As strange as it may sound coming from someone who can remember the most superfluous aspect about any given video game, I can’t quite remember what my initial thoughts were when I first heard that Mega Man X and his comrades would be crossing over into the RPG world. While former series director Keiji Inafune would have little problem in saying no to the idea and having nothing to do with the game’s development, I’m willing to bet I was curious. Sure, I wasn’t exactly thrilled when they announced the team behind the game was responsible for Breath of Fire: Dragon Quarter, but given how horrendous some of the games that had “graced” the series by that point were, I figured how much more damage could they really do?
As dangerous as it is to dare developers to do their worst, for most intensive purposes the experience Capcom put forth in Mega Man X Command Mission was far from another nightmare scenario. Unfortunately, dodging the trashcan doesn’t exactly translate into a ringing endorsement either. While the game was capable of standing upright, Command Mission was a rather uninspired creation; there wasn’t really one element of the game that really stood out. As damning as such a decree may seem that didn’t stop me from picking one of these elements and exploring it on a deeper level. In the case of Mega Man X Command Mission it just so happened to be the music.
Before we get too far into what Command Mission’s audio has to offer, I have to admit I’m far from being the biggest Shinya Okada fan out there. Credited with work on the Rockman X7 and X8 Soundtracks, Okada’s taste for techno-flavored pieces hasn’t really enhanced what action-oriented Mega Man has to offer as much as it has (annoyingly) tried to declare war on musical conventions that are fine and are not in need of changing. This isn’t to say a well done techno-infused piece can’t serve a Mega Man game (it’s been done and done well) but when you try and ramrod it down amidst other hard rock/metal influenced pieces in it’s purest form it’s obviously going to stick out like the sore thumb it is.
Here in nut shell is why the musical side of Mega Man X Command Mission works. With Okada being the head composer there are no other influences to battle. In other words Okada was given a blank slate and like a kid with a freshly written check from his grandma he cashes it as hard and as quickly as he can, drenching the canvas with his sound. I can’t say I blame him, I’d love for my ideas to be heard as well if I was a composer, but this opportunity doesn’t really arise for the reason the previous explanation would imply. So how does Okada get away with such a change in style? It all goes back to the idea of crossing over. With Command Mission being a turn based RPG as opposed to an action-oriented side-scroller, did anyone know what a Mega Man RPG was supposed to sound like? The answer, as if it needs to be said, is no. No one had a clue what a Mega Man role playing game was meant to sound like unlike an early Breath of Fire title, titles that were known for their epic, regal flavor.
So given that Okada is one lucky son-of-a-gun for landing the composing role for this game, is his work notable just because it breaks away from the norm or is it notable because it actually has some merit? The stone-cold truth would have me tell you it leans more towards the former, but my experiences with music would have me tell you it’s between the two extremes. As unimpressive and short as some of these pieces really are (check out the insanely insipid “Abyssal World”) there are others that truly bring the score to life. The quick-witted “Maverick Hunt II” and brooding “The Judgment of Truth” don’t seem too special at first but eventually prove themselves as some of the album’s must-listen tunes. Other tracks like the subversive “Unknown Energy” fly under the radar for so long it’s truly something when they finally pop out the woodwork and expose themselves for the wonderful works they are.
Still, if I was going to complement anything present on the Command Mission soundtrack, I would have to pick Okada’s character themes. In the game, some of these characters are as disposable as the cliches they ultimately portray. Yet this can’t be said when “Cinnamon Worries Endlessly,” “The Cheerful Thief Marino” and “Steel Massimo” come across one speakers. It says a lot when a composer can make one reflect on otherwise forgetable characters, the last two being especially powerful and also employed as battle themes.
CONCLUSION: As one would expect being part of a decent yet rather unimpressive product, the Rockman X Command Mission Original Soundtrack is far from being a must-have release. It’s interesting in a variety of ways but in a world where experiences are a dime a dozen and a click away it’s hard to say how many will justify even a brief excursion. Such truth laid bare, even I’m at a loss as to say how this little devil managed to worm it’s way into my heart - but then again I’m probably the exception and not the rule. Regardless, if you have the opportunity give it a chance, it just might surprise you.
