Showing posts with label 2003. Show all posts
Showing posts with label 2003. Show all posts

Wednesday, July 2, 2025

MIDI Week Singles: "One-Man Festival Theme" - Cho Aniki: Seinaru Protein Densetsu (PS2)

 


"One-Man Festival Theme" from Cho Aniki: Seinaru Protein Densetsu on the PlayStation 2 (2003)
Composer(s): Koji Hayama, Takeo Yahiro, Aki Hata
Album: No Official Release
Publisher: Global A Entertainment
Developer: Psikyo


If I had thought that Hybrid Heaven was an innovative take on the wrestling and fighting genre, then I don't know what to tell you about Cho Aniki: Seinaru Protein Denstsu, aka Cho Aniki: The Legend of the Sacred Protein.  This is a game about two bodybuilders who have tasked themselves with protecting a legendary protein from various antagonists who want to consume it so they can achieve the ultimate physique.  And it's a side-scrolling shmup like Life Force or R-Type.  Each stage, Adon and Samson protect the legendary protein while it fires barrages of projectiles at the enemies who come to consume the protein, culminating in a boss fight.

Stage 5 takes place during a New Year's festival in Japan, where the two bodybuilders and legendary protein finally go up against The One-Man Festival...which is the name of the boss, or at the very least his title.  There is separate music during the stage, but once The One-Man Festival appears, this song kicks in, and I'd like to think that it is the boss who is singing.  I imagine The One-Man Festival singing this song somewhat drunkenly as he approaches Adon, Samson, and the legendary protein, already confident that he will be consuming the protein to get them gains, and his singing is just now catching up with him.

It's an absurd song to be boss battle music, but this game is nothing but absurd, so it works well, and I will not accept any other statement to the contrary.


~JWfW/JDub/The Faceplantman/Jaconian
And The Gin They Never Had

Wednesday, November 6, 2024

MIDI Week Singles: "Unhidable Anxiety" - Final Fantasy Tactics Advance (GBA)

 


"Unhidable Anxiety" from Final Fantasy Tactics Advance on the Game Boy Advance (2003)
Composer: Hitoshi Sakimoto
Album: Final Fantasy Tactics Advance Original Soundtrack
Label: Square Enix
Publisher: Square
Developer: Square Product Development Division 4


I'll be honest with you, I don't know exactly where this song happens in Final Fantasy Tactics Advance.  It's 9:42 PM on Tuesday November 5th and if you look in your history books at today's date, or if you're reading this between Wednesday, November 6th, 2024 and Wednesday, November 7, 2028, then you'll probably already know the meaning behind picking this song for today.  

The song is a lot more upbeat than you might expect considering the name of the track, so I might guess without looking it up just yet, that it might occur as you're picking which party members to send out into battle while taking into account the laws that will go into effect.  Although one comment on YouTube says that this is the song that plays after "any big story revelation" so I guess it is still relevant in more ways than one.  I don't know.  I feel kinda nauseous and not in the best of ways.

I do like this song though.  I'm just using our site and y'alls' attention as a coping mechanism and sounding board.



~JWfW/JDub/The Faceplantman/Jaconian

Wednesday, August 31, 2022

MIDI Week Singles: "Barin Ruins" - Crash Nitro Kart (GBA)

"Barin Ruins" from Crash Nitro Kart on the Game Boy Advance (2003)
Composer: Manfred Linzner, (original music by Todd Masten & Ashif Hakik), & Shin'en Multimedia
Album: No Official Release for Music from the GBA Title

First off, I am not 100% sure who wrote the music.  I know that Ashif Hakik and Todd Masten wrote the music for the PS2 GameCube, and Xbox versions of the game, and some of that music was recreated and arranged for the NGage and Game Boy Advance releases.  Moby Games lists Shin'en Multimedia as the composer, which could be the company that Manfred Linzer worked for, who is credited on the Video Game Music Preservation Foundation's website.  I also could not find a longplay that included the credits, or someone who clicked on the Credits in the Options menu, so it could be up in the air and I will just list everyone potentially involved.

Now for the music.

There is something about the xylophone-like melody that comes in around 11 seconds that screams early 2000s music and I cannot quite place where I feel like I know it.  But this was the only track from the game that stuck out to me, so that is why we are including it today.  Never really a fan of Crash Bandicoot, I never picked up or tried this game, being pretty content with F-Zero Maximum Velocity in terms of racing games on the GBA.  Yeah, sorry I do not have much else in the way of deep analysis for this song, it came up and I liked it more than most of the rest of the music from the game, and so we are here.


