| ~Hakurei Shrine~ > Touhou Addict Recovery Center |
| Characters, music, personalities. |
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| Nine West:
I'm no musical expert or anything, so this thread greatly interests me. Your analyzations are quite detailed, examining every components of each track. ZUN is really great at making atmosphere in each and every stages (the heartbeats in Fires of Hokkai, anyone?), since apparently, he composes his music first before designing the stage. If this shows anything, ZUN considers his music as important as the games themselves. TEoSD - 100% agree on the whole 'ZUN trying out his synthesizer here and there.' PCB - As you said, a lot of instrumentation on this one. Also, you probably won't do this but, I'm quite interested in the examination of PC-98 music. :) |
| Fightest:
--- Quote from: Nwbi on September 08, 2009, 07:34:11 AM ---Also, you probably won't do this but, I'm quite interested in the examination of PC-98 music. :) --- End quote --- Hm, that might be hard to get. But hey, worth a try when I get done with the windows ones. As for Immaterial and Missing Power - unless I'm sorely mistaken, we have only one new character introduced across the entire game. That said, Reimu and Marisa get some tunes as well, but I'll leave off those two until Imperishable Night. Suika Ibuki - Onigashima in the Fairyland. Somewhat similar to Necrofantasia, but both more suppressed and more uninhibited - we have the buildup of power, but without the initial blast. We have this buildup relaxing, but not because it was forcefully cut off, but because there's suddenly nothing more on the other end and everything is sucked back, as it were. The melody comes in as if nothing had happened, a whimsical, self-contained tune no longer than 8 bars. This is Suika at her core. Perfectly happy with herself as she is - no far-reaching consequences, only a bit of self-indulgent fun. The only thing reminding the listener of that pressure they felt earlier are the deep, almost inaudible broken chords in the accompaniment. It is entirely likely that the whimsical fun that Suika indulges in might go somewhat out of control. The tune quickly becomes more forceful with the addition of trumpet on top of the piano. A first thought is that this is uncontrolled, subconscious, if it weren't for that part that follows immediately after - once again the focus is on the buildup of pressure exclusively, abandoning the melody, as if Suika is unsatisfied with the power she's been putting out, and stops whatever she's doing and starts gathering herself. Not for anything malevolent or ominous, mind you - the whimsy is still there, so she just...wants to have fun, harder. Fortunately, Suika is, well, forgetful. All that power just goes to waste and dissipates, possibly tripping up the listener, who was bracing for a major outburst and instead got a few bars of extremely simple broken chords with practically no accompaniment. As if Suika forgot what she was doing at the peak of her 'charge' and just sort of stood there, a silly expression on her face, wondering what the heck she was just doing. Deciding it probably wasn't that important, anyway, the melody goes off in a different direction - a somewhat sober direction, with a melancholy feel to it - the melodic notes are long, legato with accompaniment in minor. The listener might wonder at this character change, only to have the melody wink at him with the inclusion of some scattered notes in the upper octaves, reminding us of the light-hearted whimsy present all the way at the beginning - this is a private joke between Suika and the listener, she's having fun by putting on some sort of drunken melancholy act. And drunken it is, as Suika suddenly hams it up with the melody exploding in trumpets, that 'wink' still there if you listen to it. Towards the end the melody loses some of its drive, the drums suddenly disappearing then reappearing again, the high-pitched trumpets moving into a lower key - Suika tires of this particular game, and the melody moves on, sitting on the spot for a while, wondering what to do next, growing more and more restless, before remembering what it was doing in the first place and returning to the original melody from the beginning. So that's Suika - plenty of power there, and she knows how to use it. Unlike Yukari, she's more able to channel that power into the shenanigans that form her daily life. It also helps that she occasionally can't remember what she was up to a few moments previously, so her power is never focused in one place or direction. She does like her shenanigans, however - most of her time is spent having self-indulgent fun in a way that only she really understands, occasionally at the expense of others, someone possibly being in on the joke every once in a while, but only if Suika lets them. |
| G_gglypuff:
To the TC: I didn't have the time to read through the whole thing yet, but why don't you post a view of the stage music too? Games like Story of Eastern Wonderland, Lotus Land Story and Perfect Cherry Blossom contain stage music that are better than boss music. |
| Fightest:
--- Quote from: G_gglypuff on September 08, 2009, 03:44:08 PM ---To the TC: I didn't have the time to read through the whole thing yet, but why don't you post a view of the stage music too? Games like Story of Eastern Wonderland, Lotus Land Story and Perfect Cherry Blossom contain stage music that are better than boss music. --- End quote --- We-e-ll... First of all, the first two are non-windows games, and are thus outside my purview at the moment, but I'd be totally happy to do stage music as well, once I'm done with boss themes - my objective now is to get some more characterisation for the characters. Their environs will come later. [edit] Oh, and happy Beloved Tomboyish Girl day, everyone! |
| Prody:
Whoaa superb work there! |
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