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Just some Artwork done for some animation and pixel art I did for fun. -W-

10: K2 SOUNDS - Rest in Dark Night Unexpected Marisa rave! Oriental Dark Flight is that one theme of Marisa that I always forget about; it's stunted progression structure gives it a darker tone, but makes its melody less memorable. As if in mockery of this perception of mine, this arrangement holds to the general idea of that progression structure and adjusts it slightly to achieve a much more impactful result. I'm hard pressed to settle on the specific strategies in use, beyond its creative instrumentation and transitions. Regardless, the result is a quite enjoyable piece with surprisingly balanced energy, considering its medium tempo. I found this piece "fun;" it neither invokes strong reaction nor fails to hold attention. I might wish it was slightly longer, but I can't reasonably tell where it would go from here (interlude, but no climax), so it's probably best as is. I feel like I should have more to say . . . Doesn't build too much, but should stick with me nonetheless. 8/10 11: Virus Key - Dance of the Ice Spirits Old orchestra in the distance. To address the elephant in the room: This arrangement is really quiet! It's sufficiently balanced to avoid being annoying, but it's still a bit distracting. There was a remaster done in 2019 that's a bit better, but I'm unsure of what other changes might be present, so I'll stick to the original for now. Many waltz remixes transpose the melody to 3/4 time, apply the standard accompaniment, and adjust as needed. This process is perfectly serviceable, but this arrangement goes a step further by committing itself to the classical style, and even including elements of baroque in the third quarter. The original motif is presented as a foundation upon which the piece proceeds to build, crafting new variations as it meanders pleasantly along. Eventually the variations travel so far as to almost sound like their own motifs, at which point the piece switches to the source's second motif, adjusted to be almost unrecognizable, and repeats the process. The return to the first motif is in the baroque style of flowing contrast in improv, creating an interlude for the final buildup of variations into the piece's climax. This arrangement lacks progression in the modern sense, in that it does not continuously lead from its beginning to its end with an emotional idea. Instead, its progression is purely in musical exploration; each new direction is a consequent of the preceding parts, and it continues traveling until there's nowhere else worth going. For better or worst, this style of music is exceedingly rare today (or at least I don't encounter it). An almost forgotten musical style in exemplary form; I only wish the volume was more reasonable. 10/10 12: O-Life Japan - Dawn Sky of the Myouren Temple Cinematic proper. Given the free way in which this arrangement utilizes its motifs, one might assume a similar style to the previous entry. However, where the classical waltz was built on its motifs, this piece develops its emotion with its motifs. Note how long it takes for the recognizable melody to be introduced, and consider the intention behind the arrangement's progression. The introduction is a slow, quiet buildup without a definite direction to go in, adding to itself without becoming anything specific; this is the rising dawn, before anyone is up or doing anything. Then everything cuts, and the main motif is introduced; now there is direction, and the buildup begins anew. The piece becomes more active without becoming energetic; this is the early morning, as people prepare for the days goals. The term of "cinematic orchestra" is used most often nowadays to denote intensively climactic music (a readily available example would be CarrotWine's work), but this is only one application of the concept. Technically, film composing is an art of crafting musical scores in cohesion with accompanying visuals and the emotions that the film makers desire to invoke by them. In arrangements like this one, we get to see this art applied in a more free-form context. A refreshing study and a beautiful journey in music. 9/10