Showing posts with label Nobuo Uematsu. Show all posts
Showing posts with label Nobuo Uematsu. Show all posts

Wednesday, July 17, 2024

MIDI Week Singles: "Fanfare" - Final Fantasy VI (SNES)

 


"Fanfare" from Final Fantasy VI on the Super Nintendo Entertainment System (1994 - 2023)*
Composer: Nobuo Uematsu
Album: Kefka's Domain - The Complete Soundtrack from the Final Fantasy III Video Game, Final Fantasy VI Original Sound Version
Label: Squaresoft, NTT Publishing, Polystar
Publisher: Square
Developer: Square


It took a little while to figure out, but by my calculations, this is the 500th MIDI Week Singles article we've posted between our original site, Two Boys and Their Blog, and here.  We started this column way back on July 23rd, 2014, and with the exception of a handful of Wednesdays, we've managed to post nearly 500 different tracks from video games over the last 10 years**.  There was one time were we used music from a film that was never used in a video game.  There have also been a couple of times we've either reused the same track or used different variations or arrangements of the same song.  The point is, we love music here and for the last 10 years, this has been our primary avenue to share that with you all.

So go us for making it 10 years with this one column.  Self-congratulating and everything.


~JWfW/JDub/The Faceplantman/Jaconian
In the Pool, Resonating


Final Fantasy VI has been released so many times on different platforms over the last 30 years that I didn't feel it necessary to list them all right here, and decided to just list it as Final Fantasy VI on the SNES.

Wednesday, June 12, 2024

MIDI Week Singles: "One-Winged Angel" - Final Fantasy VII (PSX & PC)

 


"One-Winged Angel" from Final Fantasy VII on the PlayStation, Windows, iOS, Android, Switch, Xbox One (1997-2019)
Composer: Nobuo Uematsu
Album: Final Fantasy VII Original Sound Track
Label: DigiCube, Ltd.
Publisher: Square, Eidos Interactive, Square Enix
Developer: Squaresoft


Similar to our Game EXP article for Final Fantasy VII, what the hell do you say about "One Winged Angel" that hasn't been said over the last 27 years?  It's a fantastic song.  It's an amazing boss song.  Having vocals pop up during the boss battle theme for the first time on the entire soundtrack is pretty epic.  I was honestly more familiar with the orchestral version from the "Final Fantasy VII: Reunion Tracks" album re-released than the original, which was also used in Dissidia - Final Fantasy, so it took me a little while to get used to the MIDI instrumentation (which I recognize is a bit of an odd statement coming from us).  

Well, regardless of what I think of the quality of the music, "One-Winged Angel" is the best possible way to go out on a high note, even if you have to sit through two castings of Super Nova.  The fact that it has been performed at every live Final Fantasy concert I have ever been to is a testament to this song's staying power beyond the original MIDI instrumentation.


~JWfW/JDub/The Faceplantman/Jaconian

Wednesday, January 17, 2024

MIDI Week Singles: "Those Who Fight" - Final Fantasy VII (PC)

 


"Those Who Fight" from Final Fantasy VII on the PlayStation, PC, iOS, PlayStation4, & Android (1997)
Composer: Nobuo Uematsu
Album: Final Fantasy VII Original Sound Track
Label: DigiCube
Publisher: Square, Sony Computer Entertainment, Eidos Interactive, & Square Enix
Developer: Squaresoft


I have no data to back me up on this, but I feel that for everyone who played Final Fantasy VII within the first few years it was out likely has some area or scene come to mind whenever they hear a particular song from this soundtrack.  For me with "Those Who Fight," I always think back to my first playthrough when I bought the PC version of the game in late 1998.  I always think of being in Shin-ra Manor battling Ghirofelgo, the weird creature swinging from a rope with the lower half of its body being a pendulum/guillotine-type blade.  I did a lot of grinding in that location before heading to Mt. Nibel, enough for my primary memory of this song is going up against Ghirofelgo after Ghirofelgo (and every other creature in the manor) and for whatever feeling that these series of battles were worth it in terms of XP and AP.

That's all I have.