When it comes to retro NES titles, I find it rather odd that Mighty Final Fight is the quote unquote rarest game I was looking to add to my collection. While I'll admit the SNES port of the arcade original is where Final Fight started for most, I can't say that title is why Final Fight has remained at the forefront of my gaming memories for as long as it has. So given that, what's so special about Mighty Final Fight? How could a downscaled rendition of a SNES classic be of such note? Well, as one would expect given the formula behind it, calling Mighty Final Fight special is somewhat of a stretch, even for someone who is pretty smitten with the game. It's obvious that hundreds of games, games from the Double Dragon series, Battletoads to Sega's Streets of Rage have crossed strikingly similar terrain over the years.
As blindingly derivative as gaming can end up being, most know there are times where experiences can thrive upon their simplicity. As simple as a game like Final Fight was, there's a part of me that can't help but think that it was a bit too simplistic to really show off a (new at that time) console like the SNES. This isn't to say I was disappointed with Final Fight, but to say it was a quantum leap over the last generation of brawlers (beyond graphics) would be a lie. It's this - the lack of any real progression - that makes Mighty Final Fight so attractive in an ironic sort of way. Simply put, there is no real sacrifice made in taking the series back a console generation. While I’ll concede that’s not exactly the most positive thing one could say about a game, the game’s super-deformed presentation has its own way of charming the player and is a worthy avenue to explore in contrast to the straight-edged look of its technologically advanced brethren.
That said, Mighty Final Fight still contains many of the irritants of the time. Despite being a last generation NES title, the amount of time the sprite layer of graphics spends flickering during game play is rather obscene. Granted, it's never enough to flat-out rail-road the experience but it does slightly mar what is an otherwise spectacular looking game. Perhaps what's even more surprising (e.g. disappointing) is the audio by Setsuo Yamamoto. I absolutely love good NES music but outside the crunchy boss theme Yamamoto's themes seem a little uncomfortable with their meandering nature. The last thing that brings the final grade down a bit is the difference power and speed have in relation to game's characters. Giving each character their own individual attributes is something that any game should implement, but as far as which one is the greater (or which one is more useful in helping you beat the game) speed has the definite edge over power since there are so many instances where speed is much more beneficial and can easily make up for the lack of power.
CONCLUSION:
Despite this, Mighty Final Fight is an enjoyable romp that is reminiscent of a simpler time. Unfortunately, the real problem with Mighty Final Fight is its cost. Again, not that you'd think it by looking at it, but the game is not exactly common and with so many other quality beat-them-ups available for a fraction of the cost, it's debatable how many will justify that cost. Those looking to experience the game while avoiding the price tag may want to check out the game on GBA where it one of the three games included in the Capcom Classic Mini Mix. Regardless of which path you choose, don't pass up on what can be experienced here just because of the art style or simplicity; Mighty Final Fight can be rather engaging if given the chance.
"Nice extras, but it's probably not worth the extra dough"
As most Mega Man fans know, Mega Man 8 on the Sega Saturn is somewhat of a rarity. Originally intended as Saturn exclusive along with the excellent Mega Man X4, this plan quickly changed when Sony made it known they were interested in bringing the games to the PlayStation as well. To the enlightened, such a story is riddled with irony considering it's widely believed Sony was more interested in showing off the 3D capabilities of their system than allowing 2D sidescrollers live on to the next generation. Tongue-in-cheek as it ended up being, in what was more of a tradeoff for the lost of the exclusive, Capcom gave the Saturn version the edge in bonus material. So what's so different about Mega Man 8 on the Saturn compared to the PlayStation? Not much, but enough to make the value of these releases as different as night and day.
As silly as it may seem, I remember being extremely upset that I couldn't fight Cut Man and Wood Man when I played through the PlayStation version all those years ago just because of what console I was playing on. These battles (and the remixed tunes that play during them) are nice touches, as are the sound, music and hidden animation test that appear in the additional bonus mode, but when you get down to it, these things mean ultimately mean little when the whole picture is considered. What am I talking about? Well, before one can really say how much these extras add one must ask how good the core game is. So, for a Mega Man game, how good is Mega Man 8? Does it sail towards the heavens or does it dwell in the darkest depths?
Shallow as it may seem, the deciding factor in Mega Man 8's failure and success ends up being graphics and art direction. Why? Well, when one considers that nothing of significant note has really changed in the gameplay department in eight games you can't really call that a defining element. For better or worse this is true, blue Mega Man. So, given that there is nothing truly new, it's easy to see why a rather superficial element such a graphics becomes important. However, this is where the game ends up divided upon itself. From a graphical standpoint the game is beautiful; I have no qualms about the quality of its 2D prowess. So what's the problem? The art direction. As if Mega Man 7 on the SNES wasn't bad enough, Mega Man 8 takes the characters and world we grew up with on the (blissfully limited) NES and shoves them through the cuteness grinder once again.
