Tomb Raider: Chronicles (PS1)

"Apparently there’s life after Tomb Raider III"

Like the sun and the moon, video games come and go. In our polygon and pixel fueled bliss (and frustration) we often overlook the signs that tell us what will be continuously embraced and what is down for the count. For example, if you had told me in 1998 that Tomb Raider III would be the last Tomb Raider title to grace my TV until 2007's Anniversary, I wouldn't have believed you. Sure, I didn't exactly enjoy everything Tomb Raider III threw at me, but there was no clear-cut decree that I was through with the series. Regardless, the damage had been done, at least in a covert, subconscious manner. Because of this the last two games on the PlayStation, The Last Revelation and Chronicles, didn't even register a blip on my gaming radar despite the fact the PS1 was alive and well. While it's only natural to leave certain things behind, there are times were we can't help but wonder what we missed out on, or see if a somewhat conflicted franchise can change its fortunes for the better.

This was the central question I faced as I placed Tomb Raider Chronicles into my PlayStation 2. Ten years late to the party, could it mend the bridge one of its predecessors unceremoniously burned long ago or would it only add insult to injury? An interesting proposition to be sure, I can't even begin to explain how the game managed to span such a crevasse. All I know is it did regardless of its problems. That said, in an effort to uncover how things went so right even when they could have gone so wrong, let's take a look at this potluck of mini adventures Ms. Croft's closest friends share with us:

Rome:
The first story presented in Tomb Chronicles takes place in Rome. Here, we are reintroduced to Larson Conway and Pierre Dupont (from the original Tomb Raider) as they attempt to swindle Lara out of her payment for the Mercury Stone, the lesser half of the fabled Philosopher's Stone. Outside the fact we are faced with another series recon here (the idea that Lara never met Larson before the opening of 96' original being "shot to hell" in a matter of seconds) I couldn't be more pleased with the return of these characters. Well, almost. Was it really necessary to lower Larson's intelligence quotient that far? I think we already knew he was an idiot. Overdone as the characterization really is, by the time “Frenchy” promises to buy him a milkshake, all is forgiven. Unfortunately, while Core gets away with hitting the easy button when it comes to characters, the same can't be said of the level design. While it's great to see the whole “there needs to be a deathtrap around every corner” thing from Tomb Raider III has been put to pasture, we now have levels that are too safe (creatively, not figuratively) and are still uninspired. This starts to change once the player reaches The Coliseum - a level that almost recaptures the spirit of those in the original – but ultimately fails short due to its length, which is ironic considering most of Chronicles levels benefit from their short stature.

Russian Base:
Lara's second quest takes place in levels that are as cold and as hardy as the most sea weary commander. In short order, this journey takes one through an indoor dockyard, the tight quarters of a ship (submarine), a somewhat forgettable underwater skirmish and back again. Generally speaking, the Russian Base is a very peculiar section of the game and it's not particularly easy to explain why. The gradual improvement in the level design combined with the rather stereotypical characters makes it seem like this story is stuck in traction most of its duration, but the experience never really grinds to a halt even though it feels like something's missing. That thing? The narrative is simply in hibernation here, and it only comes out of its sleep during the final level. It's here where the build up from the previous levels is finally justified, and while the game is not going to win any awards for original storytelling the payoff at the end is substantial enough to overshadow the fact you've seen this story in every submarine themed movie ever shot. As silly as it seems to applaud a game for successfully mimicking an overused plotline, Chronicles success here is a prelude of things to come.

Black Isle:
This is where the game really starts to shine. While this adventure is more or less born out of the first recon that allowed Von Croy to teach the young Lara about spelunking in The Last Revelation (personally, I always liked how Lara's parents originally disowned her because of her appetite for adventure) The Black Isle has more in common with a MediEvil game than a Tomb Raider game. While most people would laugh at the mere idea of ghosts and goblins showing up in any kind of Tomb Raider narrative, or that it could be enjoyable to go around without any weaponry and focus on puzzles, such ideas quickly prove their worth. Still, what really brings these levels to life are the two ghouls the story focuses on and Father Patrick Dunstan, an Irish priest/demon hunter. Not since the original Tomb Raider has such an interesting character been introduced. Quite honestly, I couldn't get enough of the guy, from his cool and collected demeanor to his getting bitched slapped for mouthing off to damned spirits, he literally brought everything together. The only bad thing is as high as Dunstan raises the bar there are other characters that insist on limboing under it.

Tower Block:
The last set of levels is where Tomb Raider Chronicles plays a perilous game between positive progression and past pitfalls. Starting off in some air ducts above the fabled Iris, we're quickly introduced to several things that scream Tomb Raider III: laser traps, turrets, and the HK gun which looks a lot like the MP5. Truth be told, the last thing this game – or any game – should do is remind me of Tomb Raider III. It's just a bad idea. The second thing on the not to do list that is done is throwing the concept of creating likable yet stereotypical characters to the wolves with the introduction of (a somewhat insulting take on the quintessential African American hacker) Zip. For every line of dialog that is actually funny (“guns is metal”) there are fifty lines that are just terrible, and by the time Lara asks him why she's even bothered to hire him I'm asking myself the same freaking question. Of course, Zip's answer to that particular question is pretty excruciating, but when it comes to shades of Tomb Raider III that appear, it's surprising how the game takes those elements, makes them its own and makes them ten times better. Things almost fall apart during the final level (Red Alert!) for a multitude of reasons, but things miraculously come back together again before it's too late.

General Observations:
In its final incarnation on the PS1, it's nice to see that some of Tomb Raider's graphical deficiencies have been addressed. The polygonal breakup that ran rampant throughout the first three installments is nonexistent here, leaving clipping as the only occasional issue. Such an achievement really isn't Chronicles doing since this revision of the Tomb Raider engine was first featured in 1999's The Last Revelation. Still, the cleaner experience is appreciated. The only other gripe to be had is when the game shifts to an unchangeable, preset camera angle that makes it difficult to control Lara. I'm sure Core would love for me to believe this is to add a cinematic quality to certain areas, but in reality I think we all know the main reason behind it was to lighten the burden on the design team so certain objects didn't even need to be rendered. Still, things like this are easy to overlook when each area of the game finally has a look and feel to call its own.

CONCLUSION:

While it suffers from most of the problems present in every game the series has seen thus far, I have to admit that I enjoyed my time with Tomb Raider: Chronicles, and I'm sorry that I allowed Tomb Raider III to keep me away from it for all these years. Chronicles doesn't really succeed because of its gameplay however, relying more on intriguing characters (old and new) than anything else. That said, fans who gave up on the series like I did should give this a go; they may end up just as surprised as I was to find out there is another game in the series worth their time.

Overall Score: 7/10

Remastered Tracks Rockman Zero Physis

As a Rockman fan, it’s hard to explain what sparked my initial disinterest in the Zero series. The idea of following the red-clad, blonde haired hero into the future would have been a high priority for most; still, as the first game rolled out in 2002, the prospect of following another series of games while awaiting the conclusion of the X series wasn’t very attractive. The truth behind my indifference later revealed itself: I’d grown weary of the formula Capcom saw fit to repackage year after year - the day as a fan I thought would never come.

To some the above may appear to be an attempt to label the Zero series as the point were the franchise lost its luster. In my opinion, this occurred prior to the series’ inception and out of loyalty I turned a blind eye towards it; nonetheless, I respect and acknowledge what Rockman Zero was able to do in its time. There had never been a Rockman saga limited to the lifespan of a single console and it didn't wear out it's welcome with ill-fated, tacked on entries. These are impressive feats, but when asked about Rockman Zero my mind always goes back to the music which came to life with the emergence of the remastered albums rather than the games themselves.

In the first game Ippo Yamada offered what was more or less an unfocused portrait; a composer presenting a myriad of ideas much like an artist’s sketchbook - a tool in the search for inspiration, boundaries and direction. With Idea, these initial ideas were sorted through; some were embraced while others were sacked to create a streamlined experience that showed strength in numbers. Telos followed Idea’s example minus the input from Ippo’s associates and felt stunted. Physis takes these concepts, even turning negatives into positives and provides the full picture: musical exploration nowhere near as random as the first album, the return of the invaluable cast (and beyond) from Idea and the wall that halted progression on Telos is lifted in what equals out to be one hell of a final ride.

Despite the majority of Rockman Zero’s audio and style being attributed to Yamada, I’ve always believed much of the series color was due to co-composers Luna Umegaki and Masaki Suzuki who were able to provide that extra something while adhering to Ippo’s framework. This isn’t to insinuate there is some kind of a “my way or the highway” mentality to everything Rockman Zero or that Ippo's the weak link in the chain that binds, but the appeal of his work could feel limited at times. In what seems to be a revenge shot for my ribbing, Yamada tunes like “Caravan -Hope for Freedom-,” rife with struggle and forward movement, show how incorrect such a view is. We are given another side of the composer, one that's finally able to intermingle with others. Other tracks like “Exodus,” a tightly-woven anxiety-wrought number and “Straight Ahead” create a fantastic sense of unity by emitting the same kind of forward movement. Even the quirky “Elves Dance” contains a unique brand of cleverness all its own as does “Rust in Dust” in revisiting the inherit sadness of Zero’s theme in Mega Man X4. The rest of Ippo’s work consists of typical items, items reminiscent of past ideas or whose origins can be traced back one/two soundtracks, concepts that are not exactly broke but pale to those that truly stand out.

