For this week, I decided to try comprehending the soundtrack of Kid Icarus Uprising . . . again. I tried to get familiar with it a couple years back, but despite generally liking the music I couldn't quite figure out the unifying theme to the full compilation. I still can't figure it out; it goes from orchestral rock to smooth jazz and over to Latin folk, and I figure it's probably one of those games that you have to play/experience to truly understand the music's intentions. However, that doesn't necessarily mean I can't feature it anyway!
EDIT: This was a feature with an expansion by another user since lost. If I may take the opportunity to say so, this soundtrack certainly deserved it; I might consider this one a "hidden gem," considering I don't hear it referenced very often.
I found a really good game called Manifold Garden and it has one of the most calming and emotional soundtracks i have heard, it is puzzle exploration so if anyone is interested its on steam, i think
By now, I figure my stronger preferences in music are detectable. If not, then I'm succeeding in my goal of variety. Either way and to that end, this week should be a bit more unusual: Guilty Gear XX
Without question, this is a hard metal soundtrack. Each theme uses a gimmick to make it stand out from the others, usually a contrasting instrument or style. Holy Orders employs a harpsichord, Babel Nose features some oriental influences, and The Original has interludes that almost sound like they came from a different game, but the electric guitar is always present in one way or another.
Despite this not being my usual cup of tea, the track Blue Water Blue Skies caught my interest, and eventually led me to investigate the full OST. That's why it's GGX2 specifically; the piece I came across was from that game, and I've not been motivated to search beyond it.
Anyway, it's really late, so Imma come back to the tournament tomorrow. G'night!
Bonus post, because this technically counts as "game music," but also wouldn't work for a weekly feature.
Friday Night Funkin' mod for an Undertale AU that I know absolutely nothing about. This is the kind of application of the FNF style that I had hoped for when I first came across the game.
It turns out I haven't featured FEZ yet, so about time I rectified that.
Disasterpiece is my go-to example of modernistic VGM. While retaining the form and structure necessary to be considered "music," his compositions tend to be more experimental in nature, with less emphasis on melody and more emphasis on background patterns. Normally this isn't a style I enjoy (still trying to figure out Hyper Light Drifter), but it was uniquely suited to the perspective-based puzzle game of FEZ.
Subnautica: Below Zero is getting its full release next month, and I'm very much looking forward to it. I have plans for next month's posts, so I figure I should cover the original Subnautica now.
The game is known for many things, but I consider the sound design to be its greatest accomplishment. As expected of a survival game set in a uniquely styled ocean world, the music is primarily ambient in nature, so as best to reinforce the experience. The two most common moods invoked are wonder, for exploration and the world at large, and fear, for the dangers encountered along the way. I can't say how well these emotions are communicated to those who haven't experienced the game, but I'd like to think it was captured quite well.
Although rarely heard in-game, the soundtrack also features a number of "dance" tracks. These are often very beat heavy, and somewhat more focused on melody. All songs in the soundtrack, regardless of style or usage, are relatively short.
On the heels of the extended Len'en feature, I am initiating the second themed month for Other Game Music: Mario May! Over the next several weeks, I'll be featuring four different Mario soundtracks in an attempt to represent the music of the series. Every new entry goes out of its way to be unique from the last while still maintaining its essential aspects; this is part of why Mario has endured so well. Consequently, nearly every game has a somewhat unique musical identity, making a true summation of its music technically impossible. Nevertheless, I believe there are specific examples that stand out from the rest, and will serve to give a fair impression to anyone who is (somehow) unfamiliar with it.
First up is, predictably, the original Super Mario Bros.! The music from this game is arguably the most iconic VGM of all time, to the point that even people who don't play games at all are usually familiar with it. While relatively simplistic in composition due to the limitations of technology, some of the motifs are surprisingly detailed.
Limiting this to three tracks since the full soundtrack is so short.
