Stefan Betke

First of all, if you understand the title, then I bow my head to you in defeat.

Second of all, turns out I had that poll up for a reason. You remember, the "Most Deserving Final Fantasy" for a musical or whatever I called it? Well... let's see what we got.

Final Fantasy X lost. Bad.  Not for any fault of Hedy Burgess.

If I recall correctly, Final Fantasy VII and VIII were tied for third, followed by a nice attempt by Final Fantasy VI (because Kefka rules all.)

Which leaves... oh. Well, fancy that!

FINAL FANTASY IX

Which means in honor of that poll result, I'm going to do something I've never done before.  Something brash.  Something daring!  Something EXTREME.

Final Fantasy IX: The Soundtrack

ACT I

1. Skies of Alexandria [Garnet, Zidane]

-An opening number begun by Garnet, picked up by Zidane, following the storm dream.   Garnet opens the window to her castle and sings about how beautiful the skies are and how she'd like to one day fly herself.  Zidane, sitting on the deck of the Prima Vista, sings about how great it is to fly in the sky, adventuring and all that.  They begin to sing with eachother without knowing.  A good, clean, upbeat opening number.

2. Follow Me [Puck, Vivi, Alexandrian Citizens?]

-A really upbeat, kinda rockish, kinda spunky song sung primarily by Puck, leading the disheartened Vivi around the town of Alexandria and mingling with its citizens (often just getting in their way.)  Puck, while being a somewhat tyrannical leader, becomes Vivi's first friend, and leads him to the start of his greatest adventure ever.

3. Trouble We Are In! [Zorn, Thorn, Steiner]

-Starts out with Zorn and Thorn popping in and out of the castle, looking everywhere for Garnet and generally just freaking out about where to find her.  They eventually appeal to Beatrix, who appeals to Brahne, who decides against her better judgment to send Steiner.  Steiner grandly accepts, and while Zorn and Thorn offer some backup vocals to their original melody, Steiner takes up lead vocals on his search, as they all bumble about and make fools of themselves.

4. Canary Finale [Zidane, Garnet, Vivi, Steiner, Brahne, Zorn, Thorn, Baku, Blank, Marcus, Cinna]

-A somewhat more elaborate number with the whole gang after Steiner is defeated and everyone is raised to the stage.  The final scene takes place, and then Tantalus tries to make their escape, being somewhat thwarted by Brahne (the bomb battle can be much shorter) and the crew crash in the Evil Forest.  If Brahne doesn't hit a soprano high C when firing the harpoons at the Prima Vista, I won't be happy.

5. Trance [Zidane, Steiner, Garnet?, Vivi?]

-The plant cages come and capture Garnet and Vivi.  Zidane goes into trance, freeing the two (I know that's not exactly how it happens, but for the sake of time...).  A short song, heavy rock influence, Zidane taking the lead and blasting the Plant Cages away.  Garnet is then captured, Vivi and Steiner wounded.  Zidane takes them back to the ship.

6. Brotherhood (Or, She's Just a Girl) [Baku, Blank, Zidane]

-Why did I want to call this song bros before... well, you know.  Zidane wants to save Garnet and continue to Lindblum, but Baku and Blank would rather he stick with his bros and help Tantalus.  Zidane counters them both and eventually Baku lets him pass.  Blank dissents, but Baku shuts him up.  After Zidane leaves with Vivi and Steiner, Baku sings a final verse to Blank about watching over Zidane.  Should have a rock edge, and be chock full of character conflict.

7. Brotherhood (Reprise) [Zidane, Garnet, Vivi?, Steiner?]

-Zidane sings a little reprise of the last song he sang with Blank, supplemented by Garnet's attempts at consoling him.  A much more mellow version of the preceding song.  The gang decide that they must continue on to Lindblum, through the Ice Cavern.

8. Waltz of Discord (or something.) [Zidane, Black Waltz 1, Zorn?, Thorn?]

-In the Ice Cavern, Zidane confronts the 1st Black Waltz.  Think Thenardier's Waltz of Treachery from Les Miserables.  The accompaniment should have dissonant violins, bells, and things that sound generally creepy (and they beat must be 3/4 or else!)  I haven't decided if the final stanza should be sung by Zorn and Thorn's disembodied voices warning Zidane of the other two Waltzes to come.

...this is harder than I thought.  Well, it's a work in progress, at least.  Tell me what you thought.  Any ideas for things I missed?  Things I should change?  Things to add later?  Tell me!

Eekum-Bokum

I have a feeling that the updates are gonna be pretty barebones over the next week or so, I have a lot of work I need to do/catch up on. So, I apologize for the last week of less-than-stellar updates, and apologize for the next.



"Breezy" from Final Fantasy VIII. Just a mellow tune to kick things off. Really beautiful, but relaxing.



