Wild Arms 2nd Ignition Original Soundtrack Pt.2

1-13) The Young Witch Appears
Being the first of a few pieces dedicated solely to Lilka, crest sorceress and little sis of the famous Eleniak witch-girl of Sielje, "The Young Witch Appears" is a hole-in-one when it comes to representing the bumbling nature of the game's main source of comic relief. The nutty, kooky percussion, the "woo!" vocal sample that peeks out every once in a while and the questioning subtext paints the perfect picture of youthful inexperience and childlike wonder. The only thing is it's not perfect. It's... too easy. Looking at the vast ocean of classic character themes that have graced games over the years this one misses mark; it neither makes me melt in my seat nor do I really think of the challenges the character will eventually overcome — something "Separation" totally nails. Because of this, it's hard to have patience towards the track, especially when one is waiting for a crisp battle or dungeon theme. Even if it works from a standard point of view, it is unsuccessful at accurately hinting at what drives Lilka forward. (6/10)

1-14) Separation
While it may not seem like it (um, let's see... what's the highest grade received by a track so far — an 8?) the Wild Arms 2nd Ignition Soundtrack is home to some wonderful tracks. I know, I know, when are we going to hear them and see some 9's and 10's. Rest assured they are coming, but in the meantime there are some delightful tracks like "Separation" that share their own brand of magic along a way. Used to portray the physical and emotional distance between characters at various points in the game, the fact that this piece is not a character specific has always dumbfounded me. Why the odd statement? This track is just hook, line and sinker Lilka to me. The hollow passages of the flute and wavering effect of the remaining instruments just (silently) scream her name, giving the void within shape. So no, it's not really a character theme, but damn, it sure is in my book. The simple structure of the composition and spot on flute samples bringing it home. (8/10)

1-15) Monsters Appear
Crap. After the last track it would have been nice if the soundtrack could have surrendered a few more of its higher end tunes but it continues to horde. Oh well, what can you do short of putting them in a better order in a playlist? There isn't much to say about "Monsters Appear," the horn's declaration of dread is pretty standard, but it's the curious, almost devilish little notes that follow that make the track feel almost... cute? This makes one wonder if this was a conscious effort by Naruke to link this back to "The Young Witch Appears" due to the fact both appear in Lilka's introductory adventure. What ever the case may be, the elements that make up this piece are interesting yet not really worth investigating outside of its zone of safety. (6/10)

1-16) Victory!
On the heels of the not so hot "Monsters Appear" is the fanfare crafted to balance its mood by association. Regardless of its intended purpose, "Victory" is yet another instance where the title leaves absolutely nothing to the imagination as the expression of triumph is even more generic than the previous track's take on despair. Sure, that Wild Arms vibe is there but it only reinforces how painful it feels when playing that card fails to turn an average item into something special. It's worth noting that even though this piece is not employed as a battle fanfare, it could very well lend itself to such an application given the right situation, and it does give some foresight into Naruke's work in that area. (6/10)

1-17) A Journey
To talk about "A Journey" without reflecting back on "The Young Witch Appears" and "Victory!" is rather impossible because while this track doesn't flat-out railroad the others into submission, it is successful in achieving similar goals. Neither bound by the "dissect the core of the character" directive of a character theme nor the product of over watering a basic idea with Wild Arms Miracle Grow, "A Journey" has the ability to sidestep these problems. The reason why isn't very apparent on a one-on-one basis with the soundtrack itself but it's usage in the game that allows it to do this. One of the better one-shot tracks, this is the highlight of the Lilka specific numbers ("Separation" not counting *frown*) that cements the fact that the interplay between the last few tracks should be commended even if a lot gets lost in translation along the way. (7/10)

1-18) Quiet Night
There is so much to rag on here it isn't even funny, though none of it has to do with Naruke but rather Yasunori Mitsuda. If you're wondering what he could possibly have to do with a Wild Arms track here's a hint: music box. As hard as I try to banish thoughts of similar tracks in Chrono Trigger and Xenogears they always find their way back when listening to "Quiet Night." Simply put, Mitsuda's ability to wrap a melody around the frontal lobe of a listener with this *instrument* is so razor sharp it's downright sadistic. Naruke's excursion into this realm is a bit more layered but has too few weapons to battle the mental contamination (the good kind mind you!) from Mr. Music Box above. Still, there is nothing to be gained from blasting this piece into orbit. (7/10)

1-19) Formal Ceremony
A stifling and wretchedly stereotypical piece, "Formal Ceremony" is a track that is devoid of life or soul outside it's one and only appearance during the ARMS (Agile Remote Mission Squad [NA]/Awkward Rush & Mission Savers [Japan]) commencement ceremony. Yeah, for something like this to play during such an event is hard to imagine. The upbeat percussion and proud horns go on in all their glory but you've heard it all before. Okay, so it's not as bad all this sarcasm is making it out to be. It's listenable, yet Naruke did herself and the soundtrack a great disservice by not tinkering around with this idealistic sound any further. Furthermore, had this piece had been crafted in a manner that made it more accessible, it may have been able to accommodate more scenes. This is the track's complete undoing because "Castle," a later track similar in style and substance, could replace "Formal Ceremony" despite lacking a significant amount of superiority. It's never a good thing when you can prove a track to be unnecessary. (6/10)