~JWfW/JDub/The Faceplantman/Jaconian
We Were Born Outta Time

Wednesday, March 8, 2023

MIDI Week Singles: "Good King Moogle Mog XII" - Final Fantasy XIV (PC, PS3/4/5, OSX)

 


"Good King Moogle Mog XII" from Final Fantasy XIV on Windows, PlayStation 3, PlayStation 4, OSX, & PlayStation 5 (2013 - 2021)
Composer: Masayoshi Soken
Vocals: Michael-Christopher Koji Fox, Yuriko Nagata
Album:  Before Meteor Final Fantasy XIV Original Soundtrack
Label: Square Enix
Publisher: Square Enix
Developer: Square Enix


Not having actually played Final Fantasy XIV, I came across this song while playing THEATRHYTHM FINAL BAR LINE and figured that labeling it as specifically from Final Fantasy XIV would be a lot easier on me with all of the developer and publisher information for their respective games.  But picking one song from the umpteen dozens of songs from FF XIV included in TFBL (of which there were 35 in the base non-deluxe version of the game) was a little difficult, to say the least.  And while there is some original music composed for the game, the whole point of the game is to showcase music from the Final Fantasy series so I decided to use a song from a Final Fantasy game that I was not familiar with.  So here we are in Final Fantasy XIV; which, apparently, is somewhat compatible with the Steam Deck.

As is to be expected, I have zero context for not only this song, but the thought of Moogles being aggressive en masse is a little unsettling (although the characters are cornered in Final Fantasy VI so it is not entirely unheard of).  I assume that you have to fight a horde of Moogles in Final Fantasy XIV because in TFBL the song is presented as BMS (Battle Music Stage).  But this song is just hilarious.  The melody is bouncy and fun while some of the lyrics are a little terrifying in the same way that Wonderland can be a scary place to Alice.  Maybe it is me, but there is a Nightmare Before Christmas / "This Is Halloween" / Danny Elfman feeling to this song too (that cannot be a coincidence, right?), which fits really well with a clan of murderous Moogles.  I do love that halfway through the song we get the original Mog theme played as an interlude before the song repeats.  


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental

Friday, September 23, 2022

Game EXP: Final Fantasy X HD Remaster (NS)

 


Original Systems Released On: PlayStation 2
Remaster Systems Released On: PlayStation 3, PlayStation Vita, PlayStation 4, Windows, Xbox One, Nintendo Switch
Original Release Date: July 19, 2001
Remaster Release Date: December 26, 2013 - April 16, 2019
Publisher: Squaresoft, Square
Developer: Square Enix

Hmmm.  How so I talk about Final Fantasy X/X-2 HD Remaster, specifically Final Fantasy X as played on the Nintendo Switch?  Rather than do a full-on Game EXP review of a 20-year-old-game, I am going to go over what I found different about the series, what I did not like, and what I eventually did like mixed into both.  You know, like a review article.  And yes, there will be a handful of spoilers because that is the only way I will know how to talk about this game, even if it is in a rather messy, roundabout, and incoherent fashion.  That is just the way things go.

First, let us start off with the notable differences.  

I understand that from Final Fantasy VIII onwards, Square has wanted to have some type of innovation to the otherwise stereotypical JRPG mechanics.  Rather than create another Final Fantasy IX, Square went back to the more realistic models brought about in Final Fantasy VIII, changed the leveling mechanic, changed the equipment mechanic, and changed the typical world traversal and how you interact with locations in the world.  But they kept the grinding.   So many options and ways to grind in this game that I felt bordered on ridiculousness.

Leveling up here was somewhat different from other JRPGs in that you do not have classical experience points that count against a "Next Level" until you level up earning you additional HP and increases to your permanent stats.  Instead, you are awarded Ability Points (AP) that function similarly to experience points in that once you reach a certain number of AP, you gain a point to use on a single node on the Sphere Grid (see above).  One node might give you +200 HP, +4 Magic Defense, or you learn a new ability like "Cure 2," or "Steal"; there is a difference between abilities, skills, specials, and spells, but we will not get into that here.  For the most part, I really liked the Sphere Grid as there was a serotonin burst each time I would save up AP points and spend 3-4 of them at a time, increasing each character's stats and abilities in a way that felt like I was the one making the decision on how I customized each character.  Since this was my first time, I chose the Standard Option instead of the Expert Option because I did not know anything about this leveling system, but halfway through the game I was more than comfortable.  Once I reached the end of each character's grid and learned their final skill (exceptions abound in that statement) I then started moving people around to other character's grids that were not inherently theirs, like having Yuna move through Auron's grid to increase her strength (higher strength = stronger Aeon attacks), or moving Rikku through parts of Lulu's grid so she could learn Doublecast and Flare.  This was the most fun for me because again, I felt like I could further customize each character's skills, abilities, and stats.  I actually had to tell myself that I needed to just go and beat the game after grinding AP for nearly 14 hours (after losing to the final boss the first time) because of how satisfying it was to spend points on the Sphere Grid.

