would one day return
without fail and there was no doubt that he would do
this. For the moment he was only sunk in the depths of
darkness. When, he was not certain, but there would
come a day in the future when a new fight would
probably begin.

But no one could say what lied ahead. With Trish at
his side, Dante was certain that he could defeat any
opponent with ease.

Track 017: Every time I hear this song I am reminded of "Leon's
Secret Ending of Resident Evil 2." I had already decided on having the
music suddenly stop at the moment of Dante's classic lines just before the
credits roll even before the director suggested it. From the outset I really
wanted to have it comprised of two parts, a first and last half. An
arrangement of Dante's theme plays during the last part of the first half
and the second half is Eva's theme done in the style of Enya. The
translator and director worked together on putting together the gently
powerful lyrics.

Track 018: Eva's theme appears here, too. At first I set Eva's themed as
a lullaby. I brought a windup music box, recorded its music, and then got
the synthesizer to cry. But it was a meaningless effort because the scene
in which it was used was cut. By the way, it got put back in at the
suggestion of the director as the music used for the ranking. For modes
above Hard, I changed it into a big machine-made music box sound with
a few changes to the arrangement.

Pg. 39:
[Impressionistic picture of Trish leaning against Dante and kissing his cheek]

Pg. 40:
[red-gold tinted cathedral upper reaches]

[Force Edge vertical in the middle]

Track 018: Super Pubic Enemy

Track 020: S

(Japanese text)

The man surrounded by monsters was a
gentleman with silver hair brushed
straight back and clad in an old-style
long coat. Without changing his
expression in the atmosphere charged with
violence, he drew the great sword from
his back in a flash. So silent were his
movements it made one wonder whether
the monsters were aware of his slashing
blade. The final thing they heard was a
volley of bullets sprayed from the two
guns in the man's hands. If they knew who
this man was, they would quake in terror.
He is the legendary Dark Knight who
alone stood up against the Underworld.
He indeed was Sparda.
Track 019: (Japanese text)

Track 020: (Japanese text)

Track 019: This composition is more
flamboyant than "Pubic [sic] Enemy." Because it is
the fighting music in the early stages of the
Sparda mode, it has to be different than for
Dante. The strength and ease of Sparda is fully
brought out and the mood is easy to get into. I
think having the same melody for fighting
music for father and son gives a pretty good

Track 020: This song is also included in the
"Dante's Selection" CD. There probably are a
lot of tunes that you can't hear when playing
the game. Because Sparda was the legendary
Dark Night [sic] of old, I used percussion and bells
to provide that sort of atmosphere. And the
music ends with – Sparda's theme! During the
game, Sparda's theme is played in those parts
only for Sparda. I don't want anyone to think
that Dante was just pretending to be tough, so I
hope that people can really get into the monster
exterminating mood of the music.
[bottom middle] He became a legend.
The legendary dark knight,

(Japanese text)

Pg. 41:
[black background]

[top half, centered, red]
Seeds of Love

[continuing on, beneath it with occasional red letters]
– The Theme of Eva –

In the field so green and so free
seeds gaze up The clouds keeps [sic] them from the light
and the sky cries white tears of snow
But still the fragile seeds wait long for
the sun to shine
Dark winter away, come spring
My young seeds once again will look up to the sky
and I know they will grow strong

[middle, red-glowing picture of the amulet]

[bottom, middle, also with occasional red letters]
(Japanese text)

Pg. 42:
[two-page spread of Dante sitting and leaning on the Alastor with the shotgun, red magical circle in background]

(Japanese text)

(Japanese text)

Pg. 43:
Devil May Cry Sound Review
written by Yoshitake Maeda

To assume that theme songs from movies are always hits on the charts is a bit misleading, for movie theme songs are not purely for listening pleasure but designed to effectively enhance the story of the movie, and as such, it is music designed to play a supporting role. This kind of music is technically referred to as accompaniment music.
Accordingly, one is left with the feeling that something is missing when movie music is listened to without any background knowledge of it. However, I think there are quite a few people who vividly recall scenes from the movie the moment they hear its music. Music that is perfectly matched to a movie has a timeless appeal for people who have seen the movie.

Music for games closely resembles music for movies. It draws the player into the world of the game, just as in movies, and heightens the feeling of being a part of that world as the story steadily unfolds. For a game that is particularly absorbing, the thrill of the game springs to mind just by hearing its music.

But there is one major difference between the music of movies and the music of games. In the case of movies, once the movie begins, the story follows a straight line up to the end, so all the music need do is effectively follow the story. In the case of games, however, that's not possible. How the game progresses depends on the ability of the player. Repeating a particular stage several times until it is cleared is not unusual. It is thus important that the music not get in the way of the game nor be such that the player easily tires of it. If the music is overly stressed, it often results in the player losing interest in the game. Yet, if the music is colorless and transparent, it will fail to convey the unique qualities of the game.

