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)
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)
When it comes to the world of video games and video game music it goes without saying that with any kind of discovery comes disappointment. Not every apple is fresh or will be to your liking, but when you find the right one it makes all that searching worth while. Yet this is only one take on the disappointment that comes along with discovery, as one can be disappointed at the lack of success and acclaim something receives. This is a road that Wild Arms 2nd Ignition has come to know all too well, having had to complete with a much less forgiving market than its predecessor, its flaws and shortcomings documented for all to see. In regards to the soundtrack, there are many things that turn what is a light sprinkle into an unrelenting downpour, like SPE Visual Works' typical, half hearted presentation of the music (e.g. minimal looping) and the composer's ambitions and creations being at odds with one another, but is there sunshine beyond the horizon? Read on to find out.
1-01) Main Title
For a game that's one of my favorites, I honestly wish there was something more to say about the title theme — an important piece of music for any game. While the methodical nature of the acoustic guitar and the patented Wild Arms whistle undoubtedly convey the fact that Filgaia has never fully recovered from the crimson flames that scarred its surface long ago, it fails to embody the engaging adventure that is to follow. This isn't to say a title theme has to be an orthodox, by-the-numbers affair that always highlights the lighter aspects of a game, but it should feel a lot more viable and memorable than this, not like a missed opportunity. (6/10)
1-02) You'll Never Be Alone
"You'll Never Be Alone" emits a sense of magic that is similar to "The End of the Wilderness" but doesn't build upon itself in the same way. Granted, the feeling that the game's characters are longing for something that is just beyond the horizon is there but as the instruments and composition go through the motions, it feels more fluid and homogeneous from an emotional standpoint. If you've played the North American version of the game and heard the alternate instrumental version (which opens with a horn rather than strings) there is a lot more to consider. As strong as Kaori Asou's vocals and Naruke lyrics are they don't support or further enhance what the music has to offer; they almost feel like a needless obstacle. Despite the fact I would rate this alternate, instrumental version higher if it was present on the soundtrack, both versions succeed in portraying their intended message to the listener quite well. (8/10)
1-03) Going Out
To anyone familiar with video game music, its common knowledge that most scores (RPGs especially) have their own little collections of pieces that only see action once or twice within the span of a playthrough. With one hundred plus tracks spread out over two discs its safe to say that many of these tracks call Wild Arms 2nd Ignition home. "Going Out" is such a piece and while it's neither terrible nor musically unsound it ends up on the negative side of the spectrum regardless of its befitting, in-game context. First played during Ashley's introductory adventure as the musketeer brigade of Meria Boule makes their way to the Withered Ruins (and then, as expected, the only reprise taking place 25-30 hours later) the subdued, almost leisurely militaristic feel is undermined by the slightest sense of silliness that foreshadows how quickly things unravel once they reach their destination. All in all, "Going Out" is a classic example of a decent track that is incapable of making a class change. (6/10)
1-04) Dungeon: Ruins Type 1
If one were to say dungeon themes weren't an important element in the tapestry of an RPG it would be a lot like a person stating they're above breathing oxygen; it's a notion so ludicrous it's bound to induce laughter to all within an earshot of the speaker. All joking aside, to underestimate Naruke's work in this area would be borderline criminal even though there are some that fail to impress. The most notable entries — like those in the three part "Ruins Type" series — are among the list of reasons why this soundtrack should be considered by everyone. That's a lot of hype, but does "Ruins Type 1" live up to it? Yes and no. It isn't hard to forge a valid argument that this is the weakest of the three arrangements by far; still, the playful sense of discovery created from the interplay of the instruments is extremely welcome in the game's dungeons and is a nice change of pace from the first game where these pieces mostly adhered to a moody and cryptic palette. In the end, just try and take in this fun track as Naruke intended: resist the urge to over analyze it and accept it at face value. (7/10)
