{"id":6345,"date":"2013-07-11T13:42:43","date_gmt":"2013-07-11T11:42:43","guid":{"rendered":"http:\/\/satrapov.net\/mysst\/?page_id=6345"},"modified":"2020-07-13T23:17:59","modified_gmt":"2020-07-13T21:17:59","slug":"music","status":"publish","type":"page","link":"https:\/\/www.grafskaya.club\/mysst\/detailed-reviews-n-z\/planescape-torment\/music\/","title":{"rendered":"Music"},"content":{"rendered":"

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As can be expected from a game with such a strong focus on existential questions, Planescape: Torment <\/i>has a distinctly sombre soundtrack, courtesy of Mark Morgan. The majority of the music is dark, oppressive, eerie and\/or melancholy. Just listen to the thoroughly chilling and grandiose track which accompanies the introductory cinematic (\u201cIntro Movie\u201d) to get an idea. Along the same lines, the eponymous theme for Sigil feels like danger lurks around every corner, while the Mortuary theme is downright disturbing, with its muffled ticking undertones, and the scrapings and whispers which accompany it, woven together by a ghostly flute. There are also less successful examples, such as the dour, part-oriental, part-military \u201cSmouldering Corpse Bar\u201d, which sounds like it\u2019s dragging its feet and hammering nails at the same time, or the decidedly post-apocalyptic, discordant theme for Curst.<\/p>\n

\"Forever<\/a>Aside from this, the soundtrack also features one of the most iconic pieces of RPG <\/acronym>\u2013 or, at least, WRPG <\/acronym>\u2013 music, namely \u201cDeionarra\u2019s Theme\u201d, a beautiful, profoundly sad melody, which sounds somewhat like glimmering cold water. It also reappears very frequently  as a passing theme in other tracks, creating a feeling of unity. A few of these instances include the cavernous-sounding \u201cMain Theme\u201d, which plays on the introductory screen; the ululating \u201cSigil Battle\u201d, which accompanies all combat within Sigil; or the doleful \u201cFortress of Regrets\u201d, which is the theme of the final dungeon. Other noteworthy character themes include the defiant \u201cTrias\u201d (which, along with \u201cDeionarra\u2019s Theme\u201d makes another appearance in the dirge-like \u201cBad Ending\u201d), or some more surprising ones, like the crepuscular \u201cAnnah\u2019s Theme\u201d, with its wistful mix of piano, flute and vocals, rather uncharacteristic of her personality. There\u2019s also the decidedly raunchy, irreverent \u201cMorte\u201d, which is probably the most humorous track in the game and fits him like a glove (or would that be a hat?). \u201cFall-from-Grace\u2019s Theme\u201d is another good fit, with its shimmering, airy xylophone trills, gentle clarinet and piano, as is the diametrically different, subterranean \u201cVhailor\u201d. \u201cNordom\u2019s Theme\u201d, on the other hand, despite featuring the expected mechanical sonorities, is too dark to be entirely fitting, in my opinion.<\/p>\n

Other highlights include the surprisingly upbeat \u201cNeutral Ending\u201d \u2013 it almost sounds more cheerful than the \u201cGood Ending\u201d \u2013, or the decidedly bellicose \u201cCurst Battle\u201d, which just makes you want to grab the nearest sword. I\u2019m of two minds about \u201cCivic Festhall\u201d: on the one hand, it\u2019s both surprising and refreshing to hear what is essentially a flight of baroque fancy in a dark fantasy game, but on the other hand, it\u2019s a bit too tinny for its own good. Overall, I would say that, while the prevalent gloom of the music certainly gives the game a characteristic signature, at length, it runs the risk of blending together somewhat. Besides, for all its serious underlying themes, PST does also feature a lot of humour (even though it’s mostly macabre humour), and there aren’t enough occasions for the soundtrack to fully showcase that.<\/p>\n\n

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