The freshness of the pieces above is eventually matched by the co-composers as well. On the negative side falls Masaki Suzuki who, despite composing befitting guitar anthems such as “Max Heat” and "Magnetic Rumble" has trouble extending his style beyond what is expected. This inevitably makes the hidden allure of the off-kilter “Celestial Gardens” all the more enjoyable. This pleasant string of musical anomalies continues with Luna Umegaki’s “Holy Land” and “Esperanto.” The somber “Holy Land” correlates back to some of the moody, almost cryptic pieces of Yamada’s in the first game (“Ruins of Lab”) while being anything but. A similar scheme plays out within “Esperanto” where Umegaki concocts the RMZ equivalent of a lighthearted stage theme from the original Rockman series as is the case in “Cyber Space.” In more typecast territory newcomer Shin'ichi Itakura tackles the soundtrack’s aquatic based theme “Deep Blue” with exceptional results and offers up the poignant “Falling Down,” the booming, shot-in-the-arm final battle theme that finishes the series off in style.

There are other solid tracks throughout Physis but those mentioned stand to exemplify the various ins-and-outs contained within. However, if there is any fault the soundtrack holds as a whole it would be the synth quality. The majority of the album brings the power one expects yet there is a nagging feeling that some parts, like the opening beats of “Caravan - Hope for Freedom-,” are thinner than they should be in what may be an attempt to make the experience as clean as possible. Such shortcommings aside, the material presented is more than enough to make up for such misgivings.

CONCLUSION:

Even though Remastered Tracks Rockman Zero Physis brings us the conclusion of yet another Rockman series it comes with a heightened sense of maturity, the idea that this is the fully conceived sound the series has come to represent. This isn’t saying the first three soundtracks were only mere steps in evolution or their importance in such a metamorphosis was minimal, but the experience Physis offers the listener simply feels greater than any of its forbearers at heart.

Overall Score: 8/10

Capcom Special Selection: Rockman DASH 2

Whether it’s the world of video game music or something else entirely, it’s safe to say that surprises are usually a welcome affair. This can be especially true when they come out of the complete blue, much like the release of Capcom’s Rockman DASH 2 Special Collection. When one is honest however, the Mega Man Legends series has not been unkempt in its native Japan like it has abroad - from the 2005 PSP re-releases to the all new, original cell phone game in 2008 - perhaps it is not so surprising that Capcom has decided to officially release some more music from the series - a series whose last official soundtrack release was over a decade ago in 1998.

Overdue as it may be, even those familiar with the series’ music may be unaware of the changes that occurred between Mega Man Legends and Mega Man Legends 2 when Toshihiko Horiyama took on composing duties for The Misadventures of Tron Bonne. Wanting to make the series’ music to take on a more homogenous nature than Tomozawa’s original effort, Horiyama added the use of overarching themes to the mix. To this end, the score’s various pieces adopted a behavior not unlike those from Tsuyoshi Sekito’s Brave Fencer Musashiden, where variation upon variation of prominent themes were used to create connective cohesion between the game’s various scenes, characters and locations.

Upon returning to score Mega Man Legends 2, this element of Horiyama’s work was quickly integrated into Tomozawa’s as well. Unfortunately, the negative effects of this theme-driven approach - which can be more or less be observed by acknowledging the lack of accolades the Brave Fencer Musashiden Original Soundtrack has received over the years – was that the sacrificed individuality on a track-by-track basis made soundtrack releases for either game very unlikely, even more unlikely than it was for the first game’s score which, if it wasn’t for the well-timed formation of Capcom’s Suleputer record label most likely would have been left to the ages.

Anyways, regardless of the hand fate may have dealt it in the past, we now find ourselves presented with a small cross-section – seventeen out of about eighty pieces – of what Mega Man Legends 2 has to offer. With such limitations, did the best tracks make the cut? Read on to find out!

01. Title
Right off the bat, the Rockman DASH 2: Special Collection presents us with an improvement over its forbearer by, ironically, offering something that isn’t new. With the limited amount of material presented, the Japanese vocal themes are no-shows for obvious reasons. This allows the chance for a significant piece of in-game music to make a strong and powerful stance and say “this is what Mega Man Legends is about!” The disc does not disappoint, offering up the original Flutter theme from the first game and legitimizing its position as the series’ titular theme with its unapologetic, happy-go-lucky nature. In reality, it’s not really the daring proposition I’m making it out to be, but there is something about this choice that does feel defiant - forming a bridge between the two games with its pleasing nature despite its utter simplicity. (9/10)

02. The Flutter
A soft and relaxed version of “Title” above, this take paints a picture of the humble living quarters aboard the Casket‘s newly renovated airship. While “humbleness” may be the overall sentiment one can take away from this piece, it’s what one can find when digging a bit deeper that’s the real prize - weariness. This is a bit misleading however, as this “weariness” isn’t really hidden as much as it is in jeopardy of being casually dismissed as part of the initial, collective message. Neither the result of a flat-out compositional flaw nor an example of a track that loses out when taken out of context, it merely seems destined to be a track that may be under examined. Ultimately, while nowhere near as engaging as the original – not that it was ever meant to be – it’s a more than worthy addition to the series’ musical continuity, the only gripe being that in placing two variations of the same theme back to back to one another, the disc’s strong opening is inadvertently prolonged in a slightly unfortunate manner. (7/10)

03. Yosyonke Town
Representing a calm and peaceful winter wonderland, “Yosyonke Town” is another track with the ability to nail the sweet spot between simplistic and underdeveloped that many of the series’ best themes take all the way to the bank. Again, it’s clear that the environment being portrayed here is fun-filled and cold, but the message on display here is hardly one-dimensional. Emitting a simultaneous sense of warmth that manages not to betray the true nature of its surroundings, a campfire-like togetherness creeps out from the woodwork – a commentary of sorts on the resourceful people that live and love in such unforgiving conditions. Despite the duality of its message “Yosyonke Town” still doesn’t ask too much of the listener, but then there is no real need to decrypt what is here either. (8/10)

04. Continent of Calinca
Surrounded by snow with only one place to go, numbers like “Continent of Calinca” stand to exemplify the extreme degree Tomozawa is willing to take in his implementation of minimalism within the music of Mega Man Legends 2. Important as it may be to present this side of the score to those listening, given the small size of the canvas available for painting, this two and half minute “crystalline hymn” (which doesn’t benefit from being looped in the slightest) is a poor choice in a situation that calls for much more discrimination in what does and what doesn’t make the cut. However, looking beyond the limitations placed upon it here, a better option may have been to switch to the more up-beat “attack” variation on the loop to break up the overly sterile and serene sense of stillness while covertly adding another track to the proceedings. (6/10)

05. Yosyonke Abandoned Mine
It doesn’t take long after “Continent of Calinca” to realize that area themes get the short end of the stick in this collection. Still, despite all the positives there may be in offering up something a bit more tangible and a little less ambient, “Yosyonke Abandoned Mine” also happens to be one of the score’s most uninspired and trivial dungeon themes. It’s true this typical “mine-like” number may have enough drive and operating power to make it a decent piece, yet it stands a painful reminder to the pieces – pieces with far more to offer – that remain regulated to the game rip to this day. Perhaps what is most disturbing is the fact that it almost seems like the person behind the selection process was well aware of this, but more or less chose it to employ it here as a cheap prefix to the next selection rather than selecting it based on its own merits. (6/10)

06. Jaiwan
More than any other track on the Rockman DASH 2: Special Collection, “Jaiwan” dies at the hands of its original context - this despite that fact it is comprised solely of the ingredients one would expect to find in any other Reaverbot battle theme. Not being a case where a track fails because it’s too typical, this is a case of a track failing because it overshoots the situation it depicts by a mile and a half. Indeed, the fear and drama that presides over the proceedings in “Jaiwan” blows what is a minor, inconsequential scuffle completely out of proportion to the point where it is almost laughable. Such misdirection will obviously go undetected by those who have never played the game and take each track for what it is at face value, but to those who have, Tomozawa’s gaffe – as well as the absurd amount of real estate spent on inconsequential tracks from the Calinca Continent – will remind one of the blank expression expressed by deer captured within the demanding glare of an automobile’s headlights. (5/10)

07. Jagd Krabbe Rev.
Illustrating a wonton, wreck loose battle with a comedic edge, “Jagd Krabbe Rev.” is rife with connections to past and present material. The most important of these - it’s affiliation with “Feldynaught!” from the first game - works on two levels: visual (both machines are similar in appearance and are capable of flattening a small town in mere seconds) and musical. Even though “Feldynaught!” may take its influence from the themes used to portray Reaverbots, the overabundance of intensity at its core makes it not unlike “Jagd Krabbe Rev.” despite their conflicting styles. But where previous attempts at applying “overabundance” in a musical fashion brought tracks like “Jaiwan” to their knees, the same cannot be said here, even when the crazy, Mega Man bashing voice-overs employed by Tron during the in-game battle are affixed atop it. (7/10)

