31 Songs (no.4)

And here go with another installment to this series - Hope you've been enjoying what's been written up about already!
So, the sixth generation. Well I've said a lot already so there any more that can be added to it? Well yes there is.
So here we go!

Final Fantasy X - To Zanarkand

It’s a moment frozen in time: My first encounter with Final Fantasy. I pop the disc into my new PS2 and am immediately confronted with a solemn piano piece – that eventually leads to the images of the ruined Zanarkand and an introduction to the main cast.
So yes, I’ve always enjoyed this theme – but looking back in the five years since I first heard it, I can actually see something different: I’m really impressed by its simplicity. Sure that may have been the factor that won me over initially but now, having played more than a few JRPG’s where simplicity and subtlety a more or less foreign concepts, hearing something handled in such a manner is indeed a rare treat to behold. And besides it’s not often you hear a game tune being played out entirely as a piece on a sole piano – so to hear this – and as an opening theme no less – is a bold move but a welcome one at that. Matters are helped considerably in that the tune itself is a pretty damn good one.
Interestingly enough, I went to a friend’s wedding back in 2007 and they actually had this playing for the Bridal entry theme. It’s kind of funny when you hear this in such a serious context and you immediately recognise not only the theme but where it came from (as a footnote, I happened to be standing next to the person playing this theme on the piano and said “You’ve got taste!”).


Ico - You Were There

Much of the Ico soundtrack is minimalist, indeed much like the game itself, but for a concluding theme it seems they went all out with this one. Aside from the wonderful use of the mandolin and the rather unusual percussion, what really makes this them stand out for me is the child soprano. It may seem a complete left-of-field decision to have a child soprano for gaming theme but then again, Team Ico have practically made a career out of not playing by the rules of gaming convention.
Ultimately this is one theme that evokes plenty of emotions: the despair that the liberation that came may not have been the one that Ico and Yorda were hoping for, the sense of the stepping out from the shadows of the ruined castle and into the sunshine, the completion of the quest, the end of an era with the collapse of the ancient castle and the end of the evil queen’s very long life. And the fact that it shows flashbacks of Ico and Yorda’s adventure is the icing on the cake and works even more to the theme.
There’s not much more I can really say about this really. Ico is indeed a game that reaps a lot of emotional investment from the player and this is really the pinnacle of the experience. It’s a great theme and indeed one of the few game themes I can listen to eagerly without the game itself.
But what I am doing harping on about this? Just listen to it and draw your own conclusions.


Okami - Shinshu Fields

Well what can I say about the soundtrack to Okami? For starter’s how about it’s loaded with the most beautiful pieces of music I’ve ever heard in a video game? Yeah that’ll do.
On paper, the incorporation of classical Japanese instrumentation may sound bizarre for a video game but here it works. It’s in line with the theme of the game, which drew heavily from classical Japanese artwork and mythology, and works a treat. And I believe that unique nature of Okami’s music, the taiko drums and the pipes, make it stand head and shoulders over a lot of other game soundtracks out there. It fits the mood and tone for the rest of the game and really seems like music fit for a god.
And Shinshu Fields has to rank as my favourite piece in the game. It really encapsulates the mood of running out into a wide field in the sunshine to take up a glorious adventure (with a thousand flowers blossoming in one’s wake). Apparently the makers of Okami were inspired to build a connection with nature and this theme really represents that goal achieved in more ways than one. It starts of really simple and glorious and then halfway, it gets busy with some other instruments coming into the song – now whilst this may sound like bad thing, the new direction never ones loses it’s way and never once overpowers the rest of the song. And for a game theme to do that, when all is bombast, is actually a feat indeed.
Indeed, when playing Okami I always looked forward to coming back to the Shinshu Fields just to hear this glorious theme. If that isn’t the mark of a great video game theme then I don’t know what is.


Prince of Persia: Sands of Time - Farewell Princess

Here's a fun fact: The composer who wrote the music to the Sands of Time games was Stuart Chatwood, bass player of Canadian Gothic Rock band the Tea Party. This band was one I followed through High School and College and eventually became the first band I saw live back in 1999 ;)
This in turn influences my assessment of the soundtrack to Prince of Persia: Sands of Time. I enjoyed the Tea Party for it’s combination of Middle Eastern and rock guitars. So it’s interesting to see what they were doing being replicated into a video game soundtrack. Of course, the sound track to Prince of Persia: Sands of Time sounds pretty cool on its own but it’s indeed fun to see something you grew accustomed to as teenager being taken into a different context.
And in the case of Farewell Princess, thing about that strikes me straight off the bat is the rhythm in this song: namely the relentless drum beat and the rumbling bass line. Indeed, there is really a sinister feel, which makes the tune all the better for it, accompanied by the synthesizer effects and the horn sound. It’s perfect music to listen to when traveling across a large expanse of desert. The intro part (note the reversed section!) is also kinda cool too.
So which do I like better: this or Time Only Knows? Good question. I suppose I have to go with this because I found that once you take out the vocals, the attention is immediately drawn to the instrumentation itself which still sounds pretty fantastic on its own.


