{"id":11886,"date":"2019-09-19T18:40:46","date_gmt":"2019-09-19T16:40:46","guid":{"rendered":"http:\/\/www.satrapov.net\/mysst\/?page_id=11886"},"modified":"2023-02-25T20:27:40","modified_gmt":"2023-02-25T20:27:40","slug":"music","status":"publish","type":"page","link":"https:\/\/www.grafskaya.club\/mysst\/detailed-reviews-f\/crisis-core-final-fantasy-vii\/music\/","title":{"rendered":"Music"},"content":{"rendered":"

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Penned by one Takeharu Ishimoto, the Crisis Core <\/em>music consists of three types of tracks: remixes of Final Fantasy VII <\/em>music; pensive instrumental arrangements; and heavy metal numbers. The soundtrack also has the peculiarity of featuring identical <\/em>tracks under different names, which puzzles me to no end. Is it so that they could justify selling it on two CDs?<\/p>\n

Anyway, not all of the FFVII remixes are successful. Case in point: \u201cThe World\u2019s Enemy\u201d is essentially the Christmas version of \u201cOne-Winged Angel\u201d. Three guesses as to which context it plays in. My point though, is that it really ruins an iconic track, with almost comical brass flourishes and jingling bells throughout. \u201cFirst Mission\u201d is a sped-up version of \u201cBombing Mission\u201d and also plays during the opening sequence of the game, but I\u2019d say it\u2019s very close to being too <\/em>sped up. On the other hand, \u201cA Flower Blooming in the Slums\u201d is a pleasant acoustic guitar rendition of \u201cAerith\u2019s Theme\u201d, and \u201cA Closed Off Village\u201d adds an ominous shuffling backdrop to flesh out the already eerie \u201cAnxious Heart\u201d. But then the very concept of remixing so much of FFVII\u2019s music (because there\u2019s more than the ones I cited) just adds to the game\u2019s problem with lazy rehashing and doesn\u2019t bode well for the composer\u2019s inventiveness.<\/p>\n

This is only reinforced by the fact that the original tracks are mostly bland. The instrumental category has two signature tunes, but they run the risk of overstaying their welcome, due to how often the game reuses them. It\u2019s like the composer knew that they were his two best efforts and thus decided to pad out the soundtrack with them as much as he dared. First is \u201cThe Successor\u201d, a melancholy piano tune which plays over the title screen. It\u2019s then reprised in a slightly darker mood as \u201cBurden of Truth\u201d and \u201cWith Pride\u201d (they\u2019re identical), which play in Gongaga and some scenes with Genesis, and with a more anguished tone as \u201cThe Burdened\u201d, which plays in Aerith\u2019s Church. There\u2019s also a synth version (\u201cDreams and Pride\u201d\u2026they could just have named all of them as a variation on \u2018burden\u2019 or \u2018pride\u2019 to save themselves some trouble), which is associated with Angeal, and a guitar version (\u201cUnder the Apple Tree\u201d), which plays in Banora.<\/p>\n

\"\"<\/a>The second memorable tune is \u201cThe Price of Freedom\u201d, which is actually quite lovely and probably my favourite piece on the soundtrack, with its plaintive violin segueing into a wistful guitar melody and an electric guitar boost later down the line. This is the track that kicks off the ending sequence, as well as an infamous scene between Genesis, Angeal and Sephiroth. You\u2019ll also hear it as \u201cSky-Blue Eyes\u201d and \u201cDuty and Friendship\u201d (they\u2019re also identical), a slower version with just violin and piano, which plays during Zack and Aerith\u2019s date, and during a conversation between Zack and Angeal\u2019s mother, respectively. There\u2019s also \u201cA Moment of Courtesy\u201d, a more violin-focussed version, which accompanies Zack\u2019s and Cloud\u2019s first meeting in Modeoheim. You\u2019ve also got a more guitar-focussed version in \u201cNight of Seclusion\u201d, which plays when Zack and Cloud escape from Nibelheim, and the messy \u201cMelody of Resolution\u201d, which accompanies some Genesis scenes.<\/p>\n

Other noteworthy non-repeated tracks in the \u2018non-metal\u2019 category include \u201cMoonlight Wandering\u201d, which plays during the sniping minigame (among other things) and just calls for a lonesome cowboy to come ridin\u2019 through, and the gloomy groove of \u201cWilderness of Desertion\u201d, which plays around Gongaga. On the other hand, you have the featureless, plodding \u201cPatriots on a Moonlit Night\u201d, which plays in Wutai. There\u2019s also \u201cWhy\u201d, the only actual song on the soundtrack, which plays during the ending and sounds like generic cheesy pop.<\/p>\n

I don\u2019t like any of the metal tracks, because heavy metal is just not something I associate with Final Fantasy at all (despite the series\u2019 growing willingness to include it in recent soundtracks) and because most of them are just tacky, screechy messes, like \u201cThe Summoned\u201d, which plays (gasp!) when Zack fights summons. But the main offender would have to be \u201cEncounter\u201d because, as the name implies, it serves as the main battle theme. So you\u2019ll hear it again. And again. And again. I find it too intense for random fights, and it just ends up giving me a headache after a while. There\u2019s also \u201cA Beating Black Wing\u201d, which plays during some of the confrontations with Genesis and features guitar flourishes that sound very much like \u2018honk-honk\u2019, thus adding to my inability to take Genesis seriously.<\/p>\n\n

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