~JWfW/JDub/The Faceplantman/Jaconian

Wednesday, December 8, 2021

MIDI Week Singles: "Snow Dancing in the Schoolyard" - Final Fantasy Tactics Advance (GBA)

 


"Snow Dancing in the Schoolyard" - Final Fantasy Tactics Advance on the Game Boy Advance (2003)
Label: Square Enix
Publisher: Nintendo
Developer Square Product Division Development 4

First off, I wanted to mention that there are two versions of this song on the soundtrack, the first is the music that was used using the Game Boy Advance sound chip and the second was the uncompressed song.  Sometimes I will use the straight out of the game music, but this time I wanted to use the uncompressed track instead.  Partly because it was longer, but as is expected, it just sounds crisper, cleaner.  The game version of the song though is not bad at all and does sound great for music from the Game Boy Advance, but today, I wanted to use the uncompressed track.  Just wanted to mention that.


There are three things that immediately stand out about this song.  The first is that it was composed by Hitoshi Sakimoto, he just has a particular sound to his scores from Final Fantasy Tactics, to Vagrant Story, to Ogre Battle: Let Us Cling Together, to Final Fantasy XII, they all sound very similar.  Second, and connected to the first, is that this sounds like it belongs in a tactics game, be it Final Fantasy, Vagrant Story, or Ogre Battle, just something about the flow of the music.  Lastly, within the first 10 seconds, the instrumentation helps to place the setting in a wintry setting.  The shake of whatever that MIDI percussion instrument is along with the MIDI strings and then the chime coming in a few beats later followed by the whistle, to me all help to convey that this scene takes place somewhere it is cold.  Not the desolate cold of a frozen wasteland, but a nostalgic setting from youth when playing in the snow was the highlight of the day followed by hot chocolate/cider next to a warm fire and footy-pajamas; honestly, it is still the highlight of my day if I already do not have to think about work.

All I really remembered from FFTA regarding this music was that there was a snowball fight that introduced tactics-genre fighting mechanics and functioned as the tutorial stage.  Then some kid threw a snowball with a rock inside effectively ending the tutorial.  It turns out that this track only plays during the lead-up to the battle, then battle music plays, then another track plays after the snowball fight moves from active to the passive story and that is when Mewt is hit with the snow-covered rock.  I think I just enjoy the playfulness of the song coupled with the snowy tone along with the combined nostalgia of wintry youth and the 120+ hours I spent playing Final Fantasy Tactics Advance.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental

Monday, December 6, 2021

First Impressions: #IndieSelect: Head Over Heals (NS)

Disclaimer: I received a copy of Head Over Heels on the Nintendo Switch from publisher QUByte Interactive as part of 420MacMan's #IndieSelect.  The game was given and received without expectation or promise of a positive review, only that the game be played and the experience be shared through social media.  All words and pictures in this article, unless otherwise noted are from my own experience playing the game.

Systems: Windows, macOS X, BeOS, Linux, Atari Jaguar, Nintendo Switch
Original Release Date: 1986 / 2003
Developer: OceanRetrospec

Context is going to be very important in this review of Head Over Heels, so there is going to be a bit of a forward before we get to the meat of the article.

Head Over Heels was developed by Jon Ritman (Batman, Monster Max) for Ocean back in 1987.  The game did very well, receiving praise from the video game industry at large, and was included in Tony Mott's "1001 Games You Must Play Before You Die" coming in at 138 (if that is your kind of thing); there might be an article in that book?  The point is, Head Over Heels was very well received in 1987 and for years after.  In 2003, Retrospec updated the game with more modern graphics and it was then ported to the Atari Jaguar by Piko Interactive in 2019, and finally QUByte Interactive released it on the Nintendo Switch in 2021.  There is a history behind this game, one that I admittedly do not know a lot about.  The takeaway here is that this was a game that was developed and released originally in 1987 for home computer systems (Commodore 64, Amiga, ZX Spectrum, etc) and I am playing it now on a portable gaming console in 2021.

