Strictly speaking, I don't think this is etymology, but whatever

...why is number four in [Japan]......why is it bad luck? I mean, if it's bad luck, why don't they just change the name of it? As I understand it, they do the thing that the Western lands sometimes do with the thirteenth floor of a building, where they don't name it "thirteen" because it's unlucky. But four is a low number, so you'd have to do that with a lot of buildings, wouldn't you. So why don't you just change the name of it?

I mean, just because, you know, a long time ago, when someone was handing out number names, they figured it would be cool if number four sounded like "death," it doesn't mean they have to keep it that way. They could--they can just change it, if they don't like it.

And if they don't have a problem with that, I would ask - why don't they have a problem with it? I mean, when I was back in nursery school learning my numbers, if I had found out that the progression of numbers went "one, two, three, murder, five, six, seven," I would have a problem with that. I would question that. I would wonder why the murdereth number was called that.

Oh, by the way, here's Jorg.
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31 Days of Game Music: Castlevania: Symphony of the Night

I didn't really appreciate Symphony of the Night's music when I was first playing. I think this might have a good deal to do with the PSP's speakers - there're a lot of little details, a lavishness, I'm noticing on my YouTube listens on which I didn't pick up during play.

The music in traditional, stage-based Castlevania games is noted for being heavily melody-based. "Bloody Tears," "Iron Blue Intention," "Vampire Killer" - they're all catchy and to a degree repetitive, staying within a relatively tight, narrow musical window and returning to their origin relatively quickly.

"Dracula's Castle" never lets you settle into a groove. Its opening is almost more ambient than orchestral; the larger composition takes you through several different melodies, motifs, and tempos, becoming ever more grand and expansive. It's the first piece you'll hear upon being let loose in the game, and it immediately establishes: this is a wider game, a more ambitious game, than your previous Castlevanias. You're not going to, as they say, walk to the right until Dracula is dead; this game isn't going to lead you by the hand. This track is built for wandering.

I'm sounding a bit dismissive here of the earlier Castlevanias of which I grew up, and the "Dracula's Castle" itself doesn't quite cut that way; the baseline of the primary section of the track (starting at :22) is the series's trademark metal synth sound. It's quieter, though, and less directly driven, and lets other elements take the fore in certain sections - the drums, a harder guitar line, that "moonlit night" ambient sound. It's an excellent anthem for a game that pays respect to its predecessors and yet isn't quick to settle - but instead just builds and builds.
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