While not as well known outside of the video game community, the music of Super Mario 64 is almost as iconic as that of the first game among fans of VGM. In many ways, this soundtrack served as the fulfillment of its foundation, incorporating and expanding upon many of the classic themes. A part of me would like to show examples of this like Cave Dungeon and the Title Theme (literally called that in the OST). However, the soundtrack is just small enough that I want to limit the feature to four themes, and three of those have basically been chosen for me.
Side Note: I can't remember another soundtrack with both a "title theme" and "main theme." Normally I'd substitute the game's title for these naming schemes, but the situation becomes more complicated when they coexist.
Aside from being the most highly regarded themes from this soundtrack, they also do a great job showcasing the range of music present. Main Theme (better known as "Bob-omb Battlefield") captures the fun, zany spirit of the game, which is reinforced by the infamously memed Slider, but contrasted by the soft ambience of Dire, Dire Docks.
To cap off the feature, I'll use one of my personal favorites: Koopa's Road.
The defining characteristic of this song is the chord progression; while very by-the-books, the very reason for the standard is its effectiveness in creating an ominous but resolute atmosphere (*cough*purefuries*cough*). This is yet another side of the soundtrack from the other themes.
Moving from the classic era to the modern era, I'd argue the standard set for all 3D Mario games thereafter was the soundtrack to Super Mario Galaxy. This is possibly the most iconic soundtrack from more recent Mario games at this time, and if not, then certainly the most revered. Instead of the quirky music that Mario was otherwise known for, this game featured high production value orchestral scores, presenting themes in epic fullness. In time, I suspect this will be looked back upon as a turning point in Mario music (if it isn't already).
The past three weeks have represented what I personally believe to be the three most important soundtracks in the Super Mario franchise. Initially, I planned to feature Super Mario Maker this week. As I said before, the diversity in Mario's music across the series makes it impossible to narrow down to a few examples, because no two are quite alike. I figured SMM would be a good way to illustrate this. However, I felt increasingly obligated through the month to somehow fit Super Mario World in somewhere, as it's at least as iconic as SMB1 and 64, both as a game and for its music.
An important aspect of SMW's soundtrack is the usage of the Overworld Theme's motif as a leitmotif throughout the rest of the soundtrack. Nearly every area theme is built around this leitmotif, adapting it to whatever mood is being represented. This fact makes the soundtrack an interesting study of motif adaptation, for those who might be interested.
Rather than give up on the example of the series' complex range, I realized I could illustrate the same point (arguably better) with SMW's slightly less well-known but still fondly remembered sequel, Yoshi's Island. Ostensibly a continuation of the World subseries, SMW2 was practically incomparable to its predecessor, creating a completely different mechanic to build the game around (as is common for the overall series). This is as true for the music as the rest of the game; the leitmotif gimmick was abandoned for a more imaginative soundtrack which experimented more with the sound production capabilities of the console. Most people have heard the Athletic Theme and Flower Garden, and the former at least has already been posted to this thread (and possibly both). However, these are by no means the full extent of the game's music.
While these two soundtracks are certainly somewhat alike (and far more alike then the spaced-out examples from earlier in the month), there is still a distinct stylistic difference between them, which is characteristic of the series as a whole. I presume that Koji Kondo is the kind of man who likes to experiment with his music, to try and find new ways of accomplishing his goal each time he is set to the task. Granted that this is less relevant for more recent Mario games that he had less a hand in, but as he was directly responsible for four of these examples and directly associated with the remaining fifth, it should be safe to say he was responsible for the diverse musical legacy of the Super Mario series.
In parallel to the motif-themed feature on Share Music You Like, I figured now would be a good time to feature the Angry Birds theme.
True loop, unfortunately. I could probably find a video with a proper fade out, but it's easier to use the source.
Since its debut, the theme has been remixed numerous times across the series, especially for the spin-off game Seasons. While initially overseen by the composer, Ari Pulkkinen, music production would later be primarily handled by Salla Hakkola and Ilmari Hakkola (I can't find any confirmation over whether or not the two are related).
By far my favorite version of the theme is from the licensed spin-off Angry Birds Rio. I can't find any conclusive information as to who handled the arrangement, and it is not available through any official sources (for obvious reasons).