I think what took me the longest to get used to, probably more than halfway through the game was the equipment in that unlike most RPGs, you do not find a weapon with higher stats such as one weapon having higher damage than another.  What character-specific weapons and armor have are augmentations such as +10% HP, or Lighting Ward (Decreases the damage done by lightning attacks).  Both weapons and armor might have additional customization slots for you to add effects by using consumables.  Maybe I missed this tutorial at the beginning of the game while I was trying to figure out what was going on story-wise, but I thought that the "Customize" in the pause menu was about gameplay customization options like text speed and window color.  It was not until after my first loss to Seymour Flux at Mt. Gagazet (maybe 3/4 of the way through?) that I learned about armor customization and I struggled to outfit everyone with some level of Zombie Wards.  It was also around this time that I found out you could increase the stats and abilities of the Aeons Yuna summons.  Yes, part of this is on me with feeling frustrated and not knowing new game mechanics and maybe my overall feeling would change on a second playthough, but it is not like I am a newcomer to the genre or video games in general, so let us just chalk it up to me complaining then.  Some of the stronger abilities you could add to your equipment, like Half MP Cost, and Auto-Phoenix you could only add by using up consumables you had saved for nearly the entire game, or by grinding in the Monster Arena (since specific monsters drop specific consumables and the rarer ones like Twin Stars and Mega Pheonix you could farm by defeating the rarer monsters in the Monster Arena).

The Monster Arena was an area just over halfway through the game that would be populated by monsters you "capture" throughout the rest of the game, the caveat here is that you cannot backtrack to other areas as you would in other Final Fantasy games until the very end of the game before you go to the final area.  This meant that you would need to basically stop your story progress in the game to go back to all of the previously visited areas to "collect" up to 10 of every monster you previously fought.  Then you would bring these monsters back to the Monster Arena and, in short, release them so that you could fight them again.  This just felt like another form of the Chocobo ranching to breed a Golden Chocobo in Final Fantasy VII, something to pad the length of the game out.  Which I was not interested in.

The other mini-game that felt like needless padding was Blitzball.  I realize and fully acknowledge that I did not give Blitzball a chance after that first game.  It was just a game that I did not have fun playing and the thought of devoting even more time to this mini-game that was not integral to beating the game felt like another Golden Chocobo hunt.  With that being said, I knew that the only way to acquire Wakka's celestial weapon was to win the final Blitzball tournament; but I have talked enough about Blitzball.  I did not bother gathering anyone else's celestial weapons, partly out of spite that their existence I do not recall ever being mentioned in the game.  I never again played Blitzball after that atrocious first required time you had to play.  I know that there is a whole recruiting system (which I felt was never explained) and the only time I was given the option to inexplicably play Blitzball was at save spots.  I just felt that Blitzball was kind of shoehorned into the rest of the game to give you something else to grind towards, especially since it was required to earn Wakka's celestial weapon, which is something that I never did for anyone else either.  Celestial weapons were another grinding aspect of the game that I only knew about because I read about Blitzball, but I do not recall them ever being mentioned anywhere in the game, you either had to stumble upon it or read about it in a player's guide.

As far as battle mechanics go, I am a little mixed overall.  I like being able to swap in and out characters on anyone's turn, but I did not like that only people who attack or perform an action during combat receive AP.  By the end of the game, you have to swap in/out all seven characters for them to receive any benefit which just becomes cumbersome.  However, in the final area, I had a pretty decent system when going up against Adamantoise which would allow everyone to get in any action before it died:

  • Auron: Armor Break
  • Wakka: Mental Break
  • Kimahri: Extract Power
  • Yuna: Doublecast - Flare - Flare (Yuna had gear that granted her half MP Cost)
  • Lulu: Flare
  • Rikku: Mug
  • Tidus: Attack

This tactic worked fine against stronger enemies towards the later half of the game, but against weaker enemies in the early game, getting everyone a turn in battle, sometimes wasting healing or buff spells felt like a chore and an easier solution could have been awarding people who did not participate in battle 3/4 or even 1/2 of the AP that people who acted earned.