1-20) 1st IGNITION
While a curious metaphor, "1st IGNITION" is a lot like that person you knew in high school that had to play in every sport and be a member of every club. You scratch your head wondering how they accomplish so much but though observation you begin to realize they don't have it so great; their assets being stretched so thin they never have time to have unscheduled fun let alone breathe. This is the story of "1st IGNITION," a musical storybook of Filgaia's salvation crammed into a single, two minute segment. Normally this wouldn't be an issue, yet the precedent Naruke set with "Funeral March" in the first game fights this premise. Here we have a wide variety of emotions being expressed during the post-introduction credit roll as opposed to one. Naruke does a good job at stringing the emotional fragments together and incorporating some of the later themes, but it's not until the very end that we know what we should take away from the experience. The piece feels lopsided as a result even though the emphasis at the end is right on. (6/10)

1-21) Field: Roaming
At first, this seemingly standard take on the main theme "You'll Never Be Alone" may appear to be nothing to get excited about, yet this track marks a real turning point for the soundtrack. Could this be the result of the aura of freedom presented by map themes in general ("roaming" being a killer adjective here) or the sense of promise the whistling instills in the listener? Whatever it is, "Field: Roaming" does feel a bit limited when compared to future field themes, mostly due to the warm, almost earthen embrace of the instruments that reminds one of the travel restrictions placed on the player in the early stages of an RPG. Perhaps the best thing about this track (besides being the basis for some of the more endearing love pieces) is how it manages to capture the importance of the character's journey without being a monstrous epic or completely giving into the playfulness sprinkled throughout. (8/10)

1-22) Field: Distorted Sky
For some reason, I can't help but think of Doppler radar whenever "Field: Distorted Sky" comes across my speakers; its waves emitting from a central point, fanning out in search of dark and dreary clouds like the alternating bass and double bass percussion waiting for something from beyond to respond. The eerie whistle taunts and teases the listener with thoughts of the heavens being devoured by chaos. By the time the acoustic guitar jumps in at the end with its frightful cold notes of worry, you know something big is happening in Filgaia. Really, while I haven't said a whole lot about this track I can't say enough — Naruke blends her western sound with the paranormal so well it's scary. What's even scarier is she sacrifices nothing to do it: no bizarre or out of place samples, no compromises. This is the kind of stuff that brings me back to the Wild Arms 2nd Ignition Original Soundtrack time and time again. (9/10)

1-23) Field: Last IGNITION
Forgoing a lot of the conventions expected of it by relation, "Field: Last IGNITION" drops the whistle motif present in the previous field themes and offers a straightforward experience unlike "1st IGNITION" on which it is based. The absence of the former is merely a façade however, as the lead synth takes center stage as the track progresses much like a whistle would have. There are a myriad of emotions captured as well: the simultaneous gearing up and winding down of an adventure nearing its finale gives into the uncanny sadness of an uncertain future. None of this is groundbreaking and it is still no match for "Field: Roaming" or "Field: Distorted Sky," but it taps the right resources well enough. (7/10)

1-24) Town Where the West Wind Blows
Town themes have always been an interesting subdivision of Wild Arms music with Naruke at the helm. I don't mean interesting in a "nice try, but..." sort of way but interesting in that they are never tackled in the same exact way in each game. The original Wild Arms had pieces that felt like social commentary on how the nature surrounding each town influenced it in some way, while a similar approach in Wild Arms Advanced 3rd took on a more gritty and personal touch. In contrast, Wild Arms 2nd Ignition makes a real departure by concentrating on the excitement to be had in towns, whether it be haggling with weapon store owners or cleaning out people's houses due to your rampant kleptomania. "Town Where the West Wind Blows" does just this, the flute lying down that typical town vibe as the xylophone-like notes create a childlike sense of freedom one would expect to hear as they crank the handle of a jack-in-the-box. Those looking for a deeper expression of emotion will find this and most of the other town themes hollow, but there are times where things are fun because they are hollow. This is one of those times. (8/10)

1-25) Western Village
Most of what applies to "Town Where the West Wind Blows" above also applies to "Western Village." As it is, the experience here is so iconic of the Old West it is shameful; images of cowboys crewing on long pieces of wheat, lazily leaning against the front post of a saloon as they target a spittoon are all too clear. It is as shameful as it is its brilliant, brilliant because it simply embraces what it is without remorse, turning negative connotations associated with the cliché on its ear. Let go of your ego and see just how easy it is to get lost in this piece, how easy it is to forget the complete lack of originality as the two acoustic guitars intermingle. (7/10)

1-26) Hidden Village
Fans of Naruke's town themes in the first Wild Arms will most likely find that "Hidden Village" has the deepest and greatest meaning out of all her efforts here. They're absolutely right, though there are a few obstacles that may hinder one from fully connecting with it out of context. The first is while some of the instruments (e.g. the hollow percussion) convey that general village atmosphere the main melody feels a lot more personal than normal for a town theme. This is no mistake as the innocence that flows forth from this track is geared more towards the depiction of a young, beautiful soul than a town. The second thing that halts the complete comprehension of the track is the hidden subtext the game places on it at one point. As peculiar as it sounds, "Hidden Village" is meant to lead you into a false sense of security in one particular case and the bold sense of Baskar pride does just that. All of this and the contrast it shares with it's disc two replacement "Scene of Reminiscence" serves to show this track has a lot more going for it than a mere listen would suggest. (8/10)