The music must be impressive and not lose its appeal. This is no small feat.
"Devil May Cry" is a work that brilliantly achieves this. The story that unfolds transcends time and space transporting the player for the present world to an enchanted world making this game distinctly different from others thus far. A classical medieval Western world and steam punk science fiction world are aesthetically integrated into a single world with exceedingly modern sensitivity.

This game expresses a stylish world beset by anarchy through a collaboration of rock, techno, and baroque music. The selection of rock to express the powerful existence of the protagonist Dante, heavy baroque music to express the great cathedral leading to the enchanted world of Mallet Island, which is the scene for the first half of the game, and techno for the repetitive battle scenes was a wise one. Techno, which is the life force of groove, is unique in that it brilliantly conveys a sense of reality during play without at the same time becoming tedious. Moreover, the tempo of the digital beat is subtly adjusted accorded [sic] to the degree of difficulty of the battles. For that reason, the player naturally absorbs these different types of music while concentrating on the battle scenes.

As the story unfolds and the player is taken into an enchanted world, the music itself becomes skillfully mixed and transformed into what can generically be called progressive techno which leads to the build up of a magnificent story.

The music is not just a theme song or catchy image song, but expresses the very concept of the game. This is what makes the music of "Devil May Cry" superior. It is, more than anything else, something that those playing the game will well understand.

[a red line is here]

Yoshitake Maeda profile:
Youshitake Maeda is a native of Iwate Prefecture. He is a music critic as well as CEO of Encyclomedia Corp. He has successively held various posts such as judge for record awards and as editor in chief of "Ongaku Club."

His major publications (including those written in collaboration with others) include "The Music King – The Haroumi Hosono Story", "The 1960s – The Age of Folk", "The Complete Who's Who of Rock", and "An Encyclopedia of Asian Pops". [sic]

Pg. 44:
[two-page spread of illuminated manuscript-style illustrations and text]

[middle left]
(Japanese text)

[bottom left]
"Devil" has been with us for about a year now. Right up until now a lot of people on the Net have asked when is the soundtrack coming out. That is very gratifying and has made me very glad that I did this job. We put a lot of energy into this work and can truly say that we have no regrets. Playing the game quickly you may not get much impression of the music being played, but in fact there are more than 70 compositions in the game. We tried to make them all blend in seamlessly with every visual scene. WE used the same techniques that are used in the making of movies. I'm sure that quite a few people have played the game several times, but I think that if they played it once more paying attention to the music, they would be very impressed by it. I would like to end by sincerely thanking all the staff and all those who have played "Devil".

"Devil May Cry" Chief Composer
Masami Ueda

Pg. 45:
[middle left]
(Japanese text)

[bottom left]
The characters talk, perform, and weave a complicated drama That is the predominant style used in the scenario of games. And it's true for "Devil," too. But this is not the drama of a puppet show. Gripping the controller, you are transported through a variety of stages, where you ability to advance depends on whether you are victorious or defeated which in turn depends on your tactical skills All those experiences produce a sense of elation as well as a drama that truly moves the heart. The stages, enemies and the music found in "Devil" are not just meaningless "data." This is a drama in which the main "components" have been carefully calculated and placed so as to draw the player into a truly memorable adventure. If "Devil" got your adrenaline pumping while you were playing it, it was because of the components which sparkle like jewels in a treasure chest, each one rich and priceless. These enable you the player to create your own scenarios in a myriad of ways. A staff of more than 40 was involved in the production of "Devil." The brilliant components they produced resulted in a living classic that far exceeded even my own expectations. The musical compositions of the very talented sound staff played a major role in this and these will undoubtedly play a brilliant and colorful role in the creation of your own dramas. I have nothing but the highest of praise for these truly remarkable craftsmen.

"Devil May Cry" Director
Hideki Kamiya

Pg. 46:
[top left]
DVD Summary

DVD: The Sacred Heart
(Japanese text)

Structure and content of the DVD "The Sacred Heart"

[top half]
Main Menu

[picture of main Menus screen: DMC logo in white, Amulet, Trish, Dante on left]

[on right]
(Japanese text)

There are three types of content that can be selected from this menu: PLAY, TRACKS, and TRAILER. Selecting one of those plays the contents of the one that was selected.

[bottom half]

[a selection of screenshots from the DVD: Nero Angelo split screen, Frost with strategy guide text, Mundus battle with script, Dante & Trish via projector, biplane flying super-imposed on Dante black-and-white image]

[bottom left]

(Japanese text)

[bottom right]
All 21 songs (including the bonus track) on this DVD are played continuously in succession.