One thing I really did not like about combat in this game was how easy it was to run away without any consequences.  If there was a battle I did not want to do, all I had to do was call Tidus up (if he was not already in the party) and have him use the special action "Flee" and the battle would be over.  Being able to escape battles this quickly and easily, made including difficult enemies like Behemoth King, Demonolith (or three of those assholes at once), and Barbatos pointless.  Sure, you would be awarded 11,000 - 35,000+ AP, but only if you killed them and a lot of the monsters in the final area had high defenses, resistances, and immunities that made fighting them difficult, so why bother if they were going to eat up time and Yuna's precious MP (to cure everyone after the battle)?  There are so many easier ways to grind for AP than trying to kill (and have everyone survive) a battle against a Behemoth King.  Yes, you would enter battle-after-battle against tough-ass monsters so that you could capture 10 to take back to the Monster Arena.

Something else I did not like about battles, and this felt like a feature more than a bug, was how dangerous battles felt at all times when I wanted to actually engage in battles.  I often found myself needing to heal everyone after almost every battle because monsters would damage 1/3 - 3/4 of a character's max HP and I would be afraid of entering a battle without characters as max HP out of fear of some special attack that would kill everyone in a single hit; this did happen a couple of times, which causes the traditional TPK game over. Thankfully this version of FF X, at least in handheld mode had a feature that let me swipe on a specific part of the screen that brought up the option to fully heal everyone either using items or (only Yuna for some reason) MP.

Lastly, in regards to stumbling upon things, was the airship mechanic at the end of the game.  Unlike a lot of Final Fantasy and JRPGs, you only gain access to an airship at the end of the game rather than halfway through.  This I did not actually mind because I oftentimes feel overwhelmed once the airship becomes available because then you have to parse out where you need to go from an entire world.  Final Fantasy IV did this right with the Black Chocobo only being able to fly over certain areas and land in specific locations, similar to the Tiny Bronco in Final Fantasy VII.  My issue with the airship in Final Fantasy X was that you could only fast-travel to locations you had been to unless you somehow luckily clicked on an X/Y coordinate that had a predetermined location associated with it, a hidden location if you will.  What was frustrating about this was that there was no indication either from other characters or on the map that there would be anything on the map where you could visit, so you were forced to hunt and peck until the game said that you found something.

You know what?  This article has ceased to be pleasurable to write as I feel like I am just complaining about so many different aspects of the game, and I have not even touched on how the game felt like random monster battles intercut with walking and cut scenes every 10-15 minutes, the Cloister of Trials puzzles, how Tidus et al are able to breathe underwater, the Al Bhed Primers, Cid's annoying-ass voice, any semblance of sorting by character in any of the equipment screens, some kind of meaningful character development for Kimahri beyond being told that he helped Yuna in years past, and if Ronso or Guado existed in Tidus' Zanarkand of the past and why he did not seem surprised at all by non-humans.  I am now fully realizing how much of this game I did not like or wished was addressed differently.

All of that being said, there were aspects of the game I did enjoy, believe it or not.  As mentioned above, I did like the fight mechanic where you could swap characters in and out with each character's turn.  This added a bit of strategy, especially when trying to have a specific character follow another character's turn.  I really liked the Aeon summoning mechanic, and how it would take all of the other characters out of the battle (which I realized was repeated in Final Fantasy XII).  I loved a lot of the music and if Nobuo Uematsu was going to leave the Final Fantasy franchise as the principal composer, this is a pretty great soundtrack to go out on.  I enjoyed the overall story for the most part and I was eternally thankful when it was revealed that Yevon was a cult that manipulated the world for their own gains, or you know, like a lot of religions.  Was the player at any point actually supposed to sympathize/empathize with any of the characters (Wakka, Lulu, Yuna) whenever they tried to reason about Sin's existence, because I grew tired of their explanations before Tidus even left Besaid.  Any time Wakka said something like "If we keep faith in Yevon's teachings, it will be gone one day," or when Lulu said "Sin is the punishment for, and the incarnation of, the crimes we have committed," it just made me roll my eyes back into my toes.  And bloody hell was Shelinda an aggressively annoying zealot.  