Now, I expect some to fire back with the argument that Mega Man has always been "cutesy," not necessarily in the games themselves (where the NES thankfully prohibited it) but in official artwork Capcom has produced throughout the years. Point taken, but that doesn't mean we have to indulge this and splash it all over the freaking screen. Okay, I'll admit if I want a dose of stone cold seriousness I could always pop in a Mega Man X game but I find it hysterical how Mega Man 8 is just the tip of the iceberg when it comes to this. Quite honestly I thought this game would go down as the cuddliest Mega Man game in existence but Capcom proved me wrong with Powered Up on the PSP. What's even more surprising (i.e. downright wrong) is how Mega Man 8 outsold Mega Man X4. Let me repeat that: Mega Man 8 sold more copies than Mega Man X4. How is that even possible? Here we have a game that literally adds nothing to its continuity while Mega Man X4 is a series highlight that gives the original Mega Man X a serious run for its money.
CONCLUSION:
As a product I have to say I somewhat loathe Mega Man 8. I know you can't teach an old dog new tricks but that doesn't stop pet owners from dressing up their dogs in ridiculous outfits. The truth is dogs aren't meant to wear clothes and there's no reason Mega Man needs to look uber cute. What's cute about robots fighting robots? Anyway, as hopelessly off track as I've become, I can't say this bone Capcom threw Saturn owners (it's more like a treat than a bone) is worth the extra green. Stick with the PlayStation version if you're a casual fan and only indulge in this version if you have the obsessive compulsive desire to own everything that is Mega Man.
During my later grade school years, the 16-bit machines were at the height of the industry. To most, and because of Sega's more than successful advertising, the in-thing was to own a Sega Genesis over a Super Nintendo. Seriously, anyone who grew up during this era has to remember that the "Genesis did what Nintendon't." While the Genesis would be doomed to live out its final days as the guinea pig for failed add-ons, I have to admit there were Genesis titles I was fond of despite my love for the Super Nintendo.
As if one has to guess, Sonic the Hedgehog was at the top of that list, and at the top of the Sonic the Hedgehog list was Sonic 3. While I can't remember what I had for breakfast yesterday, I can sure as hell remember playing the hell out of this game during the brief time I had access to Genesis when my friend and I temporarily traded consoles in the sixth grade. As blasphemous as some would consider it, Sonic 3 ultimately became the Sega equivalent of Donkey Kong Country to me, easily amongst the best titles the console had to offer. Yet, of course, my friend and I would eventually reacquire our respective consoles and thus I wouldn't touch Sonic 3 - let alone a Genesis - for more than a decade.
Fast forward to 2010 and I would again procure a Sega Genesis and Sonic 3. Needless to say those fond memories of playing the game remained crystal clear in the back of my mind and I was more than looking forward to reliving what I considering a gaming triumph. Unfortunately, a decade is a sizable portion of time and one can only imagine how many games I encountered and played within that frame of time - especially with the lifespan of the original PlayStation in there. So here I was, Sonic 3 in hand once again. Would it live up to the memories? Could it? I was more than curious, I was ecstatic.
So what do I think of Sonic 3 now? Well, the game is as beautiful now as it was back then (at least graphically), but time has certainly thrown it two cents into the equation. For better or worse, Sonic 3 is not the juggernaut I remember. Sure, it's enjoyable but there are several things about the Sonic formula that are way more apparent now than they were back in 1994. The first (and most surprising) is how the game's sense of speed systematically puts a limit on exploration. There are tons of hidden areas within each zone (some of which lead to the insanely awesome Chaos Emerald levels) and their respective acts but there's always an abstract force that constantly reminds you this is not your objective. The levels may be huge and ingeniously designed but with the speed fed "drive-by" approach so ingrained in the gameplay you never truly get to experience your surroundings like you would in a Mario game. I'm sure to some I'm missing the point but the game obviously wants but can't seem to juggle both.
The game also runs into a hitch with Knuckles the Echidna. As a character, I really love Knuckles despite his lack of development here. And that's the problem. I can't fathom introducing such a clever creature and only using him as a prop. This is what makes Sonic 3 feel unfinished in more ways than one, something that was more than proved when Sonic and Knuckles came out. This and the final zone somewhat unhinge all the good the game manages to do with it's new trio of elemental shields, the previously mentioned Chaos Emerald levels and the soundtrack which skillfully hides the deficiencies of the Genesis' sound processor.