08. Bola
A tightly wrought, anxiety-based number, “Bola” exposes the stubbornness that lies deep within many of the compositional builds and/or norms used throughout the music of the Legends series. In an attempt to create a musical calling for a new kind of adversary, Tomozawa tones down the bold doom and gloom of your standard Reaverbot battle theme to create what could be essentially considered a more methodical and reserved “Reaverbot Light.” This creates quite a conundrum, because, at the end of the day, booze is just another name for alcohol, and there is still isn’t enough space between these “musical identities” to promote the idea that there is no connection between this character and the aforementioned creatures. Troubling as it is for the track to lack an identity to call its own, the perceived faults surrounding its grinding pace are eventually shown to be its one redeeming quality. (6/10)

09. Gargarfummi
Despite coining the theme that fuels the crowning jewel of the bunch, “Gargarfummi” lacks the credentials to change hearts and minds when it comes to the unflattering stereotypes that surround Reaverbot battle themes. That said, it should be obvious that there is a lot to be gained from avoiding the pretentiousness that ran rampant throughout “Jaiwan,” and in this respect the track delivers, steering clear of completely exasperating the player with worry. However, beyond the forward drive possibly reminding listeners of similar pieces like “Garudoriten!” from the original, everything comes right back to that underlying theme in the end, perhaps explaining why it is a little more resilient than most of its brethren. (7/10)

10. Glyde Drache Ace
The inclusion of what is effectively known as “Glyde’s Theme” wasn’t so much a question of “if” it would appear as much as it was of “which version” would represent it. Thinking about it in retrospect, was there any doubt that the horn filled, free-for-all that is “Glyde Drache Ace” would take prominence? Not really. Be that as it may, as fun and energetic as this battle theme may seem on a standalone basis, there are things beyond this initial impression that drive it forward. It’s mainly the performance of horns that leads one to eventually pick away at the surface layer of amusement and expose the overwhelming since of pride and entitlement that’s just below its surface. It’s all about vanity, or, more specifically, the vanity of an overconfident adversary. This is what sets “Glyde Drache Ace” and Glyde himself apart from Bonne’s and their respective themes; both may be prideful, but where the Bonne’s portray a healthy sense of pride in what they can accomplish together (despite its legality), Glyde’s are prideful to represent a characteristic fault. (7/10)

11. Klaymoor
In using compositional schemes with their fair share of bugs, Tomozawa’s implementation of overarching themes can sometimes cause problems. More often than not, the resiliency to power through any choppy waters can be achieved, but then there are times where one is simply left stranded. Behold “Klaymoor,” a slower and even more listless version of “Bola” that surrenders any and all chance there could have been to rescue the piece. It’s depressing to see the changes made here, like the streamlined manipulation of the instruments and somewhat more tangible climax go to waste, but be that as it may, there is one thing both pieces have in their favor: a bit of hidden context. Did Tomozama take these characters discussions on the disadvantages of old age in combat into consideration when crafting these pieces? Could their slow, methodical nature be a musical extension of these characters ages? A question that is likely to never be answered, but influenced or not, they remain the hostages of their weaknesses regardless. (5/10)

12. Blitzkrieg
To say that “Blitzkrieg” is a track that delivers the kind of hard-hitting action it name implies would be somewhat of an overstatement, because while all the strife and drama one would expect to experience during a real life blitzkrieg (a sudden or surprise military offensive) is present, its far from being unrestrained. Being another example of the “reserved tenacity” the ends up dictating the pace in many of Tomozama’s battle themes, the careful application of this technique can pay off huge dividends, much like it did with in “Marlwolf!” and “The Gesellschaft!” from the Rockman DASH Original Soundtrack. This requires a poignant theme with an easily repeatable rhythm, and it’s not long before the musical, tug-of war quality of this piece reveals itself not only to be in such a league, but reveals itself to be at the top of it, perfectly summing up the quagmire of limitations Mega Man finds placed upon him in this particular battle. Combine this with the piercing percussion that accompanies and resets the track on the loop and its plain to see it’s inclusion on this disc was an absolute MUST. It is easily one of most defining moments in Legends music history. (10/10)

13. Wojigairon
If one where to take “Wojigairon” in solely on the eight second intro that opens it, there is little doubt that the phrase “you’re screwed” would immediately pop into the minds most people. Intimidating as it may be (leading to it’s incorporation within some of the late-game battle themes), it’s not really representative of the remainder of the experience, which, for most intensive purposes carries the true balk of the message. That message? You don’t necessarily need to see this twenty-two story, lava chugging monstrosity to be afraid of it. Musically, there are no real surprises; the intensity is once again kept in check as the presidio-militaristic style beats reflect the disjoined movements of a mal-proportioned behemoth. As much as a theme like this adds in the depiction of such roadblock, its workmanlike structure is far from inspiring. (7/10)

14. Hover Gustaff
Much like “Glyde Drache Ace” before it, “Hover Gustaff” is another track whose appearance may not have been necessarily guaranteed, yet was much more likely than the majority of those that didn’t. A relatively high-octane number as far as Legends standards go, the flailing silliness of “Jagd Krabbe Rev.” is ditched in exchange for an upbeat and focused channel of controlled tenacity. The “controlled tenacity” exhibited here doesn’t directly relate to the “reserved tenacity” within “Blitzkrieg” as one would expect; however, it does demonstrates how a minor adjustment in forward velocity can make two similar tracks very diverse. If there is anything to conclude from the experience set fourth in “Hover Gustaff,” is that it’s a very different kind of Bonne-based track, which is more than welcome, but doesn’t have a real hook to it, that quality that would make it a staple favorite. (7/10)

15. Geetz
Another piece whose appearance is on this disc is nothing short of a necessity, “Geetz” may indeed be the greatest Reaverbot battle theme to grace the series. That’s a tall order for any track to fill, and sure, it’s merely one persons opinion, but with all the repressed rage from the previous “underground” boss themes coming to a head, something the rapid-fire percussion here more than sees to, this “aboveground” rendition of the theme first heard in “Gargarfummi” speaks volumes about the conflict at hand. Add in the gothic styling of the keys and the experience feels a lot more intense than it really is; it’s right in your face but at the same time it’s not. Brilliant. Not even the game’s final battle themes can touch this one. There really isn’t anymore to say; with “Blitzkrieg,” “Geetz” is the simply the epitome of what Mega Man Legends 2 has to offer the listener. (10/10)

16. Mother Area
Coming off as a more appropriate choice than its icy counterpart “Continent of Calinca,” the angelic, female harmonies found within “Mother Area” reinforce the concept of one last reprieve before a final showdown. It hits the nail right on the head, and unlike “Yosyonke Abandoned Mine” is not a cheap prefix to a subsequent battle theme. At the same time however, the final battle theme on this disc doesn’t bring the pound for pound power that the omitted “Sera Computer Terminal Battle 1st Form” would have; power that would have created some truly commanding contrast. (7/10)

17. Sera Computer Terminal Battle 2nd Form
Sadly, if you where to take all the rapid-fire drumming, adrenaline and power out of “Geetz” and add a more than generous helping of “angelic hymn” to what remained you would be left with “Sera Computer Terminal Battle 2nd Form,” a uninspired variation of the game’s most pivotal battle theme. Reflecting back on this particular battle, it should be noted that Tomozama is not really misguided in the direction he wants to take this track – the idea of presenting dead and empty space in musically abstract way is dead-on considering the environment it’s played it – but the general concept that beauty can be found in simplicity starts to run out of gas here, mainly because it limits the composition’s ability to be engaging. This makes it hard, if not downright impossible, to be fair towards both this track and “Geetz” even though nothing here is terribly awry. (6/10)

CONCLUSION:

As expected, the Capcom’s Rockman DASH 2: Special Collection is mainly aimed towards satisfying the series’ small yet dedicated faction of fans. While it may be a more than welcome treat, the limited amount of material presented makes for a mix of tunes that range from “they couldn’t pick anything better?” to “damn right!” that cumulatively equals out to a “I’m just glad to finally get something on an official disc!” The positive side of such a dilemma is this turns the album into a mini history lesson, pointing out the strengths and weakness of this particular score (and, indirectly, the Misadventures of Tron Bonne) when taken in as a whole. To this end, exploring what is here its time well spent, but only those who are infatuated with the world of Legends will stay.

Overall Score: 7/10

Donkey Kong Country (SNES)

"While time hasn't exactly been cruel to Donkey Kong Country, it hasn't exactly been nice either"

Memories are a funny thing. Unlike the vast majority of games that have come and gone over the years, Donkey Kong Country is a game that I can unmistakably remember my first encounter with. It was dark night when my friend's mother dropped us, a bunch of grade school kids, off at the local Junior High School for movie night. As for what flicks played that night or which friends I was with I can't remember, but what I can remember is the movies were preceded by a promotional VHS tape the school had received from Nintendo.