Finally, I don't foresee myself doing a unique feature for Bad Piggies, which has far less music available. The main theme of that game is worth noting, however, so I'll take the opportunity to include it.
Despite myself, I've been enjoying the music of Everhood lately. The head composer leans toward a post-modern style, often sacrificing structure for experience. Normally I'm against this style for lacking any sense of order, but in this case the game provides the context for the music, thereby returning some meaning to its construction. Additionally, other composers involved in the project favored more conventional composition styles, allowing the soundtrack to be a varied mixing of musical presentations.
Consider these last two songs as a single presentation.
Last year I made a passing reference to Bloodstained: Ritual of the Night as the spiritual (or even practical) successor to the Castlevania series. The game was headed by Symphony of the Night creator Koji Igarashi, but I was more interested with Michiru Yamane of Bloodlines leading the soundtrack team. The music retains elements of gothic rock, but for the most part focuses on orchestral and symphonic styles. I already posted my favorite track in the previous post, but the soundtrack is deserving of a more proper feature.
A larger soundtrack may not require more tracks to properly represent depending on the variety of styles it consists of; a game relatively consistent in its music can be featured with just a few select examples. A shorter game with extremely varied style is equally simple, since its diversity can be easily expressed with limited illustration. But when a large game features multiple styles, or when featured styles are equally represented throughout the soundtrack, then it becomes more difficult to concisely feature the soundtrack. I say this because this week's feature is of a very large soundtrack which incorporates and balances at least three distinct styles with minimal blending between them--The Legend of Zelda: Breath of the Wild.
First is a cutscene track from early on in the game. I picked it because I wanted to start with a cutscene track, and this particular one contained a familiar leitmotif of the series while also expanding upon an earlier melody that players would be fairly familiar with by this point, specifically the "Sheika motif." That it is technically three different tracks stuck together is a little annoying, but it also allows for the showcasing of those distinct styles mentioned earlier.
Next I want to get directly into some of the battle music. This piece is for a specific class of enemy, mechanical in nature. The instrumentation for these class of enemies is very distinct from the rest of the game, and was clearly selected to correlate with their aesthetic.
To immediately contrast that piece, this is another battle theme, but used for a very different sort of enemy. The instrumentation here is completely different from the previous piece, emulating an almost tribal folk style blended with (of all things) elements of big band. The game wants you to take this battle seriously, but also has to acknowledge the slightly comical edge to the grotesque caricature of the enemy's design. The result is unique in its own right, but especially so when compared to the previous piece.
Moving on from special event themes, I'm overdue to present an area theme. The primary "roaming" themes are intentionally minimalist to compliment and be complimented by the ambient sounds of your surroundings. However, the populated hubs of the world feature fully structured pieces reminiscent of the cultures they accompany, both in their composition and instrumentation. While this is likely most evident in the Goron City theme, I believe Zora's Domain will better represent the idea.
The next two tracks are a continuation of this principle, showcasing the different moods the soundtrack encompasses while also more fully showcasing the quality of composition present. This one is closely related to the goofy tone of the aforementioned Goron City, but is slightly more sinister then the hub area themes tend to be. It is also a good middle ground between those complex compositions and the more general and simplistic area themes.
I could not claim to have properly represented this soundtrack without including one of the major dungeon themes, though to discuss any of them too in depth would certainly veer into major spoiler territory. Suffice to point out the three parts of this theme, each successively building on each other, with numerous minute details that add a wonderful depth to the piece. If one does not fear spoilers, you may glance into the comment section to find sufficient briefing on some of those details. (EDIT: This is no longer true, due to original videos being deleted).
Finally, I've come to the end of spoiler-free examples. There are still two tracks I want to include, but they are irrevocably tied to spoilers, so I will put them into their own spoiler box.
Tarrey Town is a beautiful blending of several styles relevant to the game's hub areas, and as such a very fitting representation of what the soundtrack has to offer.