CONCLUSION:
When all is said and done, if you still have access to a Sega Genesis it goes without saying that any of the cartridge based Sonic titles would make worthy additions to any growing collection. Still, as should be more than obvious to anyone that's lived a few decades, just be aware that current realities may not much up to the rosy images that have been taking up residence in your mind since your last playthrough. That said, it's somewhat revealing that I feel I have to tread with caution within the era that's billed as the "golden age of Sonic."
1-54) Battle Force Due to the piss poor attempt at arranging Wild Arms 2nd Ignition's music in any kind of logical order on this soundtrack (let's see... let's start by putting them in the order they appear in the game [somewhat] and once we get past the three introductory quests we'll just start chucking them together based on their usage! Yeah, that's a killer idea to keep people on their toes) the listener won't hear a single battle theme until track fifty-four. Track fifty-four? I wish I was kidding, but no — it's a reality. If all of the deficiencies that have been outlined up to this point weren't enough, "Battle Force" is actually one of the soundtrack's best battle themes despite its repetitious nature and lack of anything resembling complexity. This doesn't speak well on what's yet to come; still, forging an ill-opinion of this track in an effort to drive it into the ground is so easy it's like creating a bad joke that revolves around a pun. Fun as that may be, those that can turn off their creative complexity detectors will have a blast with this track as they did with "Critical Hit!" from the first game. If that's not your thing, the fact it's one of the few tracks that manages to loop twice won't be much of a consolation prize. (7/10)
1-55) Battle: Knight Blazer My speech above about the lackluster battle themes ahead was apparently a bit pre-emptive. "Battle: Knight Blazer" is a godsend in the game, able to mask particular abominations when you summon "the Blaze of Disaster" into battle. While the power of this grotesque creature teeters on the edge of absurd, there certainly isn't anything absurd about this piece. Things start out with a revenge-like call crying out into the night, the percussion and sci-fi elements sneaking in ever so slightly as the composition switches gears from the opening passage of reckless abandon to one illustrating controlled tenacity. The shifts in momentum employed by Naruke here are well executed, keeping the piece exciting though words like "epic" are far from appropriate. Perhaps what makes "Battle: Knight Blazer" stand out is how it musically defines an idea seen throughout the games in the series; that power itself is neither good nor evil. Of course, those responsible for writing the games' scenario never heard Masato Kouda's terrible remix of this track on the second volume of the Wild Arms Vth Vanguard Original Soundtrack so there are certain exceptions to this belief. (8/10)
1-56) Battle VS Mid Boss There is a lot to be said about this track; unfortunately, none of it is good. "Battle VS Mid Boss" is a piece so musically bankrupt it makes a so-so boss theme — like that from the original game — look like a masterpiece. As expected, the feeling of doom is nigh as the blaring instruments go at it, stumbling over one another in their bid for attention. It's not even the sound programming that's at fault here. This is one of the worst — if not the worst — compositions Naruke has ever penned; the brain-dead path it follows comparable to something one would expect the inexperienced to come up with as they feel their way through a new piece of software. It's somewhat more tolerable in-game when you're forced to listen to it until you cancel it out with the much more enjoyable "Battle: Knight Blazer," but this recycle bin fodder is inexcusable otherwise. (2/10)
1-57) Battle VS Kanon Analyzing what "Battle VS Kanon" brings to the table without reflecting on "W-W-What? (Zed's Theme)" from the first game is difficult because in essence this is what this track tries so hard to be — a variation or port of a previously successful track. As simple as it would seem to adjust the emotional frequency towards another character, the mixed result proves its not. Listening to Zed's theme it's crystal clear what you're suppose to feel: a goofy, overly dramatic adversary that isn't as important or powerful as he thinks he is confronts you and dispatching of this "comic relief" is meant to be fun. When it comes to "Battle VS Solid" the message is scrambled; the fear and threat that the ethnic instruments bring is unmistakable, but is there really a sense of sadness buried in here like I want to believe? If so, am I confusing the worry attached to the fear factor as that tragic sadness? It's terribly baffling when you know Kanon’s backstory. It's like playing connect the dots without the dots being numbered but still knowing what the object is. What compounds this even further is how the fanfare associated with this track feels like the missing piece, but is it the missing piece or an additional piece? After playing the game a million times I can't imagine anything else playing as Kanon devilishly assaults your weakest character (usually Tim) with Pike Kicks and Drive Cuts in her pursuit of her blind and obstinate goals. Still, Naruke could have come up with something more concrete (and original) for the female mercenary. (6/10)
