Ken Hisuag

I don't quite remember when I first heard Tim Hawkins's parody songs, but they've been a source of entertainment for me for many years. I recently came across them again, so I'll share some of my favorites.

At the beginning of this year, there was one and only one game I was anticipating the release of for its music. That game was Cyber Shadow. I had been anticipating it since before it was delayed from its initial late-2020 release into early-2021, ever since seeing its trailer. It seemed to be similar in style to The Messenger, one of my favorite soundtracks, with the promise of Jake Kaufman's assistance in production. The game came out. The soundtrack didn't. At this point, I don't think it ever will. I am committed to featuring this soundtrack before the year is over. However, the circumstances surrounding its availability combined with my lack of interest for the game itself makes it difficult to do it the justice it probably deserves. I've been hoping something would change, but I don't want to put this off any longer. I could make a lot of comparisons from this soundtrack; the names Uematsu, Nishiki and even Shimomura occurred to me quite often, though never as particularly strong similarities. There's something very "classical VGM" about it, but in the sense of having been slightly modernized. Altogether, it's a good soundtrack, and I only wish it was more readily available.

So, as a possible artistic interpretation, "Flowery Words of the Worst Bad Luck Duo"?

Believe me, I was well aware of the short comings of this translation. As I do not know a sufficient amount of Japanese, I must needs rely upon Google Translate to provide a basic guide. Usually I can work out something that sounds reasonable (if of questionable accuracy) from there. I wasn't sure what to do with this, though . . . . . . so I did the best I could. I appreciate the partial illumination.

Saki Kurokoma. No particular reason . . . ?

Without any themes or timely discoveries to go off of this week, I'm doing a small variety mix. chair - Flowery Words of the Worst Bad Luck Duo Despite some potential quality issues in the soundfonts themselves, this arrangement blends together its contrasting styles very well! The piece maintains its original energy while creating serene moments throughout. Kaioshi K - Doll Judgement ~ The Girl Who Played With People's Shapes - UM Mix This is another ZUNish remix. It uses different sides of its focused style to add dynamic to the piece, which successfully enhances its progression in a rather unique way. Bit2 - Letty's Theme Here's something more low-energy to contrast with the other two pieces. I enjoy seeing Bit2's diverse instrumentation, including instances of creative utilization of non-instrument objects. That should do for now.

Rather than a full soundtrack feature, this week I'm just highlighting a single track that caught my attention. I've never watched a James Bond movie, but I imagine this is what the songs from that series sounds like. I'm actually just stalling for a week while I work on a particularly difficult feature I've been putting off all year.

Factory Noise & AG - Shanghai Alice of Meiji 17 I'd classify this as an orchestral remix, but not the standard all-out kind. Starts out simply, and builds up gradually. It's not an explosive arrangement, but the celtic folk elements sprinkled in give it a roaming sort of progression. It has some nice original interludes, too. jesterdist - Nuclear Fusion This one's more intense, but also utilizes a build up to get there. I'm still not satisfied with the loop transition, but that's to be expected. The instrumentation choices here are varied and unique, but complimentary. I'm not sure what category I'd put this in; it doesn't seem quite symphonic metal, but I suspect that was the intended genre.

Came across this, had a laugh, thought to share.

Despite being fully aware of F.I.S.T.: Forged in Shadow Torch before its release, I had not anticipated it to have particularly noteworthy music. I was exceedingly surprised with the impression my initial listenings left me with; the soundtrack is full of powerful compositions of what I believe is called progressive rock with elements of cinematic orchestra and (possibly) some occasional flamenco folk. Additionally, there's a few tracks that deviate from this general style and do something unique, not only contrasting but happening to be impressive compositions in their own light. While I haven't much music theory concerning this feature, I think the quality of compositions testifies to itself this time.

It appears my work is cut out for me this week. Being that I do not frequent the finer hard synth subgenres, I do not have a great many trance pieces on standby. I share what I do have, however. Granted, just because the video title says it's trance doesn't mean it is. I'm not entirely sure what defines the genre, so I'll put these two in a separate drop-down box.