Okay, so no one actually played Donkey Kong Country that night, but it goes without saying we were all insanely impressed with what we saw on that video. The funny this is, as much as I clamored for the game's release, I never actually owned Donkey Kong Country during my childhood. I know I borrowed a copy and completed it, but it wasn't until Donkey Kong Country 3 came out that I would actually possess a Donkey Kong Country title of my own. What's even more ironic was the second game was my favorite. Still, as limited as one was purchase wise before the days of the internet or having their own income, Donkey Kong Country was a game you just knew was great, even years after its release and your last play through.

Unfortunately, just agreeing with a statement out of the fact it's shared by the masses doesn't mean it holds true for you. As cruel as the passing of time can be for products, it's especially true of memories. Anyway, about a year ago I picked up a Donkey Kong Country cart at a local game store with all the intent in the world to play it. Plans are great, but that's all they are - plans. It wasn't until Donkey Kong Country Returns came out for the Wii in 2010 that I got the bug to play though it again with my buddies talking about the new one. While I could honestly care less about the Wii or the reboot itself, I could only wonder if the original could live up to those engraved memories. It just had to right? All those people with fondness for the moniker just couldn't be wrong!

Well, those people aren't wrong, but they aren't right either.

As warm and fuzzy as the title screen made me feel, a peculiar feeling came over me once I got to the game itself. At first I thought it was run-of-the-mill boredom, but after some more time with the game it became clear that wasn't the case. There was something that just felt off, an abstract element I couldn't pinpoint. The game still looked great, the game still sounded great (oh my, do these games sound great!) but it just wasn't doing it for me. Was it the fact there is less to collect here than in the sequels? Or the fact the bonus areas aren't as streamlined as they are in the sequels? Maybe the fact Donkey and Diddy seem a bit more limited as a team than Diddy and Dixie? I know for a fact I missed the ability to have the characters climb on one another shoulders for teammate tosses. Whatever the reason (the last one seems the most likely) something was limiting the appeal the gameplay previously had.

As I progressed through the game, this feeling did ease up a bit. I'm a sucker for an awesome level like Oil Drum Alley regardless of what year it is, but the boss fights are another story. One of Donkey Kong Country's worst kept secrets is the fact the bosses are total pushovers. I kept telling myself this was okay, that the final, climatic encounter with K.Rool would make up for it. Not quite. While it is certainly the most engaging battle of the game, when you take down the kingpin of the Kremlings (who are still cool to this day) on your first try after ten plus years of being away, you realize that such patience is far from deserved. The cinematic nature of the cute and clever ending helps comb over such a problem, but it's far from the dead-on sense of accomplishment one gets from Star Fox's ending.

CONCLUSION:

In spite of all of this, Donkey Kong Country is still worth any gamer's time. While it's easy to buy into crowd and simply say it's been unscathed by time, this is a case where I'd rather be honest and not give into any nostalgia based illusions (as important as illusions of any kind are). Do the sequels hold up better? I hope so, but then that's a whole other story, again based on memories and little else. I'll have to get back to you on those ;)

Overall Score: 7/10

Kirby’s Dream Land (GB)

"While there are two things that hold Kirby's Dream Land back, they are hardly insurmountable"

Being a recently re-acquired staple I lost back in 2003 when my *lovely* roommates robbed me blind, Kirby's Dream Land was the first game featuring everyone's favorite pink puffball. While my experiences with Kirby titles beyond this one are extremely limited (the only other one being Kirby's Adventure/Nightmare in Dream Land) and the fact I could probably go on and on why this, along with Metroid II, deserves a place in any serious Game Boy collection, I'll dive right into the game's two main problems.

Problem One: It's too short.

At five levels, Kirby's Dream Land is simply too short. The levels are fantastic (and beat the tar out of those in Kirby's Adventure) but the game is over before it begins. Add to this the fact the final level is basically a Mega Man-esque recap of all the bosses you've fought up to that point and it's easy to see how it's entirely possible to blow through the game in one sitting within an hour.

Problem Two: It's too easy.

Kirby's Dream Land is a cakewalk. Sure, it may be a delicious cakewalk, but it's still a cakewalk. When one can go seven to eight years without playing a game and come back to it and beat it with a single life there's nothing challenging about it. This isn't saying anything however, as some games, like Mega Man Legends, lack in this department and still manage to deliver the goods. In similar fashion to Mega Man Legends, it's possible to increase the difficulty level (press up, select and A on the title screen) to give King Dedede's minions one hell of a booster shot. Seriously, once you get to the previously pathetic Whispy Woods you'll realize the spike in difficulty is no joke - they're out for blood now - and unfortunately leave you no middle ground to traverse.

Beyond the above, Kirby's Dream Land is astounding in just about every other category. I mean really, who doesn't remember the music from Green Greens? Who doesn't remember crushing King Dedede? Sure, a lot of what's here and what I'm saying is tinged (ok, littered) with nostalgia, but after playing through Kirby's Adventure last year, Dream Land's simplicity is hardly a vice. More (in terms of Kirby's abilities) did not equal out to a better game in my opinion, nor did more levels. There's a charm here that's missing from some of the game's immediate successors; an intangible x-factor you can't put a price on.

CONCLUSION:

Kirby's Dream Land may have some significant flaws, but it's one of the best (original) GameBoy titles out there. If you haven't experienced it you owe it to yourself to try it.

Overall Score: 8/10

Christopher Titus (2011) Neverlution!

"Something's a bit off here..."

When it comes to comedians, I find it hard to trump my big three: George Carlin, Jim Gaffigan and Christopher Titus. While their friend Robin Williams may occasionally visit them on the weekends depending on my mood, everything from our insatiable love for food to the sorry state of our society is quickly covered by such an entourage. Still, despite the fact I would find it hard to pick a favorite out of the bunch (it would probably be Carlin) I have to say I have a soft spot for Christopher Titus. Titus rarely skipped a beat in his last three outings - Norman Rockwell is Bleeding perhaps being the best of the bunch - so needless to say I had high hopes for Neverlution! once I found out it had been released.

Unfortunately, my hopes may have been too high. At a quick glance everything seems to be accounted for in Neverlution! The insightful, relatable observations are still there and the range of subjects tackled is as relevant as ever. Yet as topical as everything is, there's a feeling that something is amiss throughout the entire show, and as to what that thing is I cannot say. I really wish I knew as it would make forging an opinion on this album that much easier. As it stands now I really don't know what to think. The album's consistent but far from inspiring. Unlike previous outings where I knew I was in love with the material the minute I heard it, the same can't be said of what's here. It's a big old mystery box that may or may not be losing its appeal.

CONCLUSION:

That said I honestly wish I had something more concrete to say about Neverlution! As tongue-in-cheek as it may sound, I believe my indecisiveness is telling of the experience presented, hinting at something that's flying under the radar. As eager as I am for that revelation to arrive after more listens, I'm fairly convinced it won't be of a positive nature.

Overall Score: 7/10

Wild Arms XF Original Soundtrack

As a Wild Arms fan, to say I've found the series’ time on the Playstation 2 to be a success would be a lie. Regardless of the fact that each outing on the platform is far from horrible, the reality is that Media.Vision has failed to create a game since the original Wild Arms or its first sequel, Wild Arms 2nd Ignition that has captured my heart and imagination. Even as time goes by, images of Metal Demons plaguing the land and the looming threat of encroaching parallel universes remain frightfully clear in the back of my mind.

It was also around this time that my auditory honeymoon with composer Michiko Naruke’s Western flavored scores began to dwindle; the advanced, overgrown sound of Wild Arms 3 scraping the underlying simplicity that brought previous scores alive, replacing it with a textured, almost abstract style that felt like a conscious effort to play complexity catch-up with other composers. While Wild Arms 3 seemed fit to close the lid on the sound that defined the PS1 games, a small reprieve was offered with 2004’s Alter code:F before Wild Arms 4 sealed the deal. Of course, with Naruke falling ill the door was barely shut before it was thrust back open, ushering in yet another chapter in the series’ musical history. Naruke’s exit was a shame, but for a listener whose taste refused to evolve alongside her style it’s a rather moot point. With the reigns in the hands of Masato Kouda and Noriyasu Agematsu the series continued onward, offering a mostly favorable experience but one that did not exactly re-ignite the coals that fueled the flame that is Wild Arms music.

Taking such a pessimistic view into account, it’s not hard to imagine one taking such a passive attitude towards the release of the Wild Arms XF Original Soundtrack. As for expectations, there were none outside the presumption it would maintain the direction of its most recent predecessors and little else. Boy was I wrong. Wild Arms XF is not the Second Coming as far as the series’ music is concerned, but I’ll be damned if it isn’t the best soundtrack the series has seen in a good, long time. Perhaps the most surprising aspect was the shift in the genre the game presented, something this listener was completely unaware of until the soundtrack had already made its impression.