I do not know if the Eternal Calm cutscene or Final Fantasy X-2 deal with the fallout of Yu Yevon no longer "existing" because the entirety of FFX felt like this was the predominant religion in Spira with the Al Bhed being in the very small minority (maybe something like 80% Yevon, 15% Al Bhed, 5% Unaffiliated?).  And with the fall of Yu Yevon, what effect, if any, did that have on the existence of the Far Plane and/or the rest of those who were unsent at the end of the game?  Did the fact that Yuna et al. "defeated Sin" actually overshadow the fact that Yu Yevon was a parasitic entity and religion or was that even brought up?  What happened to the other summoners who were on their pilgrimage?  Will the people of Spira who did not witness the physical fall of Sin actually believe that Sin is now forever gone or will Sin Cults spring up?  I have so many questions about this.  It did actually kind of feel like FFX's take on religion harkened back a little bit to the revelation about the Lucavi in Final Fantasy Tactics, but that game ended (and began) with Ramza being branded a heretic nonetheless and I doubt that the same has/will happen with Yuna & Co. considering that Wakka, Yuna, Lulu all went from devote Yevonites to killing God in the span of a couple of weeks or months.

So, where do I stand with Final Fantasy X?  I am not really sure, to be honest.  The game looked and sounded great, the Sphere Grid was a brilliant way to further customize characters which were then modified for Final Fantasy XII and was the inspiration for leveling in Path of Exile, The Laugh was not as I was expecting, but I still had a lot of issues with a lot of the mechanics and the developer's expectations on the player.  I think I will close by saying that I am glad that I played Final Fantasy X, even with all of the aspects I did not enjoy, but it will not stop me from playing Final Fantasy X-2 and figuring out the whole fashion mechanic job system that I have tangentially heard about*.


~JWfW/JDub/The Faceplantman/Jaconian
This Has Come To An End


*P.S.  And also to find out how/why Lulu is not featured in FFX-2 because I am going to miss the belt-dress-wearing, living stuffed animal toting Black Mage.


Wednesday, June 22, 2022

MIDI Week Singles: "Cheerful Tavern" - Fantasy Life (3DS)

 

"Cheerful Tavern" from Fantasy Life on the Nintendo 3DS (2012)
Composer: Nobuo Uematsu
Label: FRAME
Publisher: Nintendo, Level-5
Developer: Level-5

Fantasy Life was a really fun game that I immediately recall any time any of the music crops up on my computer and I think back to how I played 90% of the game as a Blacksmith, then decided to mix things up after feeling like my life as a Blacksmith was waning and became a Paladin and the game felt completely different.  This song is wonderfully cheerful as the title states and it makes me want to start a new Life and then end my day back in the tavern to hear this song and see all of the other patrons just throwing back a pint after a long day at the proverbial office.

I honestly do not know if Nobuo Uematsu based this song off of anything from our real world, and if the words that are being sung are an actual language or if it is just near-sounding enough to any conglomeration of languages that it sounds like you are on the cusp of understanding what they are saying.  Maybe after another pint it will make sense?  And I love the accordion intro, which is helped by the fact that I do love accordion music.  The only downside to this song is that the official recording on the album only plays through one time and fades out on the repeat.  Ah well, I guess I should find a tavern then to hear this on repeat and sing along.

I should have another pint.


~JWfW/JDub/The Faceplantman/Jaconian

Wednesday, April 27, 2022

MIDI Week Singles: "Otherworld" - Final Fantasy X (NS)

 

Final Fantasy X and Final Fantasy X/X-2 HD Remaster on the PlayStation 2, PlayStation 3, PlayStation Vita, PlayStation 4, Windows, Nintendo Switch, Xbox One (2001 & 2013-2019)
Composer: Nobuo Uematsu
Label: DigiCube
Publisher: Square Enix


Y'all knew this song would crop up as a MIDI Week Single eventually.  It's video game music, it's music composed by Nobuo Uematsu, it's a metal song with metalcore-esque singing.  I only just started playing Final Fantasy X on Sunday so I had the pleasure of hearing this song in the context of the first Blitzball game where you watch the Zanarkand Abes give up a goal and then as Sin rises up out of the ocean and destroys the city all in the middle of Tidus' impressive kick.  How rude.  But it is pretty metal.

When I first listened to this soundtrack back in 2003-2003, before I ever played the game, I was pretty surprised that this was not only in a Final Fantasy game, but also composed by Nobuo Uematsu; this was before The Black Mages released their self-titled arranged metal album so I was not expecting something like this at all.  I would not say that I wrote off Nobuo Uematsu's composing skills, but a metal-core-esque song was not something I thought would come out of Final Fantasy X, especially with what I had already seen of the game (which was not a lot, but mostly serene tropical scenery).  So aside from being genuinely surprised by this song, I do really like it, even if the singer (Bill Muir) apparently screeches about straightedge in the original recording; I've never heard it, but that's what the Internet tells me, so it must be true.