I've had Chicory: A Colorful Tale on the back burner for a while now, and I've finally taken the time to listen through it. Raine's skill and style has continued to evolve since Farewell; Chicory showcases a much wider range of instrumentation than the previous projects, without loosing anything of the dynamic arrangement that characterized them. I haven't looked into the game itself, so my commentary will be limited; but I believe I've picked out an acceptable showcase.

I know I just posted a Touhou-x-Undertale arrangement last week, but Eban's fusion of Cyber's World with Childlike Duo was too good to ignore. I'll redeem the situation by expanding the subject of Touhou-style remixes, sometimes called "ZUNish" (or at least that's what I like to call them). Aside from examples of non-Touhou affiliated pieces being remixed into ZUNish, there's a surprising amount of remixes that spin a Touhou piece into the style of a different era of the series. I've shown examples of this before (notably from Paradise of Boundaries and Eban), but there are plenty more that are equally worth sharing. DF will probably want to skip the second and third features, though.

Starting this week, I'm changing my weekly posting from Wednesday to Tuesday. I don't typically have much time available on Wednesdays of late, so this will be a lot easier for me. That said, it's about time I covered the second disc of Okami! I am consistently impressed by the volume of music this game has. My current style of review doesn't fit very well with my listening strategy for this soundtrack, but it's worth that sacrifice in my opinion. Princess Sakuya's Theme works well as a comparison piece, by which to better estimate the other styles present. It's what may be called a standard Oriental folk composition, using traditional instrumentation for a serene sound commonly associated with the genre. With a slight adjustment of focus in instrumentation, Ushiwaka's Appearance invokes a sense of beauty and awe, unique from the previous track but retaining many of the same characteristics. Tsutamaki Ruins, on the other hand, presents a very different mood. The instrument balance is changed around to create a slower, deeper sounding piece with a most foreboding effect. While far less active than the previous tracks, it remains noteworthy for the contrast in tone accomplished within the same genre. Somewhere between these parts of the spectrum is the dynamic blend of Kusanagi Village II. While it's more comparable in style and instrumentation to the first two tracks, I detect influence of mood reminiscent of the third track that gives this piece a broader, more complex personality than any of the previous pieces. Finally, while many personally encountered examples of games committed to a specific musical style may sacrifice it for more intense and energetic genres in their combat music, Okami remains consistent throughout, allowing for some amazing and relatively rare compositions. I considered between Ushiwaka's Dance ~ Playing with Ushiwaka and Red Helmet's Extermination as potential examples, which sound very similar to each other and even share a few motifs. I've eventually decided the former has ever so slightly better progression out of the two.

Here's a recently released Necrofantasia in the style of Hopes and Dreams (Undertale).

An unfortunate aspect of leitmotif study is the occasional guessing game one must participate in to determine what the theme represents. Most often it's made clear enough to understand provided you're looking for it, but some of the best usages of the technique are much more difficult to evaluate due to subtle usage, over and under usage, and disguised application. I've had several encounters with supposed patterns in a soundtrack that I can't determine the meaning of (or often the existence of a meaning), and sometimes the only way to be sure of a correct interpretation is the confirmation of the composer. Being that this can rarely be depended on, speculations will likely remain as just that. Today is the six-year anniversary of Undertale, which bears one of the most infamous video game soundtracks of all time. All music in the game was written by the game's creator Toby Fox, and he is acknowledged as a master composer. Undertale if full of obvious leitmotifs, and some of them are easy to understand. There are quite a few, however, that I'm personally unsure about. Of these, my personal favorite is the "Home motif." The earliest most obvious feature of this motif can be different depending on how you play. If, for any reason, you decide to close the game before reaching the end of the first area, then you will be met with the game's Start Menu upon opening it again. By all appearances, this is a very simple and unassuming track; as you progress through the game, you have the ability to add characters to the menu, and the music fills in as you do so. If you reach the end of the first area without closing the game, then you will hear the theme of the tutorial character's Home before listening to the menu track. This is a much more dynamic usage of the motif incorporated into a larger piece, and possibly may be considered the leitmotifs origin. Whether or not a player realizes the existence of the leitmotif may affect his perceptions concerning the theme. It continues to appear in the game, most notably in a relatively random event associated with a variety TV show that functions as the Underground's primary source of entertainment. At this point, the leitmotif is associated with several differing contexts with limited straightforward connection. In what is possibly it's most relevant feature, it makes up one-half of the game's title theme, during an event in which the emotional motivation of the currently perceived antagonist (primary obstacle?) is divulged. In conclusion, I submit that I consider this the theme of the Underground's residents, or perhaps more accurately the "life" of the Underground. The story told to the player through Undertale is communicated by residents as their own, the theme plays multiple times associated with their media, Home is notably the first example of proper habitation, and the menu will become more detailed as you recruit residents of the Underground to it. All that being said, I'm not confident in my evaluation; part of me suspects I'm reading too much into it. I should note the likelihood that some "leitmotifs" featured in the game serve questionable thematic purpose, such as the "Ghost Fight motif," which is associated with three related characters and one unrelated character. Fox has been known to repurpose motifs for multiple reasons beyond thematic story telling, so I leave it up to you whether or not you share my interpretation. Edit: The motif also features in Once Upon a Time, which is a cutscene track and more difficult for me to contextualize. It also appears in Hopes and Dreams, but there's lots of motif references in that piece; it's more meant to be a round-up-retrospective-turned-boss-theme.