"Rusty Bucket Bay" from Banjo Kazooie. Wow, who remembers this gem of a game? And don't you dare mention Nuts and Bolts to me.



"Aquanet" from Bomberman 64: The Second Attack. This game was so epic, and I spent many hours in fourth grade trying to get the ending where I beat the devil boss. I never did.

Hm. We need more visitors.

Knowledge is Power?

Well, my excuse tonight is that I saw a production of Chess and also spent too much time preparing for my NYU audition on Tuesday... so you're gonna get two cop-out days in a row, basically.  This one is Chess themed though.  Sorry to disappoint!

(Sung by Josh Groban. Oh, how I love him)

Well, at least I sort of expanded your horizons tonight. And that's the most valuable thing of all.

HAH-HAH-HAH-HAH

Skipping Zidane like the coward I am, we are brought to our whistling hero, Tidus [Final Fantasy X]

Tidus doesn't have much opportunity to go off by himself and sing a solo, due largely to the fact that he depends on the others in his group because he is so confused about what's going on all the time (I suppose I would be too if I fell into an alternate reality).  However, I think in my weary sleepiness I have come up with an idea.

Tidus' theme in my opinion contradicts his original character.  His original character is lively, outgoing, and somewhat juvenile.  Yet, his character theme is mature, somber, and sorrowful.  Why the transition?  Where does this transition happen?  My personal answer is that it begins in the Macalania Woods.

After destroying that weird Jello monster (or Spherimorph, for the purists in the room), Tidus receives the first "Jecht Sphere," which is our first glimpse of Jecht in a state of maturity and acceptance of his state.  Obviously, this is the first we see of Jecht that isn't recollected by the biased mind of the spurned Tidus, and Tidus' own journey mirrors that of Jecht's, going from carefree to mature on the way to defeat Sin.

This side of his father is far different than the drunken chauvenist that Tidus knew as a child, so it must be kind of a wake-up call for him.  Anyway, I see Tidus watching the sphere, and then asking to be left alone, making a couple off-hand remarks about how he still "hates his old man."  The group leaves, leaving Tidus in those sparkly woods alone with the sphere of his father.  He begins to sing about his confusion, his stress, his anger, and all of his other various emotions directed at an absent father, having been dropped from his "normal" world and into an alternate reality where he knows no one and his entire life apparently happened a millenium ago.  Naturally, when I talk about it this way, the first song that comes to mind is this:

I feel like linking all these videos instead of thinking of any lyrics or melodies for myself is kind of a cop-out... but they explain the audial aesthetic far better than I could by myself.

Basically, Tidus' soliloquoy is a cathartic outburst in which he finally comes to terms with the fact that he doesn't know what's going on, but he's on a mission, and that's about all he has to cling to for now.  He finally matures in almost exact fashion, while probably unintentionally, as his father.  What this also does that helps for the flow of the piece is that it's a little additional character development, and this added boost of maturity would likely give him the inner drive to confront Yuna and have their whole "Suteki Da Ne" underwater romance thing going on.

But I still hate Hedy Burgess's performance.

It's Still the Word

Today I had a rather interesting brainstorm, and decided to kind of change a plot aesthetic of Final Fantasy VII in order to get this new idea.  It'd be a kind of "quasi-opening number" following the bombing mission and some generic Cloud/Aerith song.  Have you guessed what I'm talking about yet?

Yes, indeed, the characters I'm going to give a song to are the Slum Residents of Sector 7.  That's new, huh?

Basically, Barret and the AV ALANCE crew just successfully blew up a Mako reactor with the immense help to "Ex-SOLDIER" Cloud Strife.  However, Cloud is likely new to the slums.  I don't know if this would be his first time in the slums, but definitely his first time after the energy of a successful bombing mission, so adrenaline has to be pumping.  Keep this kind of sound in your head as I go on...

(And I'm secretly sorry for posting a song from Grease, but I like this one, and it's the closest thing I could think of for the sound I'm aiming for.)

I see this song beginning on the train in the way back.  Correct me if I'm wrong, but isn't there some kind of siren they pass through in a security checkpoint?  This isn't the time they get caught with the fake IDs, but there's still a siren, I think.  I want that to begin the song, just a pulsing siren beat to start off the tempo of the song, then the introduction of guitar and drums as the siren fuels Barret's adrenaline and energy, from his already amped state of blowing up the reactor, and he begins to, for lack of a better term, rally the slums into song.  He's got a lot to say about Midgar's current state, and others begin to join him: Jessie, Biggs and Wedge at first, followed eventually by the entirety of Sector 7's inhabitants.

Barret would start the song out with this siren beat, followed by the instrument lead-in, and have a verse to himself talking about how the slums are a mess, leading Cloud through the Sector 7 area from the train station, and other slum residents would begin to follow suit, answering Barret's anger with anger of their own.  No one is satisfied with their condition, and rather than have a quiet opening following the bombing mission, I think this is the perfect way to really get the audience ingrained in the world of Midgar after a somewhat confusing and muddled opening with the bombing and meeting Aerith.

