Wild Arms 2nd Ignition Original Soundtrack Pt.3

1-27) Inn
The sleep/inn jingle is always an awkward part of a track-by-track review that usually goes as follows: passing judgment on a five to ten second "piece" of music, stating it's too short to give it a grade and then half expecting the author to break into some kind of deep inner monologue. Even though I can't deliver on that last one, hopefully I can keep it interesting by presenting some odd facts about inns in Wild Arms 2nd Ignition. Contrary to other RPG franchises the inn theme of Wild Arms has been carried over throughout the games, realigned for each appearance. This time around that dreamy, bed head feel is toned down even though we still have the guitar and whistle present. The bad news is the more you hear this during the game the more unlucky you may feel. Sleeping too much (being a sloth) in Wild Arms 2 decreases your character's awareness (which is controlled by the luck statistic) and leaves them more open to surprise attacks and diminishes their chances of learning/absorbing new abilities. As clever as it seems to implement such a system, it fails to take into account that once you acquire a certain character you'll rarely need the services of an inn again. (N/A)

1-28) Heading Far from the Sea
Like the waves of an angry sea sinking the sturdiest ship or testing the hardiest sailor, the hands of time can dull the sharpest points and fade even the most vibrant of colors. Cruel as that may seem, there are occasions where time is the greatest of allies, allowing us to see things we couldn't see before. This is the bane of the lullaby-like percussion and ferryman whistle of "Heading Far from the Sea" as it attempts and fails to live off of its simplicity. How the moon steals its shine from the sun is reminiscent of how this track steals its perceived shine from similar tracks like "Live Reflector." The only problem is no one is going to mistake the sun for the moon and the same could be said about the vast difference in quality between these two tracks. For this listener, this piece's days of latching on to uncomplicated tracks that actually add something to the soundtrack are far over. (5/10)

1-29) The Stronghold Surfaces!
For a theme reflecting on an incredible piece of aviation technology, "The Stronghold Surfaces!" sure goes nowhere fast. The strong and bold opening plays into the title very well — that exclamation point is not just there for show — even though it does feels a bit phoned in. Any and all praise is short-lived however, as the track loses focus as it putters around looking for a purpose much like the enormous albeit limited vehicle it represents. Actually, I take back what I said about the beginning — with its expansive, nature encompassing aura, the WHOLE thing feels phoned in. As laughable as the idea of a head-to-head comparison is, it's really hard to say which — this, or "Heading Far from the Sea" — deserves the dishonor of being labeled the worst transportation-based theme. To its credit, at least "The Stronghold Surfaces!" doesn't try to be something it isn't. It is as thin as paper and as enjoyable as sugar free gum from the get go. (5/10)

1-30) Harbinger of the Hurricane
With two flaccid vehicle themes down for the count, it's not hard to imagine the skepticism surrounding the third and final entry. Neither the final nail in the coffin or a magical cure-all for this taxed section of the score, "Harbinger of the Hurricane" will likely disappoint those looking for an offering as grand and sweeping as "Bird in the Sky (Emma's Theme)" from the first game. However, such a comparison seems unfair for a variety of reasons, among them pitting a track with a solitary message against one with a dual message. One could argue this composition, fueled by the finale and paranormal motifs heard earlier and the lead avoiding the temptation to go whistle on the listener does give it multiple dimensions. The track really fights this premise though, which given it shared characteristics with "Field: Last IGNITION" is completely appropriate. Short of stellar and beyond mediocre, the dose of adrenaline "Harbinger of the Hurricane" adds to this formula is worth your time. (7/10)

1-31) Dungeon: Natural Type 1
The two tracks that make up the "Natural Type" dungeon series are a mini-history lesson about Naruke's ability to make a compositional scheme work one minute and then have it backfire a track or two later. With a ruse that should be more than recognizable by this point, "Dungeon: Natural Type 1" attempts to grab the listener by providing a sound that is both familiar and befitting of its environment. While "Natural Type 2" manages to make something of itself despite this, "Natural Type 1" does not. The happy-go-lucky mine/mine cart ride subtext is so generic and deep seeded it smothers the better (yet not necessarily good) aspects of the track like the harmonica. The nicest thing I can say is even though it truly adds nothing to the score (outside of reinforcing how every positive becomes a negative at some point and vice versa) it's not a real burden here or in the game, though it doesn't have much life beyond the latter. (6/10)

1-32) Dungeon: Ruins Type 2
While "Ruins Type 1" helps support the rough terrain at the beginning of the soundtrack, it isn't until "Ruins Type 2" that the series validates itself as some of the "must hear" music in Wild Arms 2nd Ignition. If the lust of adventure is one of your guilty pleasures look no further: guitars, horns and harmonics are ablaze here, all out to capture unwary ears. This is hardly an accurate description on what's really going on here, the instruments not being as forceful as they seem — especially those in the background. It is from here that the underlying sorrow takes form and when it melds with the slight hesitation of the other instruments and creates that perfect sense of covert loneliness. As much as I enjoy "Dungeon: Ruins Type 2," I have to admit that Atsushi Tomita's techno/rock remix from the Wild Arms -Music the Best- rocking heart arrange album gives Naruke's original a real run for its money, though both are definitely worth a stop on their respective albums. (9/10)