And as Goblino says, "ROCK!"


~JWfW/JDub/The Faceplantman/Jaconian


Wednesday, September 1, 2021

MIDI Week Singles: "The Decisive Battle - Final Fantasy VI" - Dissida Final Fantasy (PSP)

 

"The Decisive Battle - Final Fantasy VI" from Dissidia Final Fantasy on the PlayStation Portable (2008)
Composer: Nobuo Uematsu
Arranged By: Takeharu Ishimoto
Publisher: Square Enix
Developer: Square Enix


Yes, we used "The Decisive Battle" in last week's MIDI Week Single and you are hearing it again this week, but the arrangement and game are different.  This track is an arrangement by Takeharu Ishimoto (The World Ends with You, Crisis Core: Final Fantasy VII) from the Final Fantasy themed fighting game, Dissidia Final Fantasy.  Because most of the tracks from this soundtrack are arrangements of themes from the older Final Fantasy games through Final Fantasy XII (although the character from XII is a hidden character only playable in certain modes).  The music from the later games, VII-XI was not changed as much as I - VI because the music chips sounded significantly different than the ones used in the NES and SNES/SFC, which is why I ultimately went with this track.

What I love about this particular track is actually not what I loved about Nobuo Uematsu's original composition.  In this arrangement, the predominant instruments seem to be focused more on the guitars, strings, and drums than the bass and the organ.  And while the bass is still present, it is mixed at a much lower volume than the original.  As much as I love those two parts from Uematsu's composition, I really do love how Ishimoto brought the other instruments forward to infuse the kind of energy you would need for a fighting game and not a turn-based RPG.  It reminds me a bit of the arrangement for The Black Mages' self-titled album in that it takes the original song and makes its own version without creating a carbon copy with real instruments.  

So no guarantees that we will not do something like this again in the future when we find similar arrangements.


~JWfW/JDub/The Faceplantman/Jaconian
One More Time Now!

Wednesday, August 25, 2021

MIDI Week Singles: "The Decisive Battle" - Final Fantasy VI / III (SNES)

 

"The Decisive Battle" from Final Fantasy VI / III on the Super Nintendo Entertainment System, Game Boy Advance, PlayStation, iOS, Android, Windows (1994)
Composer: Nobuo Uematsu
Label: Squaresoft, NTT Publishing, Polystar
Publisher: Square
Developer: Square


When those first seven seconds from this track start, you know that this is not going to be your normal run-of-the-mill battle.  This is boss battle music.

For me, it is the bass and organ that stand out for nearly the entirety of the song.  The MIDI strings at around 0:30 do carry the melody for a while, really for the next 20 seconds, but I still tend to focus on the bass for the whole song.  I would be remiss to not point out the drums too because those are some great MIDI-sounding drums.  There are just so many memories that come back with this song (and really the whole Final Fantasy VI / III soundtrack.

That is really all I have until next week when the partial-real-reason for featuring "The Decisive Battle" will be made clear.


~JWfW/JDub/The Faceplantman/Jaconian

Wednesday, January 20, 2021

MIDI Week Singles: "Home, Sweet Home" - Final Fantasy V (SFam)

 

"Home, Sweet Home" from Final Fantasy V on the Super Famicom, PlayStation, Game Boy Advance, iOS, Android, and PC (1992)
Composer: Nobuo Uematsu
Album: FINAL FANTASY V ORIGINAL SOUND VERSION
Label: NTT Publisheding Co., Ltd.
Publisher: Square
Developer: Square


I decided to pull music from Final Fantasy V because when this game came up in my attempt to listen to all of the music from the SNES/SFam era (#AllTheSNESMusic), I recalled how much I seemed to have loved this game although only after the fact and I still could not recall everything that went on.

