The last of those mentioned is basically where this piece spawned. Some blemishes exist, most prominently in the tuning of the encounter rate and how world travel is handled, but genre and series fans will find it easy to like this otherwise well-crafted adventure. It may be on the formulaic side, but it's still an engaging journey. Senel and Shirley, who end up having very direct ties to the ship, will have to save the world by preventing bad guys from taking over the newly-discovered ship, which they would undoubtedly use as a weapon of war. Well, I may have lied a bit about my last gripe. The strings and brass take the several climaxes this piece has. Take on bad guys, end credits roll this second step takes another 10 to 15 hours.
Project MelFes would bring us the underwhelming Tales of Legendia, and the main Tales Studio would give us Tales of the Abyss only a few months later. There are three main sections, the first of which sees the choir singing the full melody out soulfully, the second a 'doo' sound that sounds nice and unworried. Tales of Legendia is the newest face in the Tales family, and there's a lot to like about it, from its rich and beautiful environments and easy-to-grasp battle system to its chatty and personable cast. However, the most important function of combo attacks is that pummeling foes with hits will delay their special attacks and spellcasting, if not cancel them all together. The beginning piano passages show great promise, but unfortunately, about forty seconds in, the piece decides not to develop on the orchestral side, but more into a pop-style track. A moment I particularly enjoyed was when the piece appeared to loop, actually leaving only a breezy acoustic guitar to happily strum to the violin and flute's offerings. This is not to say that the soundtracks released since were bad, but rather quite undernourishing when listened to outside of the game given the composer's obvious talent, demonstrated in his compositions for Tri-Ace and, more recently, Monolith Software.
I enjoyed that but after playing Tales of Symphonia and really loving how well the 3D system was integrated, I felt like Legendia took a step backwards. Album was composed by and was released on August 24, 2005. The nice violin solo does kick in after the chorus, which is good, but with the exception of that, we have to put up with uneventful employment of electric pianos and other such synth instruments. Notify me of new posts by email. The only problem with this advancement is that people expect more; when delving into such realms as orchestral music, it will critiqued in a class all of its own and in greater depth. The transition from J-Pop to orchestra is not, perhaps, the smoothest but it ends up sounding fairly good.
Thirdly, within five minutes of landing she's abducted by bandits, in proper heroine fashion. Tales of Legendia has recently been released in Japan, and the localization will be brought to American shores in early 2006 - no release details have yet been confirmed for Europe. We heard it in the opening, so it has to surface somewhere throughout the album as well right? This goes on for a bit, and then the piece suddenly stops. To me, it is the song that most vividly sprinkles the anime cut scene graphics throughout my head, and is effective in instilling good memories of the soundtrack when listened to apart from the rest I can only imagine this nostalgia is heightened if you have played the game. While Sakuraba was adamant in keeping his synths in a dominating position in his scores, newcomer Masaru deftly explores live performances with orchestras and provides some more mainstream vocal ballads, trying to cater, perhaps, for those who have not yet discovered the video game music genre. Shiina never had much experience prior to this, so his announcement came as a shock to most fans of the series. Typically, you'll only control one character at a time; the other three members of your party have malleable artificial intelligence and settings, to the point where leaving them to their own devices works out just fine.
This track doubles as Moses' character theme and a dungeon theme, although the dungeon theme is somewhat rearranged. Shiina uses an orchestra to cover the harmony while looping an erratic drum loop and operatic male and female vocals. Part of what makes Legendia's already somewhat chaotic battles fun, in fact, is all the shouting your party does, chanting spells and naming attacks, in addition to calling to each other about enemy special moves. It is the end and beginning both, however, as it also neatly lines up the listener for the next two tracks, forming a nice little movement that is bound to be regarded as one of the most effective on the set. Given that I've already harped on the tedium of battle, let's talk a bit about dialogue. To describe the song in its glorious entirety would be fairly difficult, because the masterful orchestration successfully conveys an assortment of emotions while retaining Masaru's trademark quirkiness, all of which end the disc on an uplifting, positive note.
So yeah, makes perfect sense for him to compose for a game. Senel was clearly in love with Shirley's older sister Stella, a mystery character who, for a time, is presumed to be dead. It is very pleasant, and the pizzicato strings, 'cello and flute help add to a flavourful selection of instruments. Answer: milk it dry, and run the brand name into the ground. Tales of Legendia is an easy recommendation for those who enjoy Japanese role-playing games; the battles are fast-paced and enjoyable, the story moves along enough to be interesting, the characters are personable, and the whole package is very well-polished and pretty to look at.
I'll give the development staff credit for maximizing content in one game. To the game's credit, it does pepper dungeons with multiple treasure chests to make the journey a little sweeter. I feel that it would have been better at home in a Disney movie, and should it have been left out. Many of the instruments are real and have a trademark sound, particularly the trumpet, flute, violin and strings. It is nice to know that it was treated with care and that expectations would be met. Of course, fans of the game might value its inclusion due to, perhaps, the memories associated with it in its context, nevertheless, I cannot help but feel that it attempts to hamper an otherwise worthy conclusion.
This site uses Akismet to reduce spam. This is the first track that I could tell we were working with a live orchestra for several of the pieces. Many consider the music to Tales of Destiny 2 to be another highlight of the series, but frankly, many of the same old-fashioned synth sounds and many Tales standards were left unchallenged and it was only a few tracks, even then, that would inspire a seasoned video game music listener. This starts the album on a high, and completely makes up for the slightly lacking introductory piece; another interesting feature is that it breaks the mould by being an extended version of the music used in the game for the title screen. I cannot comment on how effective the music might be in game, and cannot be sure that everyone will appreciate its sound, but I would like to point out one of the disadvantages, as well as stressing my fondness towards the album. As odd as that sounds it fits perfectly. Outside of combat, in the menus, you can assign a combination of a directional press and the skill button to execute an assigned skill.
It was a welcome change, as I was growing a bit tired of Motoi Sakuraba's contributions to the series. Driller series, the Tales of Legendia soundtrack boasted a healthy variety of music genres including jazz and classical orchestration, with a common melodic theme binding most of the songs together similar to most of Shiina's works. Please help to establish notability by citing that are of the topic and provide significant coverage of it beyond a mere trivial mention. For one more example, let's take a closer look at plot and character development. I may be looking on it quite harshly, but that is only because Masaru himself set the standard with the amazing 'my tales', making this sort of anticlimactic.