Before I started Head Over Heels, I knew that I was going to be playing an isometric puzzle adventure game.  That was it.  I did not know anything about the characters, the world, the story, or anything in the game did.  But I have played a few video games released in 1987 (Zelda II: The Adventure of Link, Contra, Ikari Warriors, Double Dragon, Castlevania II: Simon's Quest, Final Fantasy, Blades of Steel, Rad Racer, and several others but you get the idea) so I felt that I would be fine just jumping in and figuring it out as I went.  Well, that was not a great idea because in Head Over Heels, you play two characters who start in separate rooms and I could not figure out what I was supposed to do with either character and what I needed to do, and how to get out of either of the rooms.  The next time I picked the game up, I pretty much just button mashed my way to figure out that the buttons I had the characters standing on were actually transporters that could be activated using the Jump button.  I eventually saved the game and then went looking for an instruction manual because, after a couple of attempts at playing, I wanted to know what it was that I was actually doing.

I found a couple instruction manuals online (this being the best-looking one).  It was here that I found out how much I was missing.  That Head and Heels are being held captive, how transporters worked (which I already knew), that Head should learn how to climb the ladder in his cell (which leads you to find the fluffy bunny which gives you extra lives), what the bloated blue angler fish does, and that you should not reach the Market without Head acquiring the Hooter otherwise it could make the game very difficult; the Hooter being the name of Head's gun that shoots doughnuts used to temporarily stun enemies while they lick the doughnuts off of their faces.  And you know, I realize I still do not know what the shield icons are about, but I presume that they allow either Head or Heels to take an additional hit without dying.

A lot of this game is trial and error and once I put myself in that mindset, I was better able to appreciate the game, similar to how I approached Dark Souls differently, that sections of the game needed to be learned as opposed to just barging through.  And having this mindset I feel is the only way to progress in the game, because progression is going to be slow, at least from my own experience.

You start out the game with each character having eight lives although you can get additional lives by collecting Fluffy Bunnies (because why not).  If Head or Heels loses all their lives, they essentially borrow a life from the other character, and losing lives happens a lot in this game because there is no life meter, one hit from anything that is out to kill you will kill you immediately.  When you die, you will respawn immediately in the last room transition you made.  If you just came through a doorway, you will respawn there.  If you fell from a room above, you will respawn falling, and this is where one of my complaints as far as game mechanics comes from.  

Early on, there is a jump you have to make with Heels, but if you miss that jump, you fall to the room below where there are two enemies patrolling, one randomly and the other seeking you out.  Because you fall slowly in this game, the enemy has time to track you down and fox-guard the area where you are going to land and when you land, you die because the enemy hits you.  Now, because this is with Heels, you cannot guide your falls, so you fall straight down until you die and respawn in the same place where you fall and die.  


This happens until you either quit the game, or the game ends because you run out of lives.  What is frustrating about this happening is that you could be making your way through the game, feeling good about your time spent, and have 20 lives between the two characters, but because of a single misstep/jump, your game is essentially over and you have to load a previous save file.

Let us talk about saving.  Hoo boy was this a frustrating mechanic to figure out.  Saving in this game is done by pausing the menu and selecting Save, pretty standard stuff.  But this can only be performed if you have already collected a Reincarnation Fish (the bloated blue angler fish mentioned above).  The instruction manual gives you a vague description of the Reincarnation Fish, but there is more world-building lore about the fish than its actual function.  And once you use that fish to save, you cannot save until you find another fish, or if you already have another fish in your inventory.  But the thing is, the game does not tell you how many Reincarnation Fish are in your inventory, or essentially, how many more times you can save the game.  I do not mind the limited save mechanic in certain instances (Resident Evil for one), but this specific mechanic, as it is implemented here, has completely changed my approach to playing this game.  I have to have enough time to play and to get far enough in the game that I feel I can use up a Save.  If I save too early, say after 15 minutes, then I feel like might have wasted a save before a series of rooms that were not difficult, but time-consuming to get through, but knowing if a room is difficult to get through and that I should use a save, is usually not something you will be able to decipher on-site.

I get it.  Head Over Heels is designed to be a difficult game.  It is not supposed to be an easy adventure game, otherwise, you could beat it in less than an hour, and anyone buying a computer game in 1987 would probably be upset at having spent $20-40 (I could not find an exact cost for Head Over Heels when it was first released so this is just a guess based on game prices in the mid-late 1980s) would probably have been upset at bringing home a new game and beating it in a single sitting.  There is supposed to be trial and error, figuring out the best way to approach puzzles and hazards and feel accomplished when you make it far enough to warrant a save.  When Retrospec updated the game in 2003, I feel that they could and should have also updated the saving mechanic as well, maybe afforded more than one save per Reincarnation Fish, added an on-screen icon to tell you how many Fish/saves you have left to use, or even allowed you to not die in that one room when you respawn from the ceiling.