1-05) Serious Struggling
"Serious Struggling" is an interesting track for all the wrong reasons. None of these reasons have much to do with the quality of the composition (which more or less shares its fate with "Going Out") but whether or not the title coincides with it and its in-game context. Case in point: if I was going to describe this track to someone the first thing I'd ask them to do would be to forget any and all preconceived notions about seriousness and strife being presented in a musical fashion. With that out of the way, I would then present them with the previous iteration of the title "Confusion in the Front" and, unlike above, allow them to read into it — particularly the word confusion. Hopefully associated ideas such as aimlessness, awkwardness, silliness and goofiness would be the result and give them a better grasp on what this track offers. As far as a title goes, is "Serious Struggling" so far off that there is no justification for its use? It's a real stretch, but one could contend that this seemingly wayward title is an extension of the humorous, slapstick nature of the piece and is meant to be ironic since it is anything but. In the end none of this, even its clever, covert musical connection with "Going Out" can serve to bolster this track's meek identity. (6/10)
1-06) Chase
It's ironic that after chronicling why the title for the previous number doesn't fit (and how it barely might) along comes a track where I can seriously imagine someone struggling. Here we have the main danger theme of Wild Arms 2nd Ignition — it's repetitive, somewhat annoying (the end of the game's first disc proving that quite nicely) and does little to change one's view on such tracks. As damming as this is, "Chase" really does deserve more credit than it may initially receive due to the architecture employed: a multi-layered composition that gains a small amount of intensity in each section. This approach may seem standard — hell, Junya Nakano practically built his score for Dew Prism around this very concept — but it feels like a step up from the first game where Naruke repeated the same bars over and over in "Collapse." Regardless, it's nothing to get excited about; the track working when the situation calls for it and being digestible enough outside the game. (7/10)
1-07) The Crisis at Hand
When there are a large amount of pieces on a soundtrack, the chances that there will be tracks that try to invoke comparable thoughts and emotions within the listener in a similar way increases. While it's entirely possible for someone with an open mind to enjoy or appreciate everything that comes to bat, there are cases where the stronger creations devour the others beyond conscious thought. This is the crisis that "The Crisis at Hand" faces: the dissonant feel that seems to radiate with the malice and cunning of scheming adversaries is right on, yet the same could really be said of "From Anxiety to Impatience" that comes along a little later. An inferiority complex like this may have to do with the fact the latter appears to be a bit more tangible than the former, but this is of little consolation for a track that is truly a victim of circumstance. (6/10)
1-08) A Dramatic Escape
As a forbearer of bad news, it's unfortunate that "A Dramatic Escape" reveals the utter predictability some of Naruke's work falls prey to so early. The title really says it all here: you get a triumphant — dare I say dramatic — horn opening up the track before it settles back into its default posture of relief. Even though this piece falls hard out of context (where it actually seems more at home) it does stand as a great point of contrast for when Naruke does succeed in making the predictable attractive though the airs of familiarity. (6/10)
1-09) Scene of Reminiscence
Alongside books and movies, RPG's usually incorporate flashbacks to flesh out their characters and the world around them. Not one to be left out of the crowd when it comes to storyline essentials and clichés, Wild Arms 2nd Ignition spends ample time detailing Brad's involvement with the Slayheim Liberation Army years before the opening of the game. "Scene of Reminiscence" caters to these scenes with a semi-ambient hum-like backdrop that acts like a canvas for the chilling notes of the accompanying acoustic guitar as they cry out with a resounding echo. Chances are that some will be completely at odds with the sparse instrumentation and minimal development, but the piece has another application up its sleeve. Replacing "Hidden Village" in the second half of the game when a terrible omen befalls Filgaia, "Scene of Reminiscence" doubles as a town theme. The contrast created from the fact that it's the only morose theme employed as such is invaluable and gives this sleeper track the slight edge it needs to be (eventually) noticed. (7/10)