In conclusion, I wanted to end with a more upbeat track, and have thus included my personal favorite theme in the soundtrack. It actually blends elements found in the earlier featured battle themes, and manages to fit the nature of the confrontation by being noticeably less sinister while still being serious.
And that does it! By far the largest feature I've done so far, but for a well deserving soundtrack.
In terms of music, I did find a game on Steam called Streets of Rogue whose soundtrack I really enjoyed. It fits the theme of the game and allows for a relaxing playthrough.
The link below is one of my favorite tracks from the ost.
Last week was the 30th anniversary of the original Sonic the Hedgehog. Part of me wishes someone else had covered it here, because despite my great appreciation for the Mania, CD, and selections of other soundtracks across the series, I don't consider myself to be well informed on the majority of the franchise. This primarily stems from my aversion to philosophically flippant lyrics in English vocal songs, which comprise a major part of the franchise's music. Sonic Adventure 2, specifically, is often recommended to me as being among the best of the series, and I have never been able to get through the first track (excepting Escape from the City).
That being said, I was determined that the occasion should be noted in some capacity or other on this thread, and so determined to listen through the Sonic Colors soundtrack. I've heard this is on of the better games of recent times (recent being a relative term), and it is thankfully comprised of mostly instrumental tracks. I found it to be a very good soundtrack, and found it somewhat difficult to choose which tracks to feature. Every stage theme is remixed to three act variations with the same motif and basic structure (not counting the final level), which are usually of equal quality to each other. However, I believe my selection is an adequate representation of what the full soundtrack has to offer.
This is the first stage theme, acting as an introduction to the style of music to be expected. I detect a surf rock influence at the beginning which does not persist through the entire piece.
Next, a boss theme example. The boss battle and cutscene tracks didn't impress me as much, but that isn't to say they were disappointing.
I'm including this track more as a contrasting comparison. It communicates a serene tone without actually adopting that style. It might seem odd to make a Deemo comparison given the obvious counterpoints, but hopefully that communicates my perceptions here.
By far my best discovery from this excursion was the three act theme of Aquarium Park, or perhaps more accurately the motifs they're built around. Choosing between Act 1 and Act 3 was rather difficult, but ultimately I think Act 3 is more musically dynamic version.
I'll finish off with the act three variant of Asteroid Coaster. Lots of comments noted the stylistic similarities between these themes and those of the Adventure titles, and as such the first two acts are likely better for comparison. Act 3, however, has a climactic style that is ideal for rounding up this feature.
I still intend to return to Sonic Mania in the future, and I also want to cover the double soundtrack of CD eventually. For now, though, this should serve as a introduction to what the 3D Sonic games have to offer musically.
Addendum: While I'm not about to go through the entire Sonic Colors: Ultimate soundtrack for comparison, I did happen to get the new Aquarium Park Act 1 remix in my recommended. So I suppose I'll add that too (because Aquarium Park is my favorite theme of the soundtrack).
I couldn't decide on a feature this week, so I decided to go with something different. There is surprisingly little opportunity on this thread to reference the community surrounding VGM and the casually elaborate appreciation that characterizes it. This remix project of the Mii Channel theme provides an opportunity to glance into that world, if only skimming the tip of the iceberg.
I'm back from my hiatus! Time for something that is long overdue. Yup, It's time for that Monster Hunter Rise OST showcase. I'm going to be going over this in a few different parts highlighting some of the different kinds of tracks used in the game, but to start with I'm going back to my first experience of the game with the demo, using some of the songs that were in it to give a taste of the soundtrack as a whole.
Part 1/4: Introduction
Spoiler
And where better to start than with this game's rendition of Proof of a Hero?
I've got the thread record updated, but I have not been able to locate the original version of the "Arena Theme" from Monster Hunter Generations (Ultimate?). For the sake of others in my position of not being familiar with the music theme process of this series, I'd like to clarify that themes carry over from game to game, and may be posted to Youtube under entries in which they appeared but were not featured in the official soundtrack thereof. Case in point, the White Fatalis theme (Ancestral Dragon) from Monster Hunter Freedom is actually from Monster Hunter 2.
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