Pushing the MENU button while a song is in play takes you back to the MAIN MENU

Pg. 47:
[top half]

[left a screenshot of the tracks selection screen: the entrance hall of Mallet Island]

(Japanese text)

All 21 song, including the bonus track, can be individually selected and played. At first, the MENU screen appears showing TRACK 001 to TRACK 010. To select Track 011 and above, select NEXT in the lower right hand corner of the screen. This brings up the menu for TRACK 011 and above. To return, select BACK in the lower left hand corner of the screen. Pushing the MENU button while a song is playing returns you to the menu screen for TRACKS.

[bottom half]

[left the trailer screenshot: the Alastor DT hovering over dark green waves]

(Japanese text)

It is possible to select two kinds of special videos. Pushing the MENU button while playing any of these returns you to the menu screen for TRAILER. To select "Devil May Cry 2", select NEXT in the lower left hand of the screen.

Devil May Cry

(Japanese text)

Devil May Cry
Allows you to see the video of the production release in Japan.

Devil May Cry 2

(Japanese text)

Devil May Cry 2
Shows the trailer of "Devil May Cry 2" that was shown overseas.

(Japanese text)

Pg. 48:
[black background]

[upper right: Ebony and Ivory picture]

[left. Note: note: the name in Japanese occurs between the position and the name in English]

Devil May Cry Sound DVD Book
The Sacred Heart
Editor & Publisher
Editor: Haruo Satoh
Product manager: Hirofumi Nakamura
Planning & Productions
Karitajian Inc.
Art Direction & Design
Minoru Arakawa (Atelier Ampersand)
Writing: Yoshitake Maeda
Toshiro Yoshida
Editor: Keiji Ishimaru (Karitajian)
Reiko Hirano (Karitajian)
Translating: Richard Moe

Director: Shuhei Yasumura (Karitajian)
Pictures: Shuhei Yasumura (Karitajian)
Eishiro Yamamoto
Noriko Ohtsuka
Editorial Supervision & Co-operation
Hiroyuki Kobayashi
Hideki Kamiya
Masami Ueda
Takashi Kitahara
Tetsuya Ohno

(Japanese text)

(Japanese text)

[lower right]
Photographer Ichiro Ono

(Japanese text)
DIVINE EXCESS: Mexican Ultra Baroque (Chronicle Books)
(Japanese text)

(Japanese text)

Ichiro Ono is a native of Kyoto Prefecture.
He is an architect as well as a photographer.

His main works:
DIVINE EXCESS: Mexican Ultra Baroque (Chronicle Books)

(Japanese text)

P.01, P.06 (Japanese text) CAPILLO DE SANTO CRISTO
P.02 (Japanese text) MINA DE VALENCIANA
P.18 (Japanese text) CONVENTO DE LA MERCED
P.44 (Japanese text) SANCTUARIO DE LA PATRIA

Inside back cover:
[black with a mystic symbol in white]

Back cover:
[white with DMC logo in red and a bar code]
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Oldschool DMC fan
Neat. I love the soundtrack of 1 (also loved the RE2 soundtrack, and you can hear the similarities in some of it, such as the underground sewer level, that could easily be a track from RE2); nice to see where inspiration/requirement met in the composers' minds and what they were utilizing the various sounds/'instruments' deliberately to convey the feeling or suggestion of. Quite informative. Thanks for posting it


I Saw the Devil


Well-known Member
I've had the Sacred Heart for years!! I'm so excited I can finally read it now. Wow. Thanks so much for posting!


DMC1 Dante>>>>>>2-4
Pg. 15:​
[top half Dante & Nero purple tinted]

[bottom half silhouettes of the boys with wooden swords]

[upper left]
(Japanese text)

For some reason Dante did not feel animosity towards the man wielding the large sword standing before him. He was swept up in feelings he could not understand.

Narrowly parrying each lunging attack, doubts turn to conviction. The amulet that was a keepsake of his mother springs to mind. Carved on it together with his own name is that of another – Vergil.

[middle: a screenshot of Nero Angelo from the back]
Vergil, Dante, Happy Birthday.

(Japanese text)

[bottom left]
(Japanese text)

[bottom right]
Fragments of Sparda's theme are concealed in the intro. Vergil also has
the blood of Sparda in him and I wanted to convey that image in this
composition. The guitar brings out the sense of fighting, and I had
decided to sue a pipe organ for the melody from the start. I thought
about using something like metal or Yngwie [sic], but because I wanted to use
melody not normally heard, I wove in a synthesizers [sic] and breakbeats to
produce a new mood. Actually, the fast melody of the pipe organ in the
first half is Vergil's theme. You can also hear this theme in the intro part
of the last fight when he appears the second time.

Can you post a snapshot of the bolded?


I Saw the Devil
The camera on my phone's dead so give me a few to find another. I'll try to get it to you tomorrow.

Can you post a snapshot of the bolded?



Came out kinda ugly. Used my Vita but it's not the best camera.
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