I first heard "Home, Sweet Home" off of the Final Fantasy N Generation: Official Best Selection album probably sometime around 2003-2004.  I had not played Final Fantasy V at that point so I had no context for the song aside from this beautifully arranged version (sung in English and Sami) that was originally on the Final Fantasy V: Dear Friends arranged album, and after listening to the arranged version, the sound chip on the Super Famicom does pale in comparison, at least it does for me.  However, when I did get around to playing Final Fantasy V on the Game Boy Advance port, I was probably about as elated as Bartz was when returned to his home village of Lix.  Having heard and listened to this song for a number of years and knowing that it was from the game I was playing, hearing it that first time did feel like I was returning home.  For me, it is the feeling of returning to a place that is free from the worries of the world and is full of comfort, something that is pretty common in the Final Fantasy series.  And even in the Super Famicom and Game Boy Advance versions of the song, that feeling for me still comes across.


~JWfW/JDub/The Faceplantman/Jaconian
"This is a Place He's Familiar With"


Thursday, June 14, 2018

MIDI Week Singles: "Stage Theme" - The 3-D Battles of World Runner (NES)


"Stage Theme" from The 3-D Battles of World Runner on the Nintendo Entertainment System (1987)
Composer: Nobuo Uematsu
Album: No Official Release
Developer: Square




This song came up while doing my #AllTheNESMusic listening (which you can follow over on the Twitteringverse).  So welcome to the world of semi-obscure NES games that I have only seen in one place.  And that place was primarily my neighbor Dellaños' parent's house across the street from where I grew up.  I did borrow The 3-D Battles of World Runner a number of times and I am pretty sure that I was never able to make it past the first level, which consists of running forward on a semi-3D plane dodging enemies and jumping over pits.

And then there is the stage theme, which apparently does not change when you make it to Stage 2, or Stage 3, or the next.  It is the same 45 seconds of music for however long it takes you to get to the boss of each stage, and then it is back to the Stage Theme.  And before writing this article, I was unaware that Square developed this game, and that Final Fantasy composer Nobuo Uematsu had composed the music; which really helps to explain why the song is so damn catchy.  YouTube reviewer ThruN00b even came up with lyrics which actually do a decent job of describing the game while making sense of the game's insanity for the most part.

Maybe I will follow up with Dellaños so he can jump in (eh!?) with what experiences with The 3-D Battles of World Runner?  Ideas.



~JWfW/JDub/Jaconian

Wednesday, January 24, 2018

MIDI Week Singles: "The Great Warrior" - Final Fantasy VII (PSX)


"The Great Warrior" from Final Fantasy VII on the PlayStation, PC, iOS, PlayStation4, & Android (1997)
Composer: Nobuo Uematsu
Label: DigiCube
Developer: Squaresoft


I was having a conversation with Conklederp late last week about Final Fantasy VII, specifically that I do not hate the game.  I do think that it is one of the more overrated games, but I do not hate it.  One of the key reasons for that is the music (but don't get me wrong, I severely lament the victory fanfare that was written over what before that point, is what had always been and sounds more victorious).  But the piece of music that I wanted to bring up today from FF VII was "The Great Warrior,"  the piece that plays during Red XIII's return to Cosmo Canyon and when he finds out the truth about his father whom he had always thought had abandoned him and his mother.

What I like about this theme, is that despite all of the flaws in FF VII, this cue and the story associated with it have an emotional impact on me; possibly even more so than Aerith's death scene.  The theme here sounds like it was Seto's theme, and later because of his sacrifice, it develops and becomes the theme of Cosmo Canyon.

I am 99.47% positive that people have written dissertations on Nobuo Uematsu's music from Final Fantasy VII, so I will leave it at that I really love this piece in particular, out of an entire 85 track soundtrack with a good number of songs.



~JWfW/JDub/Jaconian

Wednesday, January 3, 2018

MIDI Week Singles: "Chaos' Temple" - Final Fantasy (NES)


"Chaos' Temple" from Final Fantasy on the Nintendo Entertainment System, & Nearly Everything Else (1987)
Composer: Nobuo Uematsu
Developer: Square


I had first considered doing the "Menu Screen" music because of the memories that song brings back, but then I thought, "No!  This is the first MIDI Week Single of the year and I want to do something that I love!  A song that has five stars on my iTunes!"  So "Chaos' Temple" was the next logical choice as I was already mentally Hell bent on using a song from the first Final Fantasy game.

What I love about "Chaos' Temple" requires a bit of explanation and does kind of contain spoilers if you have not delved into this game yet.  You first hear this song on your first mission when you go to rescue Princess Sarah from Garland who has taken her to the Temple of Fiends.  This is even before the player becomes aware of Chaos as the main antagonist, and before they discover the possibility of the whole time paradox loop.  "Chaos' Temple" sounds like a very heroic piece of music to be given to a seemingly benign princess-napper.  Maybe my brain has become biased over the years, but I am actually unable to hear anything close to a hint that this music is trying to relate to Garland being more evil than his first encounter portends.