All of my complainings aside, Retrospec has done an amazing job with their updated version of the original Head Over Heels and I am pretty impressed with how nearly identical the game plays to what I can tell of the original (or at least the original on the ZX Spectrum).  I love that there is no longer a transition between long rooms, that the screen just scrolls while you move through.  I am very impressed with the new music composed by Dorian Black and I would love to be able to listen to the music outside of the game, but thanks to the commonness of the game's title and apparently the name of the composer, finding any semblance of this soundtrack has been impossible.

At the moment, I am reserving any recommendation for Head Over Heels until either I finish the game or I reach the point where the game is no longer fun and I throw in the towel.  I am enjoying the quirkiness of the characters and the game world, I am loving the music and I would really love to be able to finish this game, more so in a happy mood than a sour one.


~JWfW/JDub/The Faceplantman/Jaconian



Thursday, April 2, 2020

MIDI Week Singles: "Sanity's Requiem" - Eternal Darkness: Sanity's Requiem (GC)


"Sanity's Requiem" from Eternal Darkness: Sanity's Requiem on the Game Cube (2003)
Composer: Steve Henifin
Spoken Word: William Hootkins
Album: Eternal Darkness: Sanity's Requiem Sound Track
Label: Nintendo of America
Publisher:  Nintendo
Developer: Silicon Knights



I wanted to use this song today for a couple of reasons.  The first is because, as you may or may not know, I love Eternal Darkness: Sanity's Requiem, and William Hootkins' performance as Maximillian Roivas is some of the best insanity voice acting I have heard in a video game.  The way that he portrays cosmic horror induced insanity, to me comes across as determined and desperate.  I could probably write another couple of paragraphs just gushing about Hootkins' various lines of dialogue throughout the entire game.

The second reason being that this has been the second week of self-isolation, Sheltering in Place, working from home, et cetera.  Hopefully, everyone is staying as sane as they can with their current living situation, Eternal Darkness and other psychological horror games have been at my mind's forefront recently.

But we are also here for the music, here written by Steve Henifin.  I think what he does here with ambient music perfectly encapsulates the feeling of the game, waiting for something horrific to slither out of an adjacent room to wreak havoc on the mind of Maximillian Roivas.  Even some of the music has an echo quality to it like you are hearing parts of it through the rotting halls of some massive subterranean cyclopean city.  If you do take our Maximillian's ravings, then this track could just be boiled down to ambient background, but for me, having those bits of dialogue, the monster sound effects including the Trapper all taking advantage of stereo audio, help to elevate this song to a nice encapsulation as to what this game has to offer; which is pretty amazing.



~JWfW/JDub/Cooking Crack/Jaconian
We Are Vain, And We Are Blind

Wednesday, May 15, 2019

MIDI Week Singles: "Choke" - 1080° Avalanche (GC)


"Choke" from 1080° Avalanche on the GameCube (2003)
Composer: Cauterize
Publisher: Nintendo
Developer: Nintendo Software Technology



This might seem like a strange choice for a MIDI Week Single, but bare with me for a moment.  The song was used in 1080° Avalanche when it was released on the GameCube back in 2003.  And since we use songs in video games, I validate this as a choice.  We also write the articles so there is that too.

I think Dr. Potts put it best after I he had borrowed 1080° Avalanche for a while.  He said something along the lines of, that the music and songs in 1080° are not particularly great and probably would not listen to the songs out in the real world, but you definitely start to have favorite songs within the context of the game.  This is true for most, if not all of the alternative rock / nu-metal songs on the non-existent 1080° Avalanche soundtrack.

To me, what it feels like is that Nintendo was aiming for something similar to what Neversoft did with the music/songs in the Tony Hawk franchise.  That never quite happened for me.  Especially when I listen to the songs that were used in 1080°, I only feel a nostalgia for the game and the songs only feel like they are part of the game, not as stand alone songs; like when "If You Must" comes up, the songs stands by itself outside of the game.

So now that I am done ragging on the music from 1080°, I wanted to share "Choke" partly because it was one of my favorite songs from the game, but also because it does conjure moments of boarding down any one of those fictional mountains.  Although, I think I do genuinely like from 2:30 - 3:15, which coincidentally is the longest part of the song without any singing.  Something about this section just makes me want to boot up 1080° again with this song and hopefully be in a wide open area on the mountain going at maxed out speed.*



~JWfW/JDub/Jaconian
I'd Like To Chant Some Magic Spells


*We really need a snowboarding game on the Switch that isn't reliant on being able to do tricks a la SSX Tricky.