From the outset, newcomers Junpei Fujita and Hitoshi Fujima waste no time in presenting their re-invigorating take on what makes a Wild Arms battle theme a Wild Arms battle theme. The mellow, laid back melody of Fujita’s “Siren’s Beautiful Sword” is simply enchanting, as is the synergy created by its contrast with the brisk pace of Fujima’s “Birds Soaring Over the Battlefield.” It’s hard to describe how a rather straight edged experience can gel with a more abstract, Sakuraba-like number (e.g., the organ usage) that can turn a corner at a moments notice yet as unlikely as it sounds this interaction is of great importance. Beyond this point, Fujima’s work with scenario and event pieces blends into the background as Fujita continues his stride with battle themes. Dripping with a flavor that is undeniably befitting of a strategy RPG, the subtext of “This Sword Style Rages Still” is reminds one of the perplexing choices to be made as they move their units around the battlefield.

Another fresh face, Daisuke Kikuta takes over Agematsu’s job of creating annoying, yet strangely satisfying crisis tracks. “Dramatic Turn” is akin to WA5’s “Emergency Sign” and comes off as an overzealous dance track. You know you should dislike it and that it doesn’t deserve any kind of praise yet it accomplishes its purpose in spite of itself. When it comes to battle themes, Kikuta’s contributions connect in two major ways though they’re really one in the same. The guitar in “Slap the Cheek in a Mood to Kill,” “A Beast, Brute and Monster's Claws” and “Mechanical Dancing Fight” forms the obvious part of the connection, but it’s the idea that these would play when fighting a more formidable opponent as opposed to a run-of-the-mill enemy that makes them successful. The only real hitch is even though Kikuta makes the most use of the guitar, it is used to greater effect by the other composers in a more reserved manner.

Being the mainstay composer for the series since Wild Arms 4, it’s sad to see that Masato Kouda has learned nothing new when it comes to town themes. It’s not as if tunes such as “Outrageous Folks” and “In the Sunlight” are bad by any stretch of the imagination, they’re just extremely stereotypical with their cardboard cutout Western feel and no-brainer instrument choice. The fact of the matter is it’s not hard to write such music; what is hard is to write a something that seems stereotypical yet is anything but. Ironically, Kouda succeeds in doing this elsewhere: the drive of “A Quick Night in Elecius” being very reminiscent of what one would expect to hear in a film portraying a tragic and unavoidable battle as the cries of the defeated fill a ominous sky. Taken at face value, the use of such a common motif that is also employed in “Intense Battle Below the Sky” and “The Trail of Those Who Fight” may seem uninspired yet Kouda seduces the listener with its vague sense of familiarity and makes it his own. “Snarling Men Clad in Heavy Armor” makes use of the militaristic clank-like percussion present in “The Trail of Those Who Fight” while cleverly avoiding the main hook while the somber “Slice the Way to the Truth” chooses to embrace it without seeming like a sorry excuse of reprise that’s there to solely inflate the tracklisting.

Despite the enjoyment that can be found in the tracks above, whether they present a composer going out on a limb to create something unique is questionable. Experimental endeavors like Kouda’s “Death Trap Siege” and “The Beauty of Spreading Terror” by Fujita step in to answer the call and account for some of XF’s hidden allure. The muffled, almost hypnotic beat of “Death Trap Siege” has a semi-gothic flair to it though describing it in such a manner seems rather inaccurate. In “The Beauty in the Spreading Terror” the distorted synth and bubble-like effect creates a villainous chill that doesn’t break down any barriers but is nevertheless interesting in its implementation.

Out of all XF’s contributing composers, it is ultimately Agematsu that becomes the victim of circumstance. It’s hard to give a solid battle theme like “Duel Sign” props and airtime after absorbing the aforementioned pieces by Fujita, Fujima and Kouda. A lot of Agematsu’s shortcomings may stem from the fact that while all the composers manage to take some influence from Naruke, Agematsu has the hardest time taking that resource and making it his own. The prime example of this is “Blank Easel” where Agematsu takes the excellent melody from his vocal theme “Honki no Uso” and can’t resist the urge of slapping the Wild Arms whistle in it, an unflattering cliché as is his revival of “To the End of the Wildness” in “Crossfire.” At times it feels as if Agematsu is a little too concerned with preserving where the series’ music/sound has been rather than taking it where it needs to go. The biggest question concerning Agemetsu’s contribution to the soundtrack is whether or not he was behind the theme that ties the FINAL DISASTER series and “Perpetual motion” together with Kouda’s “Weapons Born from Man's Womb.” Unfortunately, given the spread in the composing credits it’s doubtful we’ll ever know; my money is on Kouda since he is created with the most straightforward and engrossing version.

CONCLUSION:

There are numerous other tracks thoughout the Wild Arms XF Original Soundtrack that stand to exemplify how far (and how little) XF has progressed beyond its predecessors. With this in mind, it may seem appropriate to scrutinize some of the negatives more harshly and meet the experience halfway. Still, despite my love/hate relationship with some things Wild Arms, I am simply smitten with some of the material and the lows are no match for the highs. For the first time in ages this fan looks forward to the future of Wild Arms music with a renewed sense of cautious optimism; I hope others will as well.

Overall Score: 8/10

Castlevania: Lament of Innocence Ltd. Ed. Sampler

Over half a year ago, I sat down to write about two Castlevania scores: Lament of Innocence and Curse of Darkness. Dissecting the contrast between these works was nothing short of interesting, one soundtrack prevailing where the other would fall short and vice versa. Despite believing my opinions were solid enough to materialize in text, only my thoughts about Curse of Darkness would see daylight as the remnants concerning Lament of Innocence would be brushed off to the far corners of an untitled text document. Soon after, the album would be surrendered from the hands of an uncertain listener. However, much like Dracula himself, this was hardly the end of the story.

Half a year later my interest in Castlevania music was tapped once again, its influence as unrelenting as the denizens of the night. Armed with knowledge of what the original soundtrack had to offer, a solid yet bloated banquet filled with some rather undesirable additives, the Castlevania: Lament of Innocence Limited Edition Music Sampler seemed like a fitting solution. Still, the question remains: why would anyone settle for less when the main dish offers more? The answer lies somewhere in between what both releases offer; such a realization being the missing piece of the puzzle that was previously thought to be complete.

Containing a little more than one-third of the pieces that appear in the game, how can a sampler feel more fulfilling than a complete soundtrack? The biggest addition found here is actually an omission, the omission of the music Yamane’s wrote for the game’s cut scenes. By no means is it horrible, but despite achieving its desired effect in-game it severely disrupted the flow of the original soundtrack. While Curse of Darkness' own soundtrack release was set up in a similar fashion, the size of these speed bumps were minimized by incorporating some of the game’s character/battle themes. With this in mind, only having one-third of the tracks doesn’t come off as a big loss and the ability of the score to go from stage theme to stage theme or stage theme to battle theme makes a world of difference.

Of course, while the track choice may not appease everybody, the more important and prominent themes, like those from the game’s major areas, all make an appearance along with more straightforward battle tracks like the powerful “Melancholy Joachim” rounding out an impressive core. Some will undoubtedly miss pieces such as “Rinaldo’s Cabin,” “Prelude to the Black Abyss” and “Death Flower Succubus” but the only track I find myself missing is “Statue Enchanted by the Darkness” where the listener is taken aboard an evil, orchestrated train ride to hell. Additionally, “Elemental Tactician” and “Dark Night Toccata (Walter's Theme),” tracks that were somewhat under the radar when listening to the full-fledged soundtrack, are given more of a chance to stand out here even though the whole set of songs can fly by before you know it.

Yet there is another factor involved with the above however: the tracks here don’t loop. On the soundtrack, most tracks make at least one and a half loops before the fade, with shorter tracks usually making the full double. As it is, why would anyone want to limit these pieces so they only play once? With Yamane’s compositions being as powerful as they are (Lament of Innocence being no slouch when it comes to being bombastic) small and concise auditory experiences are ultimately the better alternative, creating a brisker listen rather than an extended tour-de-force road-trip where one’s attention can drift in and out. Even if such an idea was applied to the soundtrack as a whole it would be a moot point: issues with the shorter tracks would arise due to space limitations and the cinematic tracks would still be there to break up the action regardless.

Following the picks from Lament of Innocence is the arranged, three track suite from Aria of Sorrow that can also be found on the second disc of the original soundtrack. This material has only gotten better since it no longer precedes the lackluster “music inspired by Castlevania Lament of Innocence/another Castlevania story” suite. There really isn’t one particular track that excels beyond the others here; the pitch and emotion maintain a steady level and forms a nice intermission between the two main features.

When it comes to the selection for Symphony of the Night, what can be said that hasn’t already been said? It’s easily one of the most defining soundtracks of the 32-bit era but looking beyond the accolades it doesn’t feel as bulletproof as it once was. Often praised for the vast variety of moods, such strength seems to have slightly weakened the bonds over time, leaving one to wonder if a little more uniformity amongst the ideas presented could have prevented this. Change Symphony? That’s tantamount to video game music treason! True, but by the same token it’s fine the way it is; it’s just the right mood has to strike me for this music to be effective as it is in the game.