I felt like posting something obscure and possibly underrated today. In other news, I have come to terms with the fact that I like jazz.

What he said

I was looking back at those previously mentioned old features, and realized I'd edited most of them to include more tracks some time ago. There's only a couple exceptions, specifically from the short-lived double features, but I may as well take care of them now. I normally prefer soundtracks that convey aspects of the accompanying story, either by setting the mood for certain events or by transference of themes via leitmotifs. However, I can also appreciate when the primary purpose of the music is to assist in worldbuilding, also done by mood and leitmotif. Hollow Knight is an example of the latter; its music focuses almost entirely on the characterization of the world you're exploring rather than the characters you interact with. All non-combat themes are ambient and slightly melancholy, as befitting a long-dead kingdom, and the entire soundtrack is composed with minimal instrumentation, presenting a simpler sound then one would expect from orchestral arrangements. Beyond that, each area theme is customized to influence perception: This is just scratching the surface, of course, and doesn't even touch on the battle themes (though you can get a taste of them from the end of Crystal Peaks).

Forgive my ignorance, but could you clarify this statement a bit farther? I'm assuming it has something to do with streaming speed, but I'm definitely missing something. I found a new chiptune artist recently by the alias of "asi14." They specialize in PC-98 arrangements. I've included a Seihou remix from them, in case anyone questions the unfamiliar title.

I'm late. Celeste is one of several soundtracks I featured on the thread fairly early on with far less commentary then they deserved. This game makes very strong use of leitmotif manipulation to convey its themes in the music. For example: The motif for main-character Madeline's determination/climbing efforts is established in the level one track First Steps. The tone of the piece is positive, almost cheery, with moments here and there of reservation (especially right at the end). The motif itself is in a major key, but continually fails to resolve, always favoring its dominant note over its tonic, and is arranged with a slight stutter to its progression. It's important to note that this motif is not technically Madeline's theme, nor necessarily (though partially) that of the specific obstacle of climbing the mountain. The second level is about the main character's doubts and fears, especially regarding the task at hand. The earlier motif reappears, but in an altered form. The original stutters are now full stops, favoring thirds and seconds from the tonic, and what's left has been transposed into a minor key. The tone is heavily somber, and even slightly hostile in its progression (and that's before the transition into its faster tempo form). As is the way of story, it's not till near the end of the game that the primary character conflict comes to climax, culminating in an intense battle accompanied by a third variation of the motif. This is actually both previous iterations literally colliding with each other, although the negative version remains in emphasis for the moment. Following this sequence, the conflict is resolved, allowing for the game's finale to take place. The music for this level is a true rectification of the two versions, returning to the positive tone of the original while tempering it with a new emotional range from the minor key variant. The pauses remain, but are more consistent, presented as reflective rather than fearfully hesitant. Unique to this iteration of the motif, however, is the consistent return to tonic that gives the motif its musical resolution. Even without details, the theme of the story is communicated through this leitmotif. I might make a month's theme out of revitalizing old features, but I'm not sure yet.

I don't expect to have capability to return for the rest of today, so I'm doing this now. There was a number of organ solos featured in the recent tournament. This is one I found (at least it is for about half the video before it randomly decides to add accompaniment).