1-58) Battle VS Cocytus Even as a Naruke and Wild Arms fan, it's somewhat hard to discern what makes some of these battle themes good and bad. "Battle VS Cocytus" is no different, the pluses and minuses more or less equaling out to what is best described as a fair piece of music. Naruke again makes use of the thick, oppressive texture that's by now become the calling card of Odessa based themes but this time there's a bit more ruggedness to it. It's not really what you'd call a "western ruggedness," yet it adds a dash of flavor to a predictable formula. Also accounting for some of the hidden allure is the weariness of the brass section that almost sounds as if it's mired in quicksand, providing a reprieve from the sharp melodrama that desperately tries (and fails) to recapture the magic found in Wild Arms' "Power Fighter." Still, there is only so much these elements can do to support a track that is otherwise boring and leaves little to interpret. The corresponding fanfare however... (6/10)
1-59) End of Banquet Naruke (almost) goes completely acoustic here, the cold and lonely notes giving birth to an ill omen on top of a remorseful harmony. The gothic flair does lend itself quite well to the scene in which it appears, though it's hard to give it any kind of technical nod outside the crisp clarity of the instruments. It's not a bad, great, catchy or memorable track, but it could have turned out messy or even more pompous than it already is. In the end, it's just there. (6/10)
1-60) Battle VS Vinsfield In another instance where I can say "copy and paste what I said there here," the sharp, jagged and overly dramatic instrumentation of "Battle VS Vinsfield" walks the thin line between tastefulness and tastelessness as the theme holds nothing back and goes for broke. Unattractive as the bombastic peaks are this isn't a too bad of a track, easily surpassing the aforementioned "Battle VS Mid Boss." It cannot compete, however, with a composition that can build tension without feeling as fragmented and pointed — the previously mentioned (and far superior) "Power Fighter" coming to mind. As befitting and maddening as the percussion is in presenting one of the most dangerous and charismatic minds in Filgaia, it is regrettable that Naruke took such a one-dimensional route with this one considering how it's the concluding Odessa piece in the game. Can't win them all I suppose. (5/10)
1-61) Battle VS Liz and Ard Highlighting the ill-fated battle exploits of the infamous, self-styled "master of disaster" Liz and his faithful assistant Ard ("lizard," get it?), "Battle VS Liz and Ard" is another battle theme that is highly dependant on that thick, ethnic flair Naruke cultivated in the original game with "W-W-What? (Zed's Theme)." The problem is as hard as this track tries, it is unable to escape the shadow of this composition much like "Battle VS Kanon." The difference between the two lies in the fact that the stigma associated with this connection is even greater this time around thanks in part to the overall tempo, theme and direction being so close to the "original." Eliminating any and all doubt about the message behind the piece is a positive step; the wacky banjo portraying the questionable combat tactics of these two creatures of unknown origin to a tee. Outside the warmth and comfort of its in-game context, the track doesn't have much to go on until you compare it to the "interesting" rocking heart rendition. (6/10)
1-62) Battle VS Root of Kuiper Belt To those that have played a Wild Arms game, the concept of a rustic western world that is reliant on the fragments of a bygone, technologically advanced society is not unfamiliar. As rewarding as it is to reap the rewards after scoring some of the world's coolest "toys" it is perhaps what lies beyond that is the most interesting — the unworldly. While most games in the series at least relate to this concept, it is the second installment that really runs with it. This also applies to the music; Naruke doesn't go too crazy with the notion, but once again the results are mixed. The result here is pretty damn good though; the sense of worry is a lot thicker here and is followed with a side order of dread — putting somewhat of a cap on the fun and thrill of discovery heard in "Field: Distorted Sky." Light jazz elements come into play late as the horns tease the listener, offering what will initially appear to be a lengthy reprieve from the doom and gloom before the moodiness shoots it down in a rude blaze of glory. Even though it falls short of stellar, "Battle VS Root of Kuiper Belt" creates an unfamiliar aura of oppression and makes what is a brief experience anything but brisk. Unfortunately, Naruke's success here... (7/10)