Given the score’s stature and number of area themes presented there’s a lot more at stake here than there was with the beginning of the disc. Accounted for are rocking classics like “Dracula’s Castle” and “Young Nobleman of Sadness” as are the soaring angelic numbers such as “Requiem of the Gods and “Lost Painting.” “Strange Bloodline” is an interesting pick but others like “Wood Carving Partita” and “The Final Toccata” have become victims of time or overuse. As expected, this is no substitute to owning the complete soundtrack; summing up a favorable cross section of Symphony’s music is one hundred times harder than using the Alucard Shield/Shield Rod combo to obliterate the last stretch of the game.

CONCLUSION:

If you feel the original soundtrack for Lament of Innocence is bogged down by the elements described above you can’t go wrong with the Lament of Innocence Music Sampler. This great little CD just might change your prospective about the music as it did mine. Despite being a promotional item released over four to five years ago, it is not too hard to come by and usually sells for a fraction of what the full soundtrack goes for. Regardless, when it comes to the music of Lament of Innocence and music in general, this sampler proves less is sometimes more, much more.

Overall Score: 8/10

Sonata Arctica (2003) Winterheart's Guild

"Has lost a bit of clout over the years…"

As odd as such a statement may seem for the beginning of a review, Winterheart's Guild is one of the most peculiar records I've ever come across. It's not the music that's unusual, but rather how many times my opinion of the album has changed over the years. Off the top of the head I can't think of another album that matches the heated, internal debate Winterheart's Guild stirs within me.

Still, my experience with "Winterheart's" really begins in 2003 after receiving a mixed CD with "Victoria's Secret" and "The Ruins of My Life" on it from an old friend. Of the two songs I found that really I liked "Victoria's Secret" but I totally despised "The Ruins of My Life" and still do. Despite the latter being one of the worst songs that Kakko has ever penned, I was definitely interested in hearing more of the album, especially after checking out Silence and Ecliptica. Unfortunately, my first impression of Winterheart's Guild was somewhat negative. There was something about it that quickly put in behind its predecessors. The album would remain at the back of the pack until I got a roommate of mine interested in the band and his interest reignited my exploration of the band's music. Eventually I discovered I liked the album, I liked it a lot. There was something about it that was simply "edgier" and a bit more chaotic than the straight-laced albums that preceded it.

For years, and even through the release of Reckoning Night, this was enough to put the album at the top of the heap. Things would eventually change with the release of Unia - an album I disliked for the better part of a year. Once Unia wore down my initial defenses - presenting the change I didn't know I wanted - I realized it and follow-up The Days of Grays outclassed the majority of band's previous material. After listening to those albums, I found it hard to have patience with a speedy, one-dimensional track like "The Cage" or a slow, one-dimensional track like "Gravenimage." These songs are far from bad but they just can't compare to albums with more to offer, or even other songs on this album like "Champagne Bath," "Silver Tongue" and "Abandoned, Pleased, Brainwashed, Exploited."

Beyond knocking "The Cage" for being a bit shallow, you may notice that the slower songs are the ones I'm picking on and not the fast ones. This ying and yang is another area that's been slightly tarnished by time. Despite the band being more known for their speedier numbers than slower ones, I always felt the band struck a good balance between both. The band's newest releases reaffirm this to me but Winterhearts, perhaps more than any other album, proves the slower pieces are more susceptible to time's wear and tear. As noted, "Gravenimage" has some problems getting out of the gate as does "Broken" even though it's still one of the album's greatest calling cards. Things get even more confusing as the album draws to a close with the ultimate Replica wannabe "The Ruins of My Life" and enchanting yet conflicted "Draw Me."

CONCLUSION:

Neither the star-studded masterpiece nor the misguided rush I initially thought it was Winterheart's Guild is an album that is shrouded in a veil of uncertainty. As important as the album is in the scheme of things, albums like Unia and The Days of Grays have done a more than efficient job at chipping away at its allure. Such a situation is a double edged sword. While one would obviously want the band to continue their effort in making great music no one wants it to be at the expense of where they've been. Alas, that's something musicians can't really help. That said, even though Winterheart's Guild will always be there, it's definitely less inviting than it once was.

Overall Score: 7/10

Doom Music

Hailed by many as one of the forefathers of first person shooters today, id Software’s Doom is a title that needs little introduction. Initially lighting up PC’s in 1993 and 1994 before making its way across the vast field of home consoles available at the time, the simple story of a stranded space marine determined to make it home was destined to become a classic. However, despite the accolades the game received in its heyday, something peculiar occurred in the years that followed. Unlike classic side scrollers like Super Mario Bros.3 and Mega Man 2 that command respect when brought up in conversation, Doom has encountered the opposite scenario. Honestly, I can’t count how many looks I’ve gotten for bringing the game up when the subject turns to the FPSs, even from game store employees who advertently or inadvertently tout their knowledge of video game history like a name tag. Is it such a stretch to connect Halo to Doom? Does Doom have the computer equivalent of cooties? When did it acquire this case of cooties and why wasn’t I notified? I can totally understand puzzled looks when pulling an obscure and downtrodden title like SaGa Frontier out of the hat of video game reminiscence, but this is a game that had an immense cultural impact.

This leads to the inevitable question: do fans of first person shooters even savor their games? This is not to insinuate that all fans of the genre are fickle or shallow, but this is the feeling one gets from some of them and members of the industry. Still, as bright and shinny as games have become, there is something to be said about the beautiful simplicity of Doom. In fact, I’d go as far to say that I’m more impressed with what id was able to do back then when compared to what developers are currently capable of. Such admiration may teeter on the edge of fanboyism, but it’s not limited just to the gameplay and the world built around it but to the music as well. However, before one can explore what it brings to the experience, one must explore the rich tapestry behind it.

~ Robert Prince: Composer, lawyer and… rapper extraordinaire?

One of the most interesting aspects about the music of Doom and Doom II: Hell on Earth is the use of “sampling” by composer Robert Prince. Sampling, the process of lifting recognizable riffs, beats and notes from previous works to bolster new works, became a relevant topic with the emergence of rap and hip-hop in the early 1990’s. As would be expected, this practice has led to numerous lawsuits centered on copyright law and intellectual property. Although it may not seem like it, the music of both games is loaded with beats and riffs lifted and inspired from various heavy metal outfits like King Diamond, Pantera, Slayer and even Metallica. Utilizing his past experience as a lawyer, Prince was acutely aware of how far he could encroach on these original works before a legal line was crossed. Clever as these small musical asides may be, they account for little of what the music has to offer.

~ Doom: Original PC MIDI

Odd as the comparison may seem, the original PC MIDI of Doom reminds me of the NES. Both are quite primitive in the sound department, but that’s about all they have in common. More often than not, NES music has a certain quality to it that makes it charming. This fails to be the case with Doom's crude functionality. However, in the heat of the moment it doesn’t detract from the experience as the infamous “At Doom’s Gate” quickly proves. Regardless, there are certain times where it seems like Prince wrote the bulk of these tunes without considering the limitations of the format, or that they were conceived using a completely different and superior sound spectrum before they were retrofitted for use in the game. This results in lows that don’t sound low enough and percussion that doesn’t sound punchy enough. While some tracks like “Kitchen Ace (and Taking Names)” and “Sign of Evil” lose out because of this, there are those that make out like bandits. The thin nature of the sound greatly adds to a fleet footed piece like “I Sawed the Demons” and the electronic nature of the instruments only enhances the drive that helps “Deep into the Code” define a level like Pandemonium. In the end, the means used to present Prince’s devilish depiction of Phobos, Deimos, and Hell is unimpressive, but it does little to dilute its message.

~ Doom: Doom Music

Cut and dry as it may sound, Doom Music’s greatest advantage happens to be its greatest shortcoming; namely, that while the enhancements to the overall audio quality are nice, they are meager. The aforementioned “Kitchen Ace” and “Dark Halls” are some of the best examples, their beats still remaining a bit too shallow despite what the additional reverb brings to the table. It’s this that makes the inclusion of “Sinister” and “Suspense,” tracks that are dead ringers for the names assigned to them, no-brainers since they are predisposed to revel within such tweaks. As important as is it to present this side of the score to the listener, the improvement is moot since the game’s MIDI had no real problem presenting them to begin with. Still, when it comes to really changing something to the point where it is undeniably notable, nothing surpasses “At Doom’s Gate.” In a love it or hate it move, the track has been infused with (higher sampled) sound effects. Hearing these classical noises in such clarity is a hoot – especially when the shotgun coincides with the percussion – but with it being the only track presented in such a fashion, it’s understandable why it feels like an unwelcome intruder. Be that as it may, while the story of the original game’s music would appear to have reached its conclusion, rest assured it’s only just begun.