1-10) Dungeon: Natural Type 2
Truth be told, "Dungeon: Natural Type 2" doesn't offer any kind of revolutionary twist on the quintessential forest dungeon theme that crops up in almost every RPG. In a forward yet indirect manner, Naruke molds the triumphant Wild Arms sound to a piece dripping with a deep, hollow earthen vibe. This is hardly a bad thing; in fact it's one of the most enjoyable dungeon themes outside the "Ruins Type" series. It's hard to explain why it's so easy to take in but I can't help think it has something to do with similar themes in Legend of Legaia. Confused? When it comes to pieces crafted especially for a natural/forest environment they usually play out deep and earthen or light and mystical. In Legaia, where nature was an integral part of the storyline, these tracks were cheapened by their hollow feel due to the countless number of composers that had treaded the same path beforehand. Of course, the same could be said of the other path that's explored here, but all things considered Naruke made the right choice on this one. (8/10)
1-11) A Momentary Respite
Unlike many of Naruke's earlier event pieces, "A Momentary Respite" isn't left in neutral when it is taken out of context: a goal any composer should strive for. Unfortunately, such a feat is only compounded when these pieces receive minimal in-game play. This piece is no exception, really walking the line when it comes to how the listener is pulled in — the played-out side of familiarity almost eclipsing that which is tasteful. The acoustic flavor found here is rather similar to "Scene of Reminiscence" although the more continuous instrumentation and the emotional aspect is about as opposite as you can get. However, like the aforementioned track, "A Momentary Respite" draws some additional strength from an unlikely source: the next track "From Anxiety to Impatience." The synergy created by the contrast of these tracks is really shown in Brad's introductory quest when they are played in quick succession of one another. This quick turning of the tide (which the order of the tracks thankfully preserves) is enough to keep its head above the water of its almost negative familiarity. (7/10)
1-12) From Anxiety to Impatience
The story of "From Anxiety to Impatience" is that of a title which has been seen on almost every Wild Arms release since the first OGS in 1996. Connected by mood rather than composition (it's a completely different entity each time around) the story represents one of the more clever musical conventions in the series' universe. Then again, some may find the worry these numbers are predetermined to represent not so clever although the 2nd Ignition incarnation feels like one of the better ones — if not the best. Gone is the painful, mournful cry that opened the original, leaving the deep guitar work and march-like background to paint a picture of an ill-fated confrontation — a scenario that "The Trouble Brewing Along" tackles in a more indirect manner. While the original is enjoyable in its own right, neither Naruke nor any of her successors have written anything more appealing under this title that what you'll find here. Couple this with the symbiotic relationship it shares with "A Momentary Respite" and the above becomes obvious. (7/10)
“A super-stiff stage presence hurts an otherwise spectacular performance”
When it comes to comedy, it goes without saying that I love comedians that appear to embrace what they talk about. While it's more than obvious why a comedian that fails to do so is doomed, there is nothing greater when the entire picture (looks and sincerity) come together. While comedians like George Carlin and Christopher Titus have a knack at deciphering what is wrong with society, Jim Gaffigan is a master at tackling the lighter aspects of human behavior, especially when it comes to people and their food stuffs. Point blank, I can't think of any other comedian that can comment on the foods we love (perhaps a bit too much) like Jim can. This doesn't make him as one dimensional as he's able to weave other subjects into his shows but it has more-or-less become his unofficial calling card and as a person who loves their food a bit too much I can't help but reflect on how true it really is.
Still, as rosy as such a description is Gaffigan's brand of comedy runs into a little bit of trouble in DVD form. Given my first experience with Gaffigan's work was the audio recording of this show I was extremely disappointed to find the energy and spirit in Gaffigan's voice does not carry over into his stage presence. I was expecting him to be a bit more active in playing some of these bits out with a camera in front of him but as it stands his movement is light-years behind others like a seventy year-old George Carlin who, for obvious and well-justified reasons, can't jump around the stage like he use to.