1-63) Battle vs Edgeworth=Kuiper Belt ...only magnifies her failure here, proving it only takes a moment for something that worked well enough to crash and burn next time out. "Battle VS Edgeworth = Kuiper Belt" is one hell of an example of this phenomena; none of the previous praise is applicable despite the return of the sci-fi/extraterrestrial motif. Simply put, this is just a really unattractive piece. The pushy, force-fed instruments aren't pushy in a good way, the climax is incapable of sealing the deal, and the entire thing misses the bigger, more emotional picture. While the oppressive beats musically depict the awkward jerking motion of this boss enemy's wing-like appendages the entire experience feels so soulless. What's ironic (rather problematic) about this is when one considers the sins committed to bring this abomination to life there shouldn't be anything "soulless" about. The remainder of the track — like the alien-like flute — only serves to add a layer of phoniness to what is already a misfired arrow; an arrow I wish was more in line with a heart-wrenching piece like "Last Battle" from Xenosaga. It's these unexplored possibilities that hurt this piece so much. (5/10)
1-64) You're Not Alone... "You're Not Alone..." is a peculiar track for a variety of reasons. The most confounding aspect is while it appears on the soundtrack, it is nowhere to be found in the game or in the stream/sequenced music data on either disc of the North American game. Exclusive use in the Japanese original also seems doubtful because while it contains vocals (the opening lines of "You Are Not Alone" — shocking given the title) those would have been removed during localization like the opening/ending themes. Most likely an extra thrown in for the sake of it, the explosion (?) at the end makes one reflect on the various blasts that rip though certain locals on the first disc alone. Regardless, it is a rather pointless addition to an already bloated soundtrack. Unfortunately, it won't be the last. (N/A)
1-65) Battle VS Lord Blazer If a single track expressed what Wild Arms 2nd Ignition meant to me, this would be it. No disrespect to other great tracks like "Dungeon: Ruins Type 3" or "Live Reflector" but I can't help reflect on every superfluous NPC I've run across in the course of my adventure when I hear this all encompassing tune. That's a pretty tall order for any piece of music to fill, especially when it's a reprise of the main theme minus the full-blown production seen in the opening video. This accounts for a large portion of the charm found within "Battle VS Lord Blazer;" it's not the most complex arrangement of the theme, but is the one that is the most poignant and fun. I'll admit the previous statement is somewhat skewed having taken part in the battle itself — which rocks — but the strength of the brass section and Naruke's foresight of knowing when to charge ahead and when to scale it back should not be underestimated. Wholeheartedly recommended, though those looking for a little more variety when it comes to the instrumentation may prefer the version that appears on the rocking heart arrange. (10/10)
1-41) Dungeon: Pillar of Hell Ooh! I love the title here. "Pillar of Hell" sounds so arduous and crunchy. Personally, I've always wondered if the title could be interpreted as "Diablo Pillar" considering that is what these hellish pillars go by in the game but no — it's cool the way it is. When it comes to the track itself its hard not to get sucked into the dark, empty void that looms in one's imagination as the dark notes paint a cautionary tale of trial and error. Still, what's here mainly works because of similar tracks attempting near-identical stunts — like bombastic climaxes — and bungling them or trying to present a complex buffet only to choke on the appetizer. The bombastic climax in "Pillar of Hell" is appropriate to the point where it enhances what comes before it instead of trying to justify it, while the conservative composition remembers to chew before swallowing, leaving the plate (er, slate) clean for the next serving. (7/10)
1-42) Dungeon: Heimdal Gazzo Rife with struggle, "Heimdal Gazzo" hits the listener with a piece suggesting that conflict and conclusion will be the order of the day. Everything is peachy in that respect except the words rife, hits, struggle and conflict may lead one astray in thinking this track goes all-out like "Ruins Type 2" when it doesn't. The sense of progression provided by the guitar and horns is restricted from flowing too fast and free, this constraint tightening its grip in the last half when the guitar retreats, allowing the horns to relay that while the day will be won, it won't be won without sacrifice. However, at its core the success enjoyed here really belongs to "Ruins Type 2" that grew this brand (of composition) in the first place, "Heimdal Gazzo" merely being another flavor of said brand. Even though one is more likely to discover this as they listen, this piece is able to dodge the negativity associated with rehashes due to its lovely subtext. (8/10)
1-43) Dungeon: Anastasia's World Just about every instrument in "Anastasia's World" feels symbolic of the character reflected in the title in one way or another. The interesting thing about this is how the performance that carries the composition somewhat changes between the soundtrack and the game itself; on the soundtrack the heartbeat like bass line propels the track forward as it characterizes Anastasia's love and longing for Filgaia. This is really up for grabs in the game (and mono televisions) as the angelic female harmonies and sobering piano work on much more even footing with the aforementioned bass. As such, it may seem ideal to pick an instrument to follow as the piece progresses but this is the last thing you're meant to do, the hollow feel created by their cooperation being the main draw. It's true that "hollow" sound is nothing new to the score by this point, but its how Naruke accomplishes it despite the deep bass and lack of flute that make it worth note. Alongside "Dungeon: Mystery," "Anastasia's World" fulfills its dual purpose very well, more than any of the other Anastasia related tracks. (8/10)
