{"id":12399,"date":"2021-08-11T14:03:32","date_gmt":"2021-08-11T12:03:32","guid":{"rendered":"https:\/\/www.satrapov.net\/mysst\/?page_id=12399"},"modified":"2021-08-11T14:20:00","modified_gmt":"2021-08-11T12:20:00","slug":"music","status":"publish","type":"page","link":"https:\/\/www.grafskaya.club\/mysst\/detailed-reviews-f\/final-fantasy-iv-the-after-years\/music\/","title":{"rendered":"Music"},"content":{"rendered":"

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Most of the music from the original game is reused as was. And I understand that you\u2019re mostly revisiting places that you already know from the original, so it does makes sense that the music would be the same. But let\u2019s take Final Fantasy X-2<\/em>: another sequel of dubious quality, which came out before this game. The developers still <\/em>made the effort to completely change the music, even in locations which already existed in FFX (regardless of whether the new music was better or not\u2026usually not). So this just smacks of laziness to me.<\/p>\n

\"\"<\/a>There are only 12 new tracks and almost all of them feature in the final areas of the game. It also seems that Junya Nakano, who composed these new tracks, had a (self?) imposed theme of \u2018twinkles\u2019. If you weren\u2019t familiar with FFIV\u2019s music, you\u2019d still be able to instantly recognise the new tracks by how significantly twinklier they are than the rest. And I\u2019m barely kidding. As to whether they\u2019re any good, well\u2026\u201dOpening Theme\u201d, which plays during the introductory scenes, is lively enough, but it\u2019s essentially a remix of the famous \u201cPrologue\u201d, which features in almost every game in the series. So yes, it\u2019s got piano and a generous helping of twinkles, but it doesn\u2019t really get any points for originality. The same applies to \u201cThe Battle for Life\u201d, which plays during the fight against the Creator\u2019s final form: while being refreshingly twinkle-free, it\u2019s essentially a remix of the \u201cMain Theme\u201d from the original game, as is \u201cEpilogue II\u201d, which plays during the concluding cinematics. And then there\u2019s \u201cFinale\u201d, which plays over the ending credits, and is a medley of the famous \u201cPrelude\u201d and a less ominous rendition of \u201cRed Wings\u201d.<\/p>\n

The Mysterious Girl\u2019s eponymous theme is just a mass of twinkles without any real melody to it, but it does serve as an effective backdrop in \u201cThe Dispossessed Eidolons\u201d, which plays during battles with mind-controlled Eidolons to signify that she\u2019s the one pulling the strings. This is probably the best of the new tracks, with it stabbing counterpoints lending it an appropriate sense of urgency.<\/p>\n

The rest is either more twinkles (\u201cTrue Moon\u201d, which, as the name indicates, plays while traversing the eponymous location), discordant (\u201cPlanetary Core\u201d, which plays during the battle with the Creator\u2019s shell) or both at the same time (\u201cStraying from Evolution\u201d, which plays during the battle with the Creator\u2019s third form). Overall? Eminently forgettable. Just like the entire game.<\/p>\n\n

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