~ Doom: The Super Nintendo Port

Much like Capcom’s Street Fighter Alpha 2, Doom also happens have some strong links to the 16-bit arena. Like the aforementioned one-on-one fighter, id’s incarnation of the game on the fading SNES is of little note beyond its uncommonly superior soundtrack. Really, beyond the slight stumble in “At Doom’s Gate,” the Super Nintendo’s SPC700 fixes nearly every deficiency outlined above. Topping off the curious, bouncy bass in “The Imp’s Song”? Check. Fulfilling the need for more piercing percussion in “Kitchen Ace”? Affirmative. Giving gritty life to the mournful cries heard throughout “Sign of Evil”? You bet. Adding that slight mystical edge to “They’re Going to Get You” and “The Demons From Adrian's Pen”? Done. Evening up the intensity within “Facing the Spider”? No problem. The list goes on and on and on. It is a bit of a let down that “Deep into the Code,” “I Sawed the Demons” and “The End of Doom” had to be cut due to memory limitations, but whoever was responsible for the sound programming at Sculptured Software during this port’s development deserves a round of applause for adding the finishing touches to Robert Prince’s vision.

~ Doom: The PlayStation and Saturn Ports

In one final stop before tacking the music of Doom II: Hell on Earth, we explore what happens when one does a one eighty with the musical identity of a game/series. So, what does happen when you replace Prince’s presidio-rock with a newly concocted ambient score? You change the object and feel of the game substantially. Gone is the in-your-face concept of shooting everything that moves and in comes the idea that slow, methodical cautiousness will win the day. It’s like night and day, it’s like North and South. Anyway, while I’ll be the first to admit ambient music is not my thing, some of these pieces (like the one that presides over the Halls of the Damned) stir an interest in me even though I favor Prince’s work. Those that don’t however should do themselves a favor and check out this work by Aubrey Hodges.

~ Doom II: Original PC MIDI

With Doom II, Robert Prince would find himself not only musically depicting the forces of Hell, but depicting the havoc they were raising on the earth itself. Crawling with dark, moody and action packed numbers, this soundtrack is home to the same kinds of compositions as the original, but differs in two major ways. The first is the improved usage of the MIDI, which makes itself apparent from the outset and gives the listener the impression that these tunes were written and programmed with the limits of the format in mind from the beginning. This makes signature moments like the clunk of the percussion in “Running from Evil” feel as if they were a choreographed part of the track from the beginning. This doesn’t seem to be born out of the game’s need or use of slightly more advanced hardware (than its predecessor) either, meaning it appears to be the result of a composer finding out what works and what doesn’t. Lows are appropriately low, beats sound thin when they need to sound thin and thick when they need to be thick. The other aspect that’s been added to the formula has to do with the increased track length, the gothic “Into Sandy’s City” providing an appropriate illustration. Within its nearly five-minute time frame, the core composition repeats a total of three times, but in switching up the leads and instruments on each repeat an illusionary amount of girth is created. It’s hard to tell how much this really adds to the experience, but with the music of the first game succeeding without such a support structure it falls behind the other improvements to be found here.

~ Doom II: Doom Music

Just like the selections from the original game, the music of Doom II doesn’t gain much from its upgrade either. In fact, there is even less to gain since the in-game versions have such an advantage in the sound department, but then who is going to complain about improving them even more? The main attraction here lies in the trifecta formed by “Running from Evil,” “Doom” and “Into Sandy’s City” when they’re taken in as a whole. Great tracks like these combine with key levels and bring the game’s subtitle “Hell on Earth” to life. There's a lot more at stake with the remaining picks however. Where's a sadistically fun and entertaining track like “Between Levels”? There’s no room for such a scrumptious anomaly but there's room for the long and monotonous “Opening to Hell”? Please. This musical backdrop is the least memorable thing about The Icon of Sin, although in Prince's defense I think any piece of music would get lost in a level with such a congested boss situation. Regardless, with the track representation being twelve to eight in Doom’s favor, a weak link is a weak link.

~ Final Doom TNT Evilution: Original PC MIDI

Before wrapping up this journey through space, hell and earth, it feels appropriate to comment on an even less represented chapter of Doom's musical history. Unlike its spawn-of-Satan counterpart The Plutonia Experiement, the TNT Evilution campaign of Final Doom contained a handful of new compositions from the members of Team TNT. Unfortunately, while some of the details about this score have been lost to the ages (composing credits for all these tracks aren't known) this work deserves a quick nod. Powerful compositions like “More” (credited to Tom Mustaine) and “Death’s Bells” drip with a flavor that would initially suggest Prince’s involvement. Other tracks like “Smells Like Burning Corpse” and “Into the Beast's Belly” feel like the spiritual successors to “Kitchen Ace (and Taking Names),” but it’s the slow, almost jazz-like burn heard throughout the Steel Works ("Cold Subtleness") that delightfully challenges everything one has come to expect from the series musically. Needless to say, it you like what you hear on Doom Music, TNT Evilution is another mandatory pit stop.

CONCLUSION:

While most will obviously question the value of a release that bears little improvement over the material it recreates, those that explore and become enamored with the music of Doom and Doom II: Hell on Earth will find little reason not to acquire this sole, official record of Robert Prince’s contribution to the PC phenomena – if they can find it. Still, such rarity should not deter anyone from tracking down and listening to the in-game MIDI that’s been derived from the game itself in lieu of such an acquisition. That said, Doom Music is not just a fragment of a soundtrack that paints the portrait of the hostile world the Doomguy has been thrust into; it’s the soundtrack to the hostile world you have been thrust into when you play the game.

Overall Score: 8/10

Metal Gear Solid (PS1)

"Metal Gear Solid can tell one heck of a story, but I can no longer turn a blind eye to everything else"

It goes without saying that every once in a while a game comes around that is dubbed as an experience. Beyond the simple fact that every game is an experience, we tend to use such terminology when a game is lauded as above and beyond or is considered essential playing. Unfortunately, while many believe the endless praise they pay towards these games helps them remain appreciated down the road, it often has an undesired effect. Sometimes such praise only delays the negative and unforeseen - or rather ignored - aspects of a game from being seen. While there are several games that come to mind when looking for the usual suspects, one game tops them all: Metal Gear Solid.

Now, I'm not here to rain on anyone's parade. I still have a great deal of respect for what Metal Gear Solid brings to the table, and I couldn't imagine any serious PS1 library without it, it's just that after my latest playthrough I'm no longer willing to let the game's triumphs overshadow the things that drive me clinically insane. So what are those things? Well, before we get into that, let's look at why the game is celebrated.

As if it's any kind of real surprise, the driving force behind Metal Gear Solid is the narrative and its cinematic nature. Of course, we all know the jokes that go along with this territory: "Metal Gear Solid is a great movie, err... game to play" and "there's about fifteen minutes of gameplay in the entire game." While there is some obvious hyperbole in there, there's a bit of truth to the sarcasm. Additionally, the skepticism that many level at the story and its plausibility is justified as well. Still, this being a video game, a place where imagination should be allowed to roam free, and taking into account what Kojima and his crew were trying to accomplish, I'm willing to sacrifice some control and realism for the sake of the overall vision. The most crucial element in all of this is the characterization of the game's key players. The full voice acting goes a long way in accomplishing this and it's amazing well done (outside the hilariously bad continue screen pleas) but it's the writing that clinches it. Unlike a Mega Man X game where Capcom tries (and fails) to make us feel bad about "retiring" bad guys, Metal Gear Solid actually does make one feel bad about gunning down the members of FoxHound. For example, while the actions of Psycho Mantis and Sniper Wolf are far from excusable, once we hear about their tragic pasts they become more than a mere obstacle blocking your way. As poignant as the characters end up being, the obvious anti-nuke message and the "just live" sentiment near the end come off a lot more tongue-in-cheek than most would probably like. We all know that Snake is going to be dragged back to the battlefield at one point or another, there's no need to toy with us about that.

As for my problems with Metal Gear Solid, some of them actually start with a quick read of the manual. I'm not talking about misprints or misinformation; I'm talking about the writing of loaded statements. Can anyone read the section on the second page (What is "Metal Gear"?) and not feel the bar has been set way beyond the sky? "Fighting alone does not make a game, stealth is more important!" "Metal Gear had a huge impact on gamers and manufactures alike." "...the "Metal Gear" series continued to be widely discussed as a visionary masterpiece." All these of these cringe worthy statements begs the question: why couldn't Konami let their product speak for itself? So, I take it a game that emphasizes stealth is better than a game that encourages running and running, or a game that has both. If Metal Gear had such an impact, why didn't we see a game during the SNES/Genesis era? Finally, when a company calls their own product a "visionary masterpiece" I can't help but lose a little faith in what I've been told about Kojima's humbleness. We won't even touch things like the phrase “human drama” in it's relation to a video game or putting the words "Metal Gear" in parentheses.

Okay, so the above doesn't really count because we're not really talking about the game, so let's get to that all-important element, game play. I'll admit years ago everything seemed fine and dandy to me in this respect; snapping necks and shooting stinger missiles quickly became second nature. Unfortunately, I completely forgot about the ill-conceived inventory system (why can't the Key Card always be active? I love switching between items like crazy in gas-filled rooms) or how touchy the controls are when it comes to the difference of flipping an enemy over my shoulder and choking them. The kicker is just how annoying some of the scenarios you're thrown into can be (the communications tower) and surprising amount of expertise they can require. At times it feels like you're set up to fail. I'm hardly against trail and error (actually, I think they give badges out to Syphon Filter players for that), and I know I'm not a particularly good Metal Gear Solid player, but I'm just not going to put in all that time to remember the game backwards and forwards, and remember where cheaply placed camera turrets are in electronically jammed areas. All in all, there's a level of cheapness ingrained within that I just couldn't ignore anymore.