1-44) Dungeon: Spiral Tower A composition that aspires to sound as busy as the hum of electricity, "Spiral Tower" is not afraid to let it all hang out. It should be with that antagonistic atmosphere heard in "Dungeon: Horror" making its return. The main difference between this track and the form of energy that best represents it is while electricity is bound and focused in its effort to energize something, the elements that make up this piece are not, failing to govern one another. To put it another way, "Spiral Tower" wants it all and ends up with very little, hopelessly juggling everything including the kitchen sink. The other area where the track fails is the climax, where the same four note motif is repeated multiple times in an effort to prove this track's worth. Naruke's attempt is in vain, the track only being memorable for its overgrown sound. (5/10)
1-45) Dungeon: Center of Filgaia Not to be confused with track 2-22 "Center of Filgaia," "Dungeon: Center of Filgaia" finds Naruke revisiting the style that made "Pillar of Hell" come alive a few tracks earlier. "Heimdal Gazzo" pulled this same stunt with "Ruins Type 2" not too long ago, but this time the difference is not a change in subtext but rather an increase of intensity in the current subtext. The bad news is it comes at somewhat of a price: the climax. As mellow as this serious piece is, going from this to such a bold segment in the fraction of a second feels forced even if the hair trigger sense of despair does embody the peril of Filgaia to a tee. I can appreciate what was trying to be accomplished here (hence the high score), but a bit more build up could have been applied without diminishing the message; in fact, if implemented in a clever enough manner it could have pushed the drama beyond where it stands now. (7/10)
1-46) Castle Considering what was said about this track was back in the "Formal Ceremony" section of the review, it's understandable how one would expect "Castle" to be an unremarkable piece of music. Well, nothing has changed since then, this track being so typecast by the environment it plays in there are simply no surprises. This isn't a good thing, especially if a composer wants to keep listeners on their toes, but in the vein of "Natural Type 2" it avoids the bigger, less attractive stereotype associated with its surroundings; namely that overbearing regal sounding stuff. It's true that "Castle" does come forth with this tone but it is diverted from consuming the track due to the peaceful interlude of the flute, a reminder that while kings and queens are important a kingdom is nothing without its people. Regardless of how much a difference this small deviation from the formula used in "Formal Ceremony" makes, it won't be at the top of any of your playlists. (7/10)
1-47) Guild Galad "Guild Galad" marks the return of the flute that has allowed numerous to define their sense of being. However, to say this alone is what makes this track so alluring as opposed to a piece like "Separation" is unconscionable because the spirit captured here is the result of a strong, homogeneous mixture rather than one instrument carrying the bulk of the load. You have the nutty and kooky sound effects commenting on how life in Guild Galad (and the world) has been made easier by the technology developed here. This is all done without giving into that brainless theory that a technologically advanced location has to have a techno/electronica based theme, or is it? As rustic as "Guild Galad" is there this mysterious sensation that the aforementioned styles (present in the sound effects) are right in your face, yet are so engraved in the composition that they are almost translucent. A great experimental track that barely feels experimental, the only hitch here is the calming nature can get monotonous if heard for a prolonged period of time. (8/10)
1-48) Valeria Chateau If I was to choose one word to describe the music that is "Valeria Chateau" it would be reprieve. This isn't without reason, the Valeria Chateau being the base of operations for ARMS and where your characters rest after missions. The thickness of the acoustic guitar drives home several ideas that are expressed and tested in the game like friendship, trust, courage and perhaps most important of all, unity. The quirky interjections throughout may seem to clash with the seriousness of the above at first, though it acts more as a counterbalance to the pain these ideals cause the characters at times and how they will be confronted with strength and resolve. As significant as these concepts are to the game's storyline, they musically disallow the forceful, regal flavor found in "Castle" and "Formal Ceremony" which is a blessing here — a pompous "home base" theme would have made for a terrible piece of elevator music. (8/10)