With such an argument placed in front of them, some people may be quick to defend Gaffigan and say his sheepish demeanor on stage is an extension of the lazy, offish person he claims to be. I thought of that as well but he just looks to fidgety and uncomfortable for it to be an act. If it is an act it isn't convincing and gives off an opposite, unintentional message. Do I want him to bop around the stage like Robin Williams? No. As much as I enjoy Williams' comedy one Robin Williams in the world is more than enough. Still, I don't say this to be cruel but to point out that the video portion of this show adds nothing to the experience; the proof lies in the fact the audio portion of this show graces my CD player a lot more than the DVD graces my DVD player.
CONCLUSION:
Unlike the vast body of comedians out there, Gaffigan's shortcomings are easy to decipher and pass judgment on. While some may question why that may be good thing, it ultimately makes some decisions that would otherwise be difficult easier. While I'd expect some to point out how such an argument is self-defeating, it starts to make sense the more you think about it. From here it's only a short jump, skip and hop to for one to discover why Gaffigan's material is as versatile as it is.
Overall Score: 7/10
"A decade later it’s time to get real…"
In his famous bit "Why We Don't Need the Ten Commandments," George Carlin asked why God settled on giving man *ten* commandments. Why not six, eight or twelve? The answer was that ten was a psychologically pleasing number, it was the basis of the metric system, it - perhaps most importantly - sounded official. So what does the number ten have to do with Edguy's "breakout" album Mandrake? Well, Mandrake turns ten this year and as such it seems more than appropriate to reflect back on how "well" it’s aged over the past decade.
As if the inflection above didn't give away what's to follow, Mandrake hasn't aged well. At all. In fact, I can't think of a worse breakout album than this. Why do I say such things? I think most fans can agree that Edguy was already making stellar music way before this album dropped (the ever-so impressive Vain Glory Opera comes to mind) and Mandrake's success only serves to remind one that Edguy should have received the kind of recognition they receive now at least three years before this point. I can't help but think how much more impressive the story of Edguy's rise would be if Vain Glory Opera had been their breakout album. But no, for many the story begins with a by-the-numbers album that is highly overstated in what it has to offer.
So what is wrong with Mandrake? The first problem flies somewhat under the radar (at least for a few years) and it takes about half the album with it: there is way too much filler here. "Golden Dawn," "Jerusalem," "All the Clowns," "Save Us Now" and "Fallen Angels" are pure, unadulterated filler. "All the Clowns" and "Save Us Now" have become victims of the humor reaper that eventually claims funny Edguy tracks for the soulless entities they are but I'd expect some to raise an objection or two with "Fallen Angels." Still, I knew this was a filler track the minute the band tried to make it sound more impressive than it really was on their first live album Burning Down the Opera. The same situation really applies to the ten minute "Pharaoh" as well. Edguy simply has better tracks in their catalog.
But speaking of superior tracks, one of the greatest tricks Mandrake tires to pull is making average tracks seem a lot more viable than they really are. The greatest example of this has to be "Nailed to the Wheel." At first there doesn't seem to be any negative to this edgy, in-your-face track but it eventually reveals itself as the one-dimensional cardboard cutout it really is. Speaking of things that die hard, one of the biggest blows to the album is when "Painting on the Wall" hits its eventual expiration date. With this being one of the album's centerpieces along with "Tears of a Mandrake," it should surprise no one how damaging such an eventuality is.
So, given that I've been picking off tracks as quickly as George Carlin picks off commandments in the aforementioned piece, you may be wondering when - or if - I'm going to praise anything that can be heard here. Well, I am, but the pickings are rather slim. As if there was any doubt, the title track is worth one's time as is the ballad "Wash Away the Poison" which is just different enough from previous Edguy ballads to eek out a name for itself. In another odd twist, the bonus track that's on every copy of this album in existence ("Devil and the Savant") isn't as disposable as one would initially think.
CONCLUSION:
While I'm sure there are those that think I've had fun dismantling what Mandrake has to offer, rest assured I have not. Nothing more would make me happier than to remember this album in a brighter light given this was my first Edguy experience. But if I have learned anything over the last ten years, it's not to lie to myself and avoid unpleasant truths, of which there are many. While the failings of a ten year old album are far from being truly important in the scheme of things, you got to start somewhere. Unfortunately for Edguy, way too many people started here.