Shadow of the Colossus - To the Ancient Lands

It’s the first theme the player hears in this game and pretty much establishes the rest of the game. In fact so much is explained in this theme that watching the introductory movie – where Wander journeys with horse to a forbidden land and eventually crosses a bridge that can’t possibly exist – comes across as more strange than exciting. Not that that’s a bad thing of course but it’s interesting to inspire attraction from the bizarre and unusual rather than an adrenalin rush.
I’m impressed by how many moods are conveyed through the course of this theme: Wonder, bewilderment, journeying, trespassing, defying an ancient order, and the thought of taking up a quest that is somewhat questionable. Also, there is a lot going on in this theme with strings, choral vocals, an organ and a zither. But here everything is arranged in an economical sense and never once does anything feel out of place. It’s never over-powered and sounds to perfectly fit. Each portion of the song comes in, says its part and then makes way for the next one.
But ultimately, I really like this theme for the many ideas and emotions it manages to convey within the space of three and half minutes. In fact now that I think of it, this theme really does represent the ultimate of game music: Explaining what they’re all about within the context of the music. Many games may try to but To the Ancient Land, IMHO, nailed it.
And you know what? I don’t think it was even trying.


Skies of Arcadia - Kingdom of Ixataka

Throughout this series I’ve made mention that there have been several game soundtracks where every track is a gem. So do I have a favourite? Oh come on! I’m having hard time enough as it is selecting one piece from the soundtracks I like! But I have to say, without hesitation, that the Skies of Arcadia soundtrack is definitely up there in amongst the best.
Whilst the soundtrack to Skies of Arcadia may never reach the same level of respectability that the Final Fantasy achieved, that’s not to say that there isn’t anything of interest in it. Indeed, the soundtrack to Skies of Arcadia boasts a lot of diversity in styles & mood and some really delightfully charming pieces. Some are energetic and exciting, some are goofy and comical, and others are solemn and serious. It may sound like a scattershot score but never once does the Skies of Arcadia soundtrack lose its footing.
So what to choose? Good question: The Main Theme’s great, Gilder’s Theme’s great, Sailor Island’s great, Ruins Dungeon’s great and I even like how the music in the Boss themes change to reflect the state of the battle (calamitous for losing, energetic for winning). But I have to admit one stands out more than any of the others. Which now brings me to Kingdom of Ixataka: I’m not sure why this theme has managed to win me over: maybe it’s the tribal feel, the pipes melody or maybe it really fits the jungle setting it originates from. Maybe it really suits the summer feel? Or maybe it’s a damn snappy song? Yeah let’s go with that.


And thus there is my thoughts and recollections of some of my favorite video game themes. I pretty much set out to do in taking you readers along on a journey through time and picking out the themes that I loved over the years. And what you've just witnessed is thirty of the best.
So what about the current generation then? Well I have to confess: Nothing I've heard have really grabbed my attention. Whereas the music of the previous generations have provided a substantial selection, the current generation has left it hard to think up a handful. I could mention Still Alive from Portal but I refuse to submit to the obvious. That and it kind of breaks the limit of thirty songs.
But what the hell! I saw a book in my local library called 31 Songs - so if the author of that book can over the three-zero limit then I can make room for one more!
What could it be? Step forward....

Mass effect 2 - Suicide Mission

Much like its parent series, the music of Mass Effect has an epic feel, perfectly suited for a story encompassing many planets, stars, lifeforms and a universe to save from calamity. I’ve enjoyed the electronic soundtrack that backed the Mass Effect series but Suicide Mission from number 2 is really the standout piece for me. This is the sound of heading off to battle. The sound of stopping a colossal monster that can destroy a galaxy. The sound of not taking one step backwards. The sound of the weight of thousands resting on the shoulders of a scant few. The sound of a battle that may have been won but the knowledge that there’s a war that’s coming rumbling at full pelt towards you. So much commands attention in this tune: The pounding drums, the choral chanting, and the full orchestral effect. It’s epic in every sense of the word and best captures the mood of saving the universe.
True there have been many games that have worked with a world/galaxy saving plot but Mass Effect, I feel, stands out by actually addressing the stakes: It shows the preparation into going into a galaxy saving mission. It shows assembling the people you need for the job and where each one has their own character arc that needs to be resolved. It shows how every little thing can count for so much when you’re heading off to save the universe from disaster. And this theme, I feel, deals with such issues better than anyone else has ever done before or since.
So all in all, Suicide Mission is gripping, edge-of-your-seat, piece of music that leaves me with a lump in the throat every time I hear it. It's that good
And hey, you can never do better than Commander Shepard.


And so there you have it: 31 Songs and I hope you've enjoyed listening to them.
Come back later when we wrap this series up....