1-49) Live Reflector Without a doubt, "Live Reflector" is one of my favorite tunes on the Wild Arms 2nd Ignition Original Soundtrack. One reason is it simply thrives despite its simplistic nature, leaving previous pretenders like "Heading far From the Sea" in the dust. However, that's a pretty superficial reason to enjoy something. Digging deeper for a real reason I'd have to say what really attracts me to this hybrid of hope and sorrow is how each emotion is tied to a single instrument: the solitary flute filling the air with a concave sense of sadness as the harp chimes in sporting a touching yet cautious sigh of hope. Neither instrument bullies the other, almost as if they've come to some sort of mutual musical agreement and it just makes me melt when I hear it. Reading about it does is no justice but it is powerful stuff, even if with the track only playing once before the fade. Do yourself a favor and check it out. (10/10)
1-50) Guardian Warm and soft, "Guardian" contains that majestic feeling one would associate with a higher power granting your request for assistance, whether its imparting a fraction of their wisdom upon you or maybe even something a bit more tangible like aid in battle. Despite my fears of how ill-fated such a composition would turn out earlier, Naruke is able to present the ying (light and mystical) to "Natural Type 2's" yang (deep and earthen) without it seeming too textbook. It does its job confidently enough but lacks that extra something that other, similar half a minute tracks seem to have. (7/10)
1-51) Tim and Colette More of a musical extension of "Hidden Village" than its own separate entity, the opening of "Tim and Colette" is ridiculously predictable for a love theme. This isn't to say the rest of the song escapes such a label either, utilizing the instruments found in other Tim related numbers, but it does garner a little more respect. Probably the most attractive aspect of this piece is what Naruke doesn't do, that being using a variation of "You're Not Alone" to depict this couple's love. Maintaining this distance is crucial for several reasons, among them to avoid encroaching on the pivotal role of Ashley and Marina's relationship within the storyline with one that is interesting but not as deep and complicated. Additionally, the last thing we need is another rendition of "You're Not Alone" to add to the already extensive catalog of reprises, something that will become an issue in just a short while. I'll give it to Naruke for knowing when enough is enough, but I still tend to view this track as mediocre. (6/10)
1-52) Operation ARMS' Theme Blah! Why couldn't "Operation ARMS' Theme" fall after "Odessa's Theme" in the tracklisting? Now I have to talk about the latter (spoiling what's ahead) before I can dissect the former. Anyhow, as much as I will scold "Odessa's Theme" for its lack of internal contrast, the close proximity and usage of these tracks proves there is a reason for this, being the contrast is meant to come from the opposing track rather than within. This plan works on the simplest level imaginable yet there are issues that challenge its effectiveness. As impossible as it is to mistake the icy chill associated with Odessa for the elements and emotions revisited here from "Valeria Chateau," even when taking the switch from the acoustic guitar to the bass guitar into account, the comparable tempo fleeces them of some of their individuality. "Operation ARMS' Theme" does have a few weapons that gives it a bit more pop than its counterpart, be it the rumbling earth sound effects at the beginning (personifying ARMS' progress as the world's progress) or the climax that's similar in style to that in "Spiral Tower" without seeming like a desperate cry for attention. All in all, it's a track with a sufficient amount of processing power. (7/10)
1-53) Odessa's Theme As pointless as such a comparison seems I often think of Nobuo Uematsu's "ShinRa Company" from Final Fantasy VII when confronted with Odessa's Theme. Beyond some of the obvious differences — an upbeat number versus a moody, drawn out one — that oppressive reign of tyranny runs rampant in both. However, when it comes to their one-dimensional quality working for them instead of against them, "Odessa's Theme" runs into a snag due to the presentation of the villains in the game. Many of the higher ups in the ShinRa were as soulless when they met their unapologetic ends as they were in the beginning of the game, if not more so. On the other hand, while the members of Odessa's Cocytus appeared to be as hopelessly sick and twisted as their acts of terrorism, they became more human with each defeat, the veil surrounding the noble ideals gone awry slowly withdrawing. It's this "sadness of insanity" that Naruke fails to explore and the track feels stunted because of it. Again, this has a lot to do with maintaining contrast with "Operation ARMS' Theme" but it's my opinion that Naruke missed the bigger prize; a subdued refrain like those found in "Battle Robot Jack" near the end that could have reflected the above and given this track so much more life. While there is no excuse for the actions of these characters, the continuous, unbridled sense of insanity is inappropriate on the whole. (6/10)
“A treasure nestled within a so-so spin-off?”
