Song of the Day: A Return, Indeed…(by Uematsu Nobuo from Lost Odyssey)


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One of the best gaming experiences I’ve had in the past ten years was from a title that was the creation of the man (Sakaguchi Hironobu) who made the wildly-popular Japanese role-playing game franchise, Final Fantasy, before he left to start up his own company. This company would be called Mistwalker and they would release two rpgs for the Xbox 360 between 2008 and 2009. The second of these two titles was Lost Odyssey and this was the title of which I spoke of above.

The title was a nice throwback to the classic Final Fantasy titles Sakaguchi was responsible for while dressed up in nextgen visuals. But what made this game so memorable an experience for me wasn’t just the visuals but the great storytelling and music it also had in great abundance. The music itself was the product of one (if not the greatest) of the greatest video game music composer in the industry, Uematsu Nobuo. It’s from Uematsu’s soundtrack for Lost Odyssey that I pick the latest “Song of the Day”.

“A Return, Indeed…” (“Kaette kuru, kitto…” in Japanese) is part of the game’s soundtrack which makes several appearances throughout the game, but it was during the first found dream sequence (the game’s greatest highlight and reason to play it) which really sold the song and the whole soundtrack as whole as being great. This version is the piano solo one which is really the best version which appears in the game. This piano solo version was arranged by Satoshi Henmi from Uematsu’s original composition and it fully convey’s the song’s sorrow melody in the beginning but gradually transitions into a sound full of hope before finally ending in a simple few notes. Those few notes giving a hint that hope is always a possibility but in the end always fleeting.

What better way to inaugurate 33 days of “A Thousand Years of Dreams” than the song which kicks it off in the game.

E3 2011: The Elder Scrolls V: Skyrim Gameplay Demo


One of the titles which I look forward to losing several hundreds of hours playing is the fifth entry in Bethesda Game Studios The Elder Scrolls role-playing game franchise: Skyrim.

I’m proud to say that the previous game in the series I had spent nearly a total of 1500+ hours playing using several created characters over a span of 6 years. I would say that 3/5 of that total time was played within 6 months of buying Oblivion. The developers of Skyrim are promising fans of the series no less than 300+ hours of gameplay (though they didn’t specify if that means just the main storyline or also includes side quests and such) so that’s a comfort to hear.

This role-playing game series has always been known for it’s very expansive and complex world which allows it’s player to roam it’s confines however they want. It’s this open-world gameplay dynamic which makes this game and the series, in general, such a favorite with gamers worldwide.

Lead designer for Bethesda, Todd Howard, gave G4TV an in-depth look at Skyrim. The videos you’re about to watch has Howard showing the extreme and beautiful detail rendered by the game’s new graphics engine in the Creation Engine. He also shows just how some of the changes in combat, skill leveling and the type of creatures the player will end up fighting makes this latest entry in The Elder Scrolls series the best to date.

The Elder Scrolls V: Skyrim has a set release date of November 11, 2011.

E3 2011: Mass Effect 3 (Trailer Deluge)


To say that Mass Effect 3 is one of the most-anticipated titles in the next 9 months would be an understatement. The franchise has been one of the most popular and critically-acclaimed video game series of the past five years and this third game looks to cap off a trilogy that many consider the Star Wars (original trilogy) of video gaming. The third game was highlighted not just in the Microsoft E3 Press Conference but also in EA’s own Press Conference which just goes to show how  much this game means not just to EA but to Microsoft (even after the franchise finally became available to PS3 users I still consider it an Xbox 360 franchise).

In both conferences so many trailers were unleashed on those who were in attendance. Whether it were gameplay trailers, more trailers hinting at the story, trailer’s showing the game in demo right up to certain gameplay changes made for this final leg of the trilogy. One piece of news that was interesting was announced during Microsoft’s press conference and that was Mass Effect 3 having Kinect (the hands-free Xbox 360 controller system) capabilities.

One piece of news that every fan of the game was waiting for and finally got was this: Release Date – 03.06.2012. I may end up catching a virulent case of the blahs and call off work on that date and the rest of the week.

Song of the Day: Rogue Heart from Dragon Age 2 (by Inon Zur and Aubrey Ashburn)


The latest pick for “song of the day” happens to come from a game I just completed playing a first playthrough. The game is BioWare’s latest and the first sequel to their critically-acclaimed fantasy rpg game, Dragon Age: Origins. This time the song is what I would call the “Lelianna’s Song” of Dragon Age 2.