Getting this out of the way first . . . There is a degree of effectiveness to utilizing a consistent musical style in a soundtrack for the purpose of worldbuilding, especially when the story's setting is significantly distant from what would be familiar to the audience. Sci-fi and fantasy settings frequently benefit from this methodology, to the point where some sounds are culturally identifiable with these genres by association. This is a concept I've been appreciating of late, especially while recently listening to the soundtrack of Dust: An Elysian Tail. I actually know very little about this game, and as such most of what I say is based purely upon my experience with the music. This first track, which I gather backdrops a hub-type area, it suitably ambient to promote a peaceful atmosphere without having the homely feel that usually characterizes these sorts of themes. One thematic aspect of this soundtrack is its expansive feel, characterizing a world that is meant to feel large and open; this theme needs to impart the idea of "passing through" to maintain that feeling. For the majority of the game, the music is far more upbeat and high in energy, presumably to accompany frequent combat. Yet even the most exciting tracks preserve that awe-like tone, maintaining the world's characterization through each new area and situation. Boss themes may occasionally be an exception to a video game's soundtrack consistency, since they necessarily put you in a situation that is out of the norm. The best soundtracks, however, will work to incorporate the established style into these tracks as well, using the audio to fortify these encounters as part of the world and the story rather than existing outside of them. By this point, hopefully the existence of this game's stylistic theme is evident and identifiable. It should be noted that choosing to have a musical consistency in your soundtrack will strengthen its worldbuilding, but will also come with its own risks should you desire to do something different at some point for any reason. If you break your own consistency, you jeopardize the characterization you given the world and risk damaging the audience's ability to identify with it. Ultimately, there is one track in Dust that I believe takes this risk, though considered carefully and likely accomplished without too much damage. Nonetheless, I struggle with this track, as the inconsistencies seem to me unnecessary. But it is also important to understand that this in no way lessens the quality of this composition. As a whole, this is a very good soundtrack. I believe it apt for comparison to Ori and the Blind Forest, which bares several similarities on a conceptual level.

On this day, I will feature the soundtracks of Touhou 1 ~ Highly Responsive to Prayers. As of now, I have yet to find confirmation for my suspicions concerning this phenomenon: there are three different variations of this game's OST. First is the original, which is unique from the rest of the series as ZUN was still developing his style. Next would be the later "remastered" version that was done for Akyu's Untouched Score Vol.5, with revised instrumentation and overall a higher quality of compositions. Finally, there's the third one. Often it sounds exactly like Akyu's, but when compared directly to each other differences become notable. I've used the clearest example I could for this feature. My current working hypothesis is that this third soundtrack came from Mystic Square's music room. I am unable to verify this myself, but it would explain a few things (including the Theme of Eastern Story's relationship to Silk Road Alice).

I have a hypothesis that rhythm games with original soundtracks will always have some of the best music in gaming. I'm not spread nearly wide enough in the genre to provide a comprehensive analysis in support of this idea (hence "hypothesis"), but this week I stumbled upon an OST that fit the criteria and failed to disprove my suspicions. Mad Rat Dead features the work of several artists, but the only name I'd heard of before was that of Camellia, known for plenty of things but by me specifically from his work with Toby Fox and Temmie Chang on Dweller's Empty Path. My introduction to this soundtrack came in the form of a full soundtrack video, and the first track featured was by this composer. My interest sufficiently captured, I proceeded to locate the soundtrack proper and investigate it more carefully. The music's style is consistent in its heavy beat and high tempo focus, and in little else. I get the impression that each stage chain has a specific genre theme (first several level tracks all seemed to have an electro swing influence, while later level tracks featured different styles), challenging the composers to get creative with their compositions. The following tracks contain use of oriental folk instruments, RPG orchestra, and and the "supported piano." Finally, I'll leave off with one of the boss battle themes. These are essentially just curtain fire challenges with minimal combat, and as such the music isn't that different from the platforming BGM. This one stands out particularly, however, being associated with one of the more pivotal moments in the game's story, and appropriately capturing the mood of the events. Comparisons may be made (and have been) to a certain other theme in VGM with a similar tone and progression structure; I leave it to you to determine if this was a coincidence or not.