~Hakurei Shrine~ > Touhou Addict Recovery Center
Characters, music, personalities.
Fightest:
--- Quote from: Excelsus on November 28, 2011, 03:23:15 PM ---I want to ask about yukari, did you ever tend to think that yukari isnt always female?
I mean look her current appearance might not be her true form after all, and s/he or maybe it just appears as a female because s/he or it choose to be that way. What do you think?
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I have little reason to think that Yukari portrays herself as something she is not from either Necrofantasia or her portrayals in canon works. What makes you doubt Yukari's form?
--- Quote from: ふねん1 on November 28, 2011, 03:48:01 PM ---I know Yuyuko's not a new character, but will you be doing Ghost Lead too?
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My answer is a solid, resounding maybe.
--- Quote from: J.O.B on November 30, 2011, 05:33:17 AM ---The only problem that I have with True Administrator is the fact that it takes a bit too long to get to the point. But when it does, oh my gog oh my gog oh my gog oh my gog oh my gog oh my gog.
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Hm. I think True Administrator gets through its best parts way too quickly on account of being half-length.
Seiga Kaku - Old Yuanxian
The magic in this piece comes from its untiring pace and its ability to juggle its instrument selection to perform whatever trick is necessary - throughout the piece the melodic line is carried by trumpet, flute and piano, and each is equally strongly used as support when not on centre stage.
The introduction, from the beginning to 0:15, sets a characteristic tone with high-pitched trumpets playing diminished intervals that go up - a move that can only increase tension for the listener. A strange inclusion of flutes both softens the impact of the initial trumpet blast but also sets the melody to go into a satisfying cadence - one that never occurs due to the trumpets hijacking the line and returning tension to its heightened state. This is a highly invasive opening, grabbing the listener and never letting go, forcing them to follow at the piece's own pace. Indeed, one can even hear a certain malice in the opening, the electrical guitar's bass line providing a deep and ominous backdrop. Indeed, Seiga is not a kind character, at least on first glance. Her first impression is of hostility, hatred and an insidious desire to control through terror. The last time we have heard of such unabashed nastiness was back in Mystia's Deaf To All But The Song, which, coincidentally, also a piece about a malevolent trickster.
There is a small break in the attack at 0:15 that lasts until 0:28, but, really, it serves much the same purpose as the small interludes in the introduction - providing just not enough time for the listener to get comfortable before coming back to the introduction segment. It is interesting how this second segment undergoes three transformations in the duration of the piece, and, while its initial form is subtly worrying and almost human in its vulnerability (flute only), each subsequent transformation (flute and trumpet, flute and piano, flute, trumpet and piano) makes a mockery of the listener for feeling reassured and sympathetic by what is, in hindsight, obviously a cruel trick.
At 0:50 the game ends. There is a certain non-committalness in the piano's repeating of the same chord pattern over and over again, as if Seiga has grown tired, much like a cat might get tired of chasing a hapless mouse and now idly bats at its exhausted prey. It is notable, of course, that Seiga does not let go, and she is certainly not yet done - her malice, still rasping away in the electric guitar, is clear as day, bubbling up at 1:10 to burst at 1:17, where we see what I would describe as Seiga's more private nature.
Starting with much the same chord sequence as the pattern in 0:50, the melody at 1:17 expands upon itself tenfold. The trumpets, before used to instill discomfort and terror are now the centre tool to express a maddeningly charming, lyrical melodic line, full of confidence and power. Even the electric guitar is suddenly overwhelmed by the outburst of every other instrument at Seiga's disposal. It is no surprise that the bored Seiga and this strange, never-before-seen one share so much, as both show her when she is not out to wreck someone's day. Instead, we see a Seiga thrilled to be who she is, easily accepting her actions and her nature. Once again I pull out Gensokyo+ to state that Seiga's chosen function in life must be to terrify people to keep them honest and humble, and to remind them that there are things out there that can easily do worse.
It seems clear, then, that Seiga has found her true calling in life and loves every minute of it. She has a cruel streak that never seems to become truly harmful, so that others get to suffer for Seiga's job is then a welcome perk for the hermit.
De La Witch:
Thread revival!? Do you believe in Miracles!? YES!! Great work so far, Fightest. By the by, if you have time after your TD write ups, do you think you have time to go back and do a write up of Youkai Mounatin-Mysterious Mountain? I would be eternally grateful. Nice to see you back and at em', and thanks!
J.O.B:
I actually agree with what you said about Seiga (and also about True Administrator too).
Also, speaking of True Administrator. Do you think it sounds cool and powerful? It doesn't have to sound epic to be either of them.
Fightest:
--- Quote from: J.O.B on December 14, 2011, 06:41:57 AM ---Also, speaking of True Administrator. Do you think it sounds cool and powerful? It doesn't have to sound epic to be either of them.
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Administrator is so close to being an utterly excellent boss track. Its single failing is what brings it down, and that's the central part, which, I feel, simply doesn't work - the stuttering and jumpiness makes it feel disjointed, and not in any way that can be considered good. It just breaks the pace. Also, I am having trouble forgiving its half-length-ness.
To continue dodging your question - Cosmic Mind is cool and powerful and, I would judge, non-epic in the internet-meme sense. Solar Sect is actually epic in that sense. Administrator, in its best parts, is closer to the latter than the former, which is why the middle shift is so jarring.
Ibaraki Ibuki:
I really like your musical analyses; they're pretty thought-provoking. Can't wait for your thoughts on Futatsuiwa from Sado.
It's unfortunate you're no longer reviewing the PC-98 themes; I was kinda hoping to comment on Mystic Oriental Love Consultation (which I personally think nicely illustrates Reimu's character).
One quick question: is there a thread where someone does this sort of analysis for stage themes?