This song is made even better by its arrangement that was included in the Final Fantasy Symphonic Suite that was released on CD back in 1989.  As the penultimate finale for the fifth movement, the Tokyo Symphony Orchestra just. . ., I mean. . ., holy Hel, it is just bloody damn amazing.  Seriously give it a listen and just wait for that french horn glissando.  Tell me this is the villain's theme after listening to that beautiful work of heroic art.  The chills.  The chills.



~JWfW/JDub/Jaconian

Friday, May 5, 2017

Game Scores: Game Over (NES Edition)


I actually started with this post back on Wednesday November 9th as a MIDI Week Singles article, but then it ballooned into what it is right now.  I first thought that unless you used a song from an RPG, the death theme was only going to last a couple of seconds, mainly to get the player back into the action, but I was wrong on that count.  And then there might be a slight difference between the sound effect when you die and the music that plays when your game is officially over (as in the Castlevania series).  And then in games like Mega Man, Castlevania III or Willow, when you died, you did not just to a Game Over screen, but instead were taken to the password screen, which probably should not have depressing dirges to remind people of their failures, as the game needed the music to be peppy enough for the players to write down the password and eventually continue; I think we'll cover Password music in an upcoming Game Scores because they seem to be their own beast now that I really think about it all.

There is probably a lot more psychology going on in the end and death themes for early video games than I am either able to come up with or give the designers credit for, so we will just stick with a couple of tracks from NES era games that I both really like and feel that I can talk a bit about.


Batman: The Video Game - "Game Over."
Composers: Naoki Kodaka & Nobuyuki Hara

What I like about this music is that it connects with the rest of the music in the game, in that by itself, it could actually just be background music for a regular level and not just a Game Over screen.  It seems like a lot of NES era games took cues from the arcade scene and had some combination of short death music cue and a short ditty, but in Batman: The Video Game, you get a full on song, and a good one at that.


Dr. Mario - "Game Over."
Composer: Hirokazu Tanaka

While I have never been a fan of games making fun of you for losing (looking at you Duck Hunt), what I actually like about the Game Over music in Dr. Mario is that the high pitch tones I feel like are the various viruses singing that they both won and that the player lost.  Almost like a victory song for them, even though they are unable to sing.  If anything, the reason to continue playing after "dying" is to stop the viruses from their incessant laughing at your failure.


Final Fantasy - "Dead Music."
Composer: Nobuo Uematsu

What I find interesting with Final Fantasy, is that when your party is killed, you are not taken to a separate "Game Over" or "You are Dead" screen, but you are left on the battlefield with whomever killed you and the simple epitaph of "Slain.  [Name of First Person in Party] party perished" while a dirge of sorts plays until you press any button, are taken back to the title screen where you start from the last town you saved at.  And as Nobuo Uematsu usually does, even the music for being dead is a beautiful composition.


The Legend of Zelda - "Game Over."
Composer: Koji Kondo

What strikes me about this song is that it is a single instrument, which sounds somewhat reminiscent of a xylophone; or maybe that is just me.  Along with this song, the defeated player is also greeted with the screen that offers either "Continue - Save - Retry" as well as the infamous "Hold In Reset Button As You Turn Power Off" which is something that I did even up through Game Cube games.  But I digress.  What I really like is just the simplicity of the melody and while still somewhat somber in tone, it does not necessarily have to be a sad song overall.


Shadowgate - "Dead."
Composer: Hiroyuki Masuno
Apologies for the sound quality on this one sounding warbley.  
Something must've happened during the video making process.

For me, this is pretty close to the quintessential "dead" music, which is convenient considering that it is the title of the song.  And considering too that the entire 46 second song is just a repeat and variations of the first 3.5 seconds is pretty amazing, and at least for me, the song does not get old.  I guess all I can really say about this song is that it is a great song from a great game with a great soundtrack.


So that about wraps it up for this NES Edition of Game Scores, which I did not initially set out to do.  And now that I have covered a handful of NES games, I may just have to come back and do another article with music specifically from other platforms as well, or just more NES games because Odin knows that I had to limit myself to five or this article would have been overrun and taken way too long to put together.



~JWfW/JDub/Jaconian
'Cause You Killed A Guy