{"id":6778,"date":"2014-07-19T17:36:08","date_gmt":"2014-07-19T15:36:08","guid":{"rendered":"http:\/\/www.satrapov.net\/mysst\/?page_id=6778"},"modified":"2020-07-07T10:51:14","modified_gmt":"2020-07-07T08:51:14","slug":"music","status":"publish","type":"page","link":"https:\/\/www.grafskaya.club\/mysst\/detailed-reviews-f\/final-fantasy-tactics\/music\/","title":{"rendered":"Music"},"content":{"rendered":"

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This is the first opus in the series not to be composed by Nobuo Uematsu. Masaharu Iwata and Hitoshi Sakimoto take over with a less melody-oriented, but no less successful style. Despite containing some decidedly bizarre track names (most likely due to transliteration mistakes), the score fits the game\u2019s themes of war and betrayal to a tee, with a prevalence of brass, drums and bagpipes, but \"Pisces<\/a>also flutes, violins and harps. The track that accompanies the introductory video of the game, \u201cBland Logo\u2013Title Back\u201d (I suspect “bland” was meant to be “brand”, but other than that, no idea), is a good sum-up: the crystalline opening chimes evoking a feeling of mystery and nostalgia, before a sweeping opening into the main theme of the game. This is \u201cHero\u2019s Theme\u201d, which you\u2019ll first hear at Balbanes\/Barbaneth\u2019s deathbed, but which is interwoven into many other tracks, creating a continuity throughout the game. An example is the boisterous \u201cBackborn Story\u201d (I suspect this was supposed to be “lowborn story”) which plays if you let the game linger on the starting menu.<\/p>\n

The main highlights of the soundtrack are, unsurprisingly, battle themes. Lucky too, considering how often you\u2019ll be hearing them. The random battle themes invite more of a sense of wonder and exploration, like the rollicking \u201cRandom Waltz\u201d or the more Oriental-sounding \u201cDesert Land\u201d. The storyline battle themes are usually more intense, as exemplified by the driving rhythms of \u201cTrisection\u201d from the first battle at Orbonne, or the pressing urgency of \u201cUnavoidable Battle\u201d from Bariaus Hill\/Balias Swale. \u201cRun Past through the Plain\u201d, which plays during Rafa\/Rapha\u2019s rescue, has a feeling of towering menace to it. \u201cBack Fire\u201d, from Gariland, literally sounds like flames bursting through a doorway. \u201cBattle on the Bridge\u201d (which has nothing to do with Gilgamesh\u2019s theme from FFV) adapts the main theme for an encounter with Marquis Elmdor\/Elmdore, surrounding it with a cascade of violins. Some tracks are slower, like \u201cAntipyretic\u201d, from the Golgorand Execution Site\/Golgollada Gallows, with its lashing trumpet flourishes; the insistent, whirling strains of \u201cDecisive Battle\u201d, from Dorter; or the creeping, ominous onset of \u201cNight Attack\u201d, which \"Pervert<\/a>occurs during the raid on the Sand Rat Cellar\/Sand Rat\u2019s Sietch. The party\u2019s encounters with the Lucavi will also render the decidedly evil-sounding strains of \u201cThe Pervert\u201d all-too familiar. Yes, that is<\/em> the track\u2019s real name, and it\u2019s not even the worst one of the lot. Alongside all this, there are also more surprising choices: startlingly melodious themes that don\u2019t really sound like they belong on a battlefield. Take, for instance, the beautiful, aerial \u201cUnder the Stars\u201d from the encounter with Islude\/Isilud, with its distinctly un-threatening strings reminiscent of twinkling stars, or \u201cAntidote\u201d, which plays during Olan\/Orran\u2019s rescue and sounds like someone scattering pearls in the snow.<\/p>\n

Some non-battle tracks also stand out, like the troubled \u201cOvelia\u2019s Worries\u201d, which accompanies its namesake\u2019s musings and is a more melodious reprise of the brooding \u201cDelita\u2019s Theme\u201d. And lest you think that the entire soundtrack is doom \u2018n gloom, there are also lighter, more humorous pieces, like the goofy-sounding \u201cTreasure\u201d, which features in scenes at Besrodio\/Besrudio\u2019s house.<\/p>\n

Of course, not every track is a success. The worst offender actually tops the list of shame because of its HIGHLY<\/strong> questionable name. I mean\u2026who in their right mind calls a song \u201cBloody Excrement\u201d?! No, I kid you not, it\u2019s really called that. That being said, the song, which first plays during Algus\/Argath\u2019s rescue, is nothing shocking in itself, but simply forgets to start, spending its entire time on a thumping buildup. Other problematic tracks include \u201cCryptic Mood\u201d, which accompanies Cid\u2019s arrest and is both discordant and meandering, or \u201cTerror 1\u201d (why the numbering?), which plays during Rafa\/Rapha\u2019s confrontation with Barinten\/Barrington and is far too leisurely for its name. These problems aside, this is, overall, a good opus and a worthy companion to such a great game.<\/p>\n

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