Overall Score: 6/10
“You spelled evil wrong, idiot!”
When it comes to DVDs, it's safe to say that stand-up performances form an important cross section of my collection. From classic mainstays like George Carlin and Robin Williams to more recent acts like Jim Gaffigan the bases are pretty well covered. Still, I don't think any catalog is complete without Christopher Titus hopping from personal experience to personal experience pointing out how strained our lives have become within the never-ending vacuum known as society.
In his third outing, Chris quickly amends the insanity that made Norman Rockwell Is Bleeding and The 5th Annual End Of The World Tour successful with his various tales of marital discord. Whereas the aforementioned shows focused on a variety of topics while using a dedicated cast of "players," Love is Evol is a little more focused in its pursuits. It goes without saying that divorce and the situations surrounding it are often ugly, but it's a joy to see it tackled as it is here, where it is knocked to the ground and righteously smothered with a pillow.
The real treat is this experience fails to get heavy handed. While one can't say these moments are an outright flaw of Titus' shows, it is awkward how these segments of personal evaluation stop a routine on a dime despite their noble intention. Love is Evol also makes a small gain that's in direct correlation to the faults in the recently released Neverlution! Again, I can't say what is exactly to blame for the perceived hesitation in that special but is helps bolster this show against its slightly superior predecessors.
CONCLUSION:
As odd as it may sound given this is a review for the DVD, the real question that surrounds Love is Evol is whether to opt for the DVD or the audio recording. While Chris has a much better stage presence than someone like Jim Gaffigan (who is so stoic throughout his performances it isn't even funny) I have to suggest the audio recording. In general, the more portable you can make Titus the better although there are obvious exceptions - Norman Rockwell Is Bleeding greatly benefits from its video even though the audio is good on its own. Regardless of which path you choose, Love is Evol is more than capable of holding its own if you’re willing to listen.
Overall Score: 8/10
"An essential GameBoy title"
When it comes to video games, it's amazing how we sometimes overlook staple video game characters. Despite the amount of respect I've held towards Mario in general the games always seem to be at the bottom of my current backlog of gaming titles. As much as I don't want to insinuate that these games can't satisfy more mature gamers (a thought that is just ludicrous) does such an idea subconsciously lurk within my mind? It's hard to say. Still, when I saw a copy of Super Mario Land 2: Six Golden Coins at the local Game X-Change I knew I had been away for too long. I knew it had to be replayed.
One purchase and playthough later I'm pleased to announce that Mario Land 2 is still the game I remember, a game that is in good company with other GameBoy classics like Kirby's Dream Land and Metroid II. Despite the fact that each Mario game tends to be special in its own way, I can't think of another game that parallels the refreshing variety seen in Super Mario Land 2's levels (even the levels within each zone are far from being rehashes of one another) and the zones are clever and keep you guessing with their occasional, alternate exits. As important as control and graphics are to the package, I have to go out on a limb and say the game's audio is the icing on the preverbal cake.
That said the fact that the game is literally over before it even begins is a bit of a buzz kill. Super Mario Land 2 may be longer than a title like Kirby's Dream Land but it's still short enough to undertake in a single, dedicated sit down or two which is a bit a disappointing. Younger players will obviously find more challenging than teens and adults but this should hardly deter anyone from playing it, especially when one considers it's rather easy to procure and doesn't cost an arm and a leg like some these older games do. Don't let the game's age fool you, it can easily go toe-to-toe with anything released before or after it without batting an eyelash.
CONCLUSION:
If you have an original GameBoy or a GameBoy Advance SP lying around it's practically a crime not to have this game around for a quick run-through every now and then. Again, I'll admit I'm usually not the biggest fan of first party games despite the quality they're known for but Super Mario Land 2: Six Golden Coins is a good reminder of why we - make that I - should pay more attention to the list usual suspects.
Overall Score: 8/10
1-27) Inn