“Rogue Heart” is the song which begins playing once the end credits for Dragon Age 2 begins. The song is once again composed by the same composer who did the music for the first game, Inon Zur. Inon Zur brings back singer Aubrey Ashburn to handle the song. If there was ever a song which I say truly encompassed the relationship of the character I created and played through in the game, Lisamarie Hawke, it would be this song. It’s not just typified the character but the relationship she had with one of the party members that was recruited. The pirate rogue Isabela (the character artwork in the video is Isabela) would be Lisamarie’s companion the moment the two met and would see the game right through to its climactic and ominous ending.

It’s only appropriate that both Lisamarie Hawke and Isabela were rogues thus this song fit them like bodyhugging gear. The game was better than I thought and I would say the same to its accompanying soundtrack and “Rogue Heart” is another example why rpg soundtracks always typified the best of any game soundtracks.

Dragon Age II: Launch Trailer


If there’s one thing that BioWare seems to be doing quite well the last couple years it’s been how to hype up their rpg franchises whenever a new game is set for a release.

In early 2010 they premiered what I could only call a very cinematic launch trailer for Mass Effect 2 and during the Super Bowl halftime. This year we have another launch trailer but this time for Dragon Age II. This is a sequel to the very popular and acclaimed fantasy-rpg, Dragon Age: Origins, from BioWare and EA.

I’ve been playing the game now for the past three days and I will say that the trailer captures the game’s action quite well. The look of the game itself is only a step away from looking like the trailer animation. Maybe the third game will finally look like it’s own launch trailer in every way imaginable.

This launch trailer is the sort of marketing blitz which definitely has a chance to interest those not into such games. I know that if I had seen it and known nothing of the game itself I would be quite tempted to buy it and play it.

Song of the Day: Lelianna’s Song (by Inon Zur and Aubrey Ashburn)


My latest “Song of the Day” was chosen because this week also saw the release of one of the g ames which shall be ruling my life for the forseeable future: Dragon Age II. The song I chose is from the first game in the series, Dragon Age: Origins, and was sung in the game by one of the characters in the game once a certain relationship  level has been reached between the main character and the bard who sings the song, Leliana.

The soundtrack to this game was composed by Israeli-born composer Inon Zur and his work on the score captures the fantasy-theme of the game. In the soundtrack the song is called “Lelianna’s Song” (a misprint by the soundtrack publisher) but in the game the song is properly titled, “In Uthenera” and is sung by the singer, Aubrey Ashburn. I chose this song because of all the tracks in the soundtrack this is the one that stuck with me the most.

The thing about role-playing game soundtracks, especially those set in a fantasy setting, is that the music goes a long way in creating the world of the game. The game could be great but if the music sucks it ruins much of the game’s enjoyment. Luckily, Inon Zur didn’t fail in his task thus he made Dragon Age: Origins such a joy to play despite its flaws.

“Lelianna’s Song” just sounds so ethereal. I can hear late-medieval and early-Rennaisance bard influences in the music not to mention Irish ballad in how the lyrics were sung. This song I could listen to over and over. Below, right before the lyrics is the video of the scene in the game where Leliana sings the song to the group at rest in their camp.

Lelianna’s Song

Elven:

Hahren na melana sahlin
Emma ir abelas
Souver’inan isala hamin
Vhenan him dor’felas
In Uthenera na revas

Vir sulahn’nehn
Vir dirthera
Vir samahl la numin
Vir lath sa’vunin

Translation:

Elder your time is come
Now I am filled with sorrow
Weary eyes need resting
Heart has become grey and slow
In waking sleep is freedom

We sing, rejoice
We tell the tales
We laugh and cry
We love one more day

The Elder Scrolls V: Skyrim (Official Gameplay Trailer)


Ok, I was already pretty hyped up for Skyrim even without seeing a second of gameplay video. That is just how big a fan of the Elder Scrolls rpg series I am. To say that I have spent close to near 3000+ hours playing the four games in this series would be an understatement. Yes, that does sound quite pathetic, but I don’t care because it’s awesome in my own personal world how much I’ve played this series.

This new trailer is not just voice-over with a cavern wall carving being panned around by the virtual camera. This new trailer I would consider Skyrim‘s first official cinematic trailer but also one that includes gameplay footage. Gameplay footage which shows off Bethesda’s latest game engine, Creation Engine, which has replaced the Gamebryo Engine that the studio used for Morrowind, Oblivion and the last two Fallout games. While the gameplay footage was all about action it does give some hints about changes to the faces and figures of the NPCs. Gamebryo was ahead of its time in 2001 when Morrowind came out but now it’s antiquated so I’m glad Bethesda listened to the pleas of fans to come up with a new and more advanced game engine.

I like the sound of the theme for the game which combines and remixes the themes from both Morrowind and Oblivion but with a nice male chorus doing something akin to a Norse battle-chant. Music composer Jeremy Soule will return to compose the music for Skyrim and that alone means I shall be acquiring the soundtrack, if and when, Bethesda releases the CD.