Ironically, as troublesome as the above can be, the true meat of Metal Gear Solid's game play is the various boss fights. You'll stumble upon bosses at a super accelerated rate and they pretty much make the game what it is, not the parts in-between. Unfortunately, as fun and inventive as some of these battles are (the Hind, Sniper Wolf) they often feel more like an extension of the storyline than a component of the game play. There really isn't a boss fight that's not unique or memorable in its own way, but this is another area where the current reality snaps one out of their nostalgia fueled bliss. Some of these fights are annoying as hell to say the least, especially the two tortuous battles that lie beyond the titular battle tank.

Sound wise, beyond the previously mentioned voice acting, Metal Gear is competent to stellar. While I'm always in the mood for a good "Duel" (the boss theme) and can easily appreciate the rest of the mood-setting score, it's simply workman-like its construction and application. It's not really inspiring despite being appropriate. As for the sound effects, the amount of detail easily shows when your fire your weapons in areas that produce an echo or when you tap walls to attract enemies.

CONCLUSION:

Despite all the qualms above, is Metal Gear Solid still worth owning and playing? The answer is an unsurprising yes, but at the same time I can no longer pretend that the game is the bulletproof masterpiece many bill it as. Additionally, I am also done with the thought that it is automatically better than any of the Syphon Filter titles because of its pedigree. That may be true when it comes to narrative and cinematic quality, but not when it comes to the game play, which should be at the front of any gaming experience. Metal Gear Solid takes a gamble in this respect and wins, but it's not exactly the prettiest kind of win. Still, if there is anything could help Metal Gear Solid in the present, it's for people to be realistic about how it stands today and not pretty up the picture because they can.

Overall Score: 7/10

Remastered Tracks Rockman Zero

Originally conceived as an edgier, more “hardcore” version of the Mega Man that came before him in the sketchbooks of Keiji Inafune, the red clad, blond-haired character known as Zero would make his debut as a support character in 1993’s Mega Man X. While such a casting decision may have been a disappointment for his real life creator, the limited stature of his first appearance was a mere formality. Indeed, after an apparent death, a resurrection that could pit him in battle against his best friend, a semi-playable role the third time around, Inafune’s character would acquire equal billing in both Mega Man X4 and X5. An impressive feat for any fledgling video game personality, the most important aspect of this transformation may have been not how quickly it happened, but how it would affect the franchise’s future.

Looking at the original, in-game intention behind the character’s creation, something that was elusively hinted at in the final moments of Mega Man X2 and cast in stone with Mega Man X4, is it really so hard to see how Zero surpassed Mega Man X in popularity in the minds of so many? This isn’t to say that X was boring as far as protagonists go, but once you compared him to a character that was tortured by his own dreams and had few qualms about getting down and dirty in battle, X’s distaste for the conflict he inadvertently sparked upon the world with his discovery didn’t seem as interesting. Again, such a view is a matter of personal opinion, and it undoubtedly took the combined efforts of both characters to make the series’ world go round, but for one to dismiss the story behind the eyes of this Maverick Hunter as window dressing would be ludicrous.

However, it’s the world, or rather how the nameless masses are more important than the sole individual that drove the storyline of Mega Man Zero forward. Zero may have been the star, but the stage the games played out on was one of politics and drama, the resulting battles being a means to an end. Zero may have been a catalyst of change, but it was the inspiration he provided to oppressed reploids and others that eventually changed history. Some consider this to be the bread and butter of the series story while and others consider it its bane, in that it disregarded what initially propelled the character forward. Any and all misgivings aside, this shift in narrative not only altered the feel of the game itself but how the world would be represented musically. How did composer Ippo Yamada handle such a change? How would he paint such a picture? It turns out asking questions is the easy part; it’s finding the answers to those questions that proves difficult.

As outlined above, Mega Man Zero is not so much about the titular character as much as the unifying power of his exploits. This being so, there are only a few tracks that truly revolve around Zero and his distinguishing traits. The thundering “Theme of Zero,” lifted from the original Mega Man X and elaborated upon, is the most obvious example despite its restricted in-game usage. This places it behind the similar, pulse pounding boss/scene theme “Crash,” which ironically encounters the opposite scenario in that it’s been so overused it quit being funny years ago. Really, this being the only composition to be followed by an “IV” (instead of another, more worthy series of tracks) has haunted me even though there is nothing horribly wrong with any of its reincarnations. Other heavy hitters like “Deadzone” and “Emergency” stick to illustrating their given surroundings and situations but quickly run afoul, the percussion of the former raising some doubts about its “remastering” and the latter being an appropriate yet soulless danger theme that adds nothing to the proceedings.

The middle ground between all-out intensity and cryptic stillness is where Ippo achieves the most success, with the sound upgrade reaching the peak of its importance. “Hell Plant” no longer sounds like an aimless mass of instrumentation like it did on the Game Boy Advance, but such improvements pale once “Enemy Hall” makes its way across one’s speakers. The drive here is phenomenal, and acts as a prelude to some of Yamada’s work in future installments. While such leaps in quality are uncommon, it’s of little consequence when taking in great, springboard tracks like “Neo Arcadia” or a methodical piece like “Fake.” A more impersonal battle theme than “X vs Zero” from Mega Man X5 was, “Fake” focuses on how this battle plays out rather than touting itself as a musical extension of the adversary being fought. The track is simply ingenious in how it not only respects the past, but in how it musically illustrates the differences between two very similar battles. Polar opposites come together in a more tangible way within “Resistance” where bold advancement and relaxation intertwine in a satisfying hybrid of emotion.

In the remaining sub-section of music, one finds numbers whose core concepts have either been greatly built upon or have been seeded out all together. The eerie subtext heard throughout “Ruins of lab” would more or less disappear, although it’s my theory that it was the inspiration behind the dark and intense numbers that would help define the seriousness of the series storyline later on. The forward progress of “Express UG” comes into play in later installments as well, most notably in Rockman Zero Physis where similar pieces like “Caravan -Hope for Freedom-,” “Straight Ahead” and “Exodus” quickly make their mark. Still, this is not to say that every idea here has been revamped or extinguished. The warm embrace of “Captive Legend” (which is essentially the yin to “Theme of Zero’s” yang) has been retained much to the displeasure of a certain aquatic comrade of mine, and the stilted malice of “Infiltration” would once again pop up again in “Imminent Storm” even though “Infiltration II” would curiously (and successfully) drop this flavor in favor of the hard rock edge that was cultivated in Idea.

So, in breaking down the good and the bad, what does it all mean? What is it that makes that makes the soundtrack to Rockman Zero succeed or fail? Does it succeed or does it fail? Again, there is no easy answer, but while the minuses above don’t seem too detrimental when taken in one at a time and peppered with the positives, everything comes down to the use of phrases like “the future” and “in future installments.” But why? In what is a relatively unflattering cliché, each piece of music here is like a piece of a puzzle. When the music is put together in the game, it provides a clear enough picture. However, once it is when taken outside the scope of the game, the experience is a lot like putting the same puzzle together only upside down. It still all fits together, but imagine how surprising it would be if picture on the other side failed to form an identifiable object, as if each piece was derived from a different image and didn’t form a concise whole. You would be confused, right? This is the downside of the environmental/world approach used throughout, a ploy that leaves some tracks like “Scorching Desert” with not place to a call home.

Strangely enough, this conundrum doesn’t seem to be born out of the structure of the world as much as it originates from the composer himself. In essence, allowing Yamada to compose for a completely new Rockman saga was like removing the training wheels on the bike of a youngster. They’re going to wobble, they’re going to wiggle, and they’re going to fall down. This is certain, and it’s an undeniable part of what Rockman Zero presents to the listener. Unfortunately, there is a major difference between how people view the trails and tribulations of a fledgling bicyclist compared to those of a professional composer, one being expected and the other being unwelcome. Such a situation is compounded the general success that Ippo and Inti crew attained with Mega Man 9, adding even more validity to the idea that Yamada is very unsure of where to go when there is no guardrail guiding him. Factor in the unforgiving beast known as time throwing in its two cents into the equation and it becomes apparent all is not well here.

CONCLUSION:

While Remastered Tracks Rockman Zero remains an important building block in the music of the series - and the career of its main composer - the sad truth is that it’s a score that’s been severely outclassed by its predecessors. How this came to be and how quickly it occurred is a story in itself, but it goes without saying it would be foolish for one to pass over it when exploring what the series has to offer. Just be aware the experience isn’t built to last and that you may be chipping tracks off your playlist faster than you may be use to with a Mega Man soundtrack. Still, if there is anything to be taken from the experience set forth here, it’s that all the ingredients that make up the music for Mega Man Zero are present and accounted for; it’s just the recipe has yet to be perfected.

Overall Score: 6/10