1-33) Dungeon: Ruins Type 3
Game show! Game show! Game show! Okay, so you're not on a game show per say, but you'll feel like you've hit the jackpot as you collect the multitude of treasures inside the four elemental dungeons this piece calls home. As big of a smile "Ruins Type 2" puts on my face, "Ruins Type 3" makes it even wider. The beat of the percussion personifies descending flight after flight of stairs as your characters search for a way to combat menace devouring Filgaia. Still, the percussion would be nothing without the horns and their ability to switch emotional frequencies at a moment's notice. One second the fact that the world's future is in your hands is related via a reaper-like call and the next the playful, jazzy sound gives you permission to find fun within the above. In the end, this is what this series of tracks is about: do yourself a favor and accept Naruke's infectious invitation. (10/10)

1-34) Dungeon: Pinch Type 1
A scathing blow after some of the soundtrack's highest highs, the "Pinch Type" series takes the stage with some of the score's lowest lows. Used primarily for desolate and deserted towns, the idea here is to create uneasiness though disharmony. Naruke does just that, but the result feels so bloated and unattractive it makes it hard to swallow. This is a shame because there are a few elements — like the hard-nosed piano work at the beginning — that do stand out due to their steady aim but lack the ability to really gel with one another. Regardless, it's these small glimmers of light that keep "Dungeon: Pinch Type 1" from being a complete let down, though most will find it as unforgiving as the wastelands of Slayheim itself. (5/10)

1-35) Dungeon: Pinch Type 2
Given that "Pinch Type 2" does little to mend the shortcomings of its predecessor, it should come as no surprise that its effort to burrow into the mind of the listener ends up short even with its few additional perks. The main melody is more concrete here, but that static sense of oppression that Naruke runs into the ground throughout the score challenges it with its unyielding drive. Ironically, the aspect that garners the most attention is once again the piano, the stone cold performance before the repeat paying homage to the first track in the series and easing the pain of all the droll musical climaxes that come before it. The most unfortunate thing about the sound and direction of these pieces is it doesn't end here, making for some mind numbing experiences ahead. (6/10)

1-36) Dungeon: Horror
Regardless of how blunt it may sound "Dungeon: Horror" is an annoying track. It's not annoying in an "I can't believe they thought this sounded good" kind of way but a "thanks for reminding me of all the antagonizing dungeons in the game" way. That being said, those that have never heard this piece in context probably have an advantage over those that have (unlike every other track presented) though they don't miss out on that in-game experience entirely. What initially seems to be a piece full of wonder quickly sheds it skin, revealing what is a rather sarcastic performance by the lead instruments. They pull at you and tease your senses like the intersection of a maze as the pompous beats rack your brain with endless decisions. It's a lot like the entrance of a labyrinth itself: the thrills and excitement in "Dungeon: Horror" seem devilishly alluring, yet once you pass the same structures inside again and again you begin to feel how unwelcome you really are. (6/10)

1-37) Dungeon: Urgent Situations
More of a danger/crisis theme than a full-fledged dungeon theme, "Urgent Situation" reiterates the idea that these types of tracks are neither a particular strength nor a glaring weakness of Naruke's. However, to understand how this piece becomes stronger because of this, one needs to acknowledge that there is strength to be found in perceived faults. For a danger theme, "Urgent Situation" doesn't really bring the power pound for pound, instead opting to work with a subdued palette through all three tiers of intensity. It's too relaxed to be truly engaging, but then we don't really need another "Chase." My favorite part is when the percussion shows up and breaks things down at the end right before the loop, essentially resetting the piece. Those looking for a little more meat to such tracks will likely pass even though it's wired pretty much the same. (7/10)

1-38) Dungeon: Battle Preparations
Contrary to other dungeon themes, "Battle Preparations" is not used throughout the exploration of a location but rather when one encounters an enemy with whom they share a witty retort. What's odd about the track is it doesn't give into that thick, stereotypical drama you'd expect but the other way around; the reserved build up of tension sounds like something played during a raffle of some kind. What's even odder is how fitting the above description really is, the scene accompanying it in the game showing the main character making a huge gamble with the emotions of another. Musically, the way Naruke manipulates the emotion of the instruments — going from serious to almost comical — by implementing moments of slight hesitation is clever even though its far from seamless and a bit to wishy-washy to listen to out of context. (6/10)

1-39) Dungeon: Mystery
For the musical backdrop for dungeons that are guardian related but not guardian specific (if that makes any sense at all), there is a lot more going on in "Dungeon: Mystery" than its tranquil mood would suggest. For example, whip out a pair of headphones and check out that killer low level that tucked away in the back. Awesome. Still, what makes this piece significant is the banjo and how unorthodox its inclusion in such a serene piece seems until you hear how compatible it is with the flute. Working in tandem, there is never an instance where one instrument tries to shove the other aside in an abrasive manner to grab the spotlight. Even the wily whistle that steps in and out adheres to this concept as it harkens back "Hidden Village," hinting that what we have here is more than just a dungeon theme. "Dungeon: Mystery" may lack the impulse of "Ruins Type 2" and "Ruins Type 3" but it doesn't need to, presenting its own nonchalant charms. (8/10)

1-40) Dungeon: Odessa's Hideout
You knew it was coming, that the doom and gloom of the "Pinch Type" series would rise again. The only thing you didn't know was how soon that specter would reappear. Pretty much everything I would say here I've said elsewhere: the track undoubtedly drives home the idea of oppression — a good match for an aggressive, terrorist organization — but do we have to hear this expressed in the same fashion each time? If I was a member of Odessa and had to listen to this all day in the compound I was guarding I'd defect to ARMS quicker than you could say "Valeria Chateau" so I could hear something less depressing. There's a bit of a mechanical motif here too, a reference to Odessa's use of ancient technology to push people around. Whatever excuse you want to use to try and put a positive spin on what's here, it isn't very enjoyable or engrossing. (6/10)