The game is set for a 11.11.11 release and I shall be one of the brave few who will pre-order the most expensive edition of this game because it deserves it.

Review: Sands of Destruction for the Nintendo DS


So while I was happily killing an afternoon liking things over at Get Glue [http://www.getglue.com] and while I was ‘liking’ the zillions of RPG’s that I’ve played, a recommendation came back to me for a game called Sands of Destruction.  Made by Sega, it was originally released in Japan in the summer of 2008 and brought Stateside in early 2010.  Immediately I got my grubby little hands on a copy and away I went.

This game starts with a good premise:  Completely innocent rural lad goes off on a seemingly innocent mission only to discover that he’s the key to the destruction of the whole world.  And the girl that he’s destined to fall in love with wishes to accomplish just that because the beastmen that rule the humans are vile and, pardon the pun, inhumane.

A good premise, however, can’t always save how that premise is executed.  The story is slow paced in the beginning, and you’re lead around by the nose and unable to travel freely or explore for a good 2/3 of the game.  In a way it’s a lot like playing through a movie.  There is a plot twist in the middle, though, that speeds up the pace of the game and once you’re able to travel freely, then it’s pretty much on like Donkey Kong.  It’s only a shame that the game and its storytelling waits quite so long to be that good.  I’m happy that I stuck it out until the end, but I know a lot of gamers that aren’t quite so patient.

There’s also a bit of a learning curve with the mechanics of the game.  You can customize your equipment in smithy shops located in the towns you visit.  You can customize your character’s skills, although that isn’t explained fully either [I’m a student of the in-game tutorials, yeah, call me spoiled if you want to].  The game itself makes it too easy because once you’ve customized a certain style of attack, you can just use that one style of attack for the rest of the game, final boss included.  Outside of this, it is your standard wait-time RPG battles.

In all honesty, the good points and the bad points of this RPG balances the whole thing out.  I loved the story, and the different twists and turns that this story took.  But I’m not a fan of the learning curve, and the inability to freely explore during much of the game.  The game itself is a good idea, but I wish it had been better executed.  Still, if you’re looking for something to play until the next Kingdom Hearts / Final Fantasy / Dragon Quest arrives on your DS, then I can recommend this as a pretty good time-waster.  [3.5 out of 5 muffins – not as fresh as it could be, but it’s good if you’re hungry.]

Song of the Day: Suicide Mission from Mass Effect 2 (by Jack Wall)


The news about Clint Mansell being brought in to compose the score for the upcoming Mass Effect 3 rpg from BioWare has me listening through the score from the previous two games in the series. To continue the jonesing I’m getting from this news I’ve chosen track 25 from the Mass Effect 2 soundtrack to be the latest “Song of the Day”.

“Suicide Mission” comes into Mass Effect 2 around the beginning of the third and final act of the game when the player has gathered and assembled his team of rogues, assassins, berserkers and all sorts of undesirables to make that final jump through the Omega 4 Mass Relay. This track brings together the main theme from the very first game with the brass heavy and hopeful sound of track 5, “Normandy Reborn”, in the second game.

I sometimes just reload the save prior to the jump through the Omega 4 just so I can listen to this particular track of the soundtrack and see the visuals accompanying it. If I don’t feel like replaying that part of the game I’d just reload right before the end credits begins and just enjoy listening to it.

“Suicide Mission” just brings an epic sound to the game and anyone who has played it knows how it brings to rise goosebumps upon hearing it. For those who haven’t played the  games this piece of music just brings to mind some of the best in epic, orchestral scores.

 

Mass Effect 3 to have a Clint Mansell score


Some major news on the video game front was reported today. One of the most critically-acclaimed video game franchises of the last five years will have an award-winning music composer creating the score for it.

The game in question is the third (most likely final entry in the current trilogy) game in BioWare’s Mass Effect rpg franchise. The composer is one Clint Mansell. He is the same Clint Mansell who has created some of the most evocative film scores for the last decade and most of it for Darren Aronofsky’s films (Pi, Requiem for a Dream, The Fountain, The Wrestler, Black Swan).

Mass Effect 3 will be Mansell’s first foray into video game music composing. This is great news for fans of the franchise. It lends an even more cinematic flair to a series whose musical score were already great to begin with.

EA and BioWare are definitely pulling out all the stops to create a worthy finish to this trilogy. I already know that I will be getting the game and I will definitely be buying the soundtrack once it’s up for sale (I already own the first two that were composed by Jack Wall).

Source: The Quietus

PS: Here’s two pieces of music so people understand why I thought the first two game had awesome scores and Mansell being brought in for the third means awesome just went up to 11.

Mass Effect

Mass Effect 2