This can be seen somewhat as Cloud's "induction" to the slum society.  He hasn't been around for too long, and this event is probably somewhat common, while being new to the "inexperienced" Cloud.  It would be a very driving beat like the song above with everyone kind of "rocking out" to how much they hate the current social establishment, Shinra, and their economic condition.  So, led by Barret, Jessie, Biggs and Wedge, Cloud is swept into this grungy world of the Sector 7 slums, after his initiation of his first successful mercenary mission, greeted with this song of invoked induction.

Yikes.  I hope you guys followed all that, haha.  It's ultimately a way to grasp the audience by the face and drag them into the dirt and grime of the slums.  Agree?  Disagree?

(Also, don't forget to scroll down to see yesterday's lost post.)

Bujururururu!

HELLO-WELCOME-BACK-TO-THE-BLOG

TODAY'S-POST-IS-ABOUT-NORG [FINAL FANTASY VIII]

Get it?  Form as it relates to content.  Eh, it was worth a shot...

(Oh, and sorry for the late post.  This was ready last night, but I fell asleep before I pressed "Publish"...  So you get two today, technically)

Ok, NORG is what is called a "Shumi," a strange, somewhat anthropomorphic being who is the financial owner of Balamb Garden.  However, because he owns the Garden, he becomes quickly obsessed with it and its upkeep.  In fact, he even orders the assassination of the Sorceress Edea to make sure that he maintains full control of the Garden.  Basically, he's a little maniacal and more than a little obsessive.

The Shumi are an incredibly adaptable species, and are said to have forms that reflect their personalities, which explains NORG's large nose and obese frame, showing him as somewhat miserly and hooknosed in dealings, as well as gluttonous and indulgent.

His song, "Heresy," can be seen here:

I think this song is perfect for NORG's descent into madness in the game, but I also want to keep it in step with the kind of grunge/rock feel that FF8's environment delivers.  I feel the organ is great for an intro and NORG begins to sing deeply (voice, not emotion) about how the Garden belongs to him and no one else, and as Squall and Co. continue to reject his ideas, the music becomes less refined organ playing and more distorted guitars and bass, heavy drums, signaling the transition from a "normal" NORG to further spiraling into madness over his obsession with the well-being of the Garden.

As I said earlier, I think NORG should have a deep, resounding voice.  I understand how there might be an interpretation to have NORG with a somewhat squeaky, pathetic voice, but for the purpose of the threatening nature of his song as he becomes madder and madder with somewhat of a hero complex, I don't think that a squeaky, high voice would match the instrumental effect.  As the stakes of the battle become higher and higher, the guitar and bass should get more and more distorted, the pulse of the drums should drive more.  Just overall the music should amp up more (not necessarily in volume, but in feeling).  Then, finally, the battle is won.  Song over.

THANK-YOU-FOR-READING-MY-POST.

COME-BACK-LATER-TONIGHT.

(See ya!)

Why Did Constantinople Get the Works?

We know them, we love them, they're The Turks [Final Fantasy VII].  Oh, sorry for another FF7 update, I just realized, haha.

The Turks are a specialized unit in Shinra under the direct jurisdiction of Heidegger (who is an unstoppable force of awesome).  Their primary purpose is to "recruit" members for SOLDIER, and if they need to use force to do so, so be it.

Their theme is here, for future reference:

That song obviously means the Turks mean business.  However, the members we meet in the Turks are all someone inept at what they do.  It's a little paradoxical: they're experts at getting the job done, but they're not so great at doing it efficiently.  For instance, Elena, a female member, can't seem to talk to Cloud's party without accidentally rattling off vital details of their plan, just as Reno is simply uncaring and apathetic towards anyone's plight.  He is known to not care at all for the Turks when off duty.

That being said, while the Turks mean business, the members we meet are decidedly human, and while they have to get the job done, they also have shreds of humanity and dignity in them, as evidenced when they team up with Cloud's party to save Elena and Yuffie, or when they are in a last ditch effort to save the citizens of Shinra.

But my ramblings aren't as important as the substance, so take a listen to this song.

This song depicts a kind of bitter, jaded, cynical outlook perfect for members such as Reno, and those he has an influence on such as Rude.  Even Tseng, who blatantly disregards Shinra's orders when it suits him.  This song is another example of a multifaceted song due to it really seeming like it could be a mocking condescension when sung smugly toward Cloud and the gang, or a real honest moment of admitted world-weariness, such as when Reno tells the group that he really has no interest in fighting them; that it's useless to do so.

I assure you that I'll have more in-depth posts for various members of the Turks to come (especially Reno, dude.  He's awesome), but this is a pretty good generalization for now.

"I Know That Monkey, His Name is Donkey!"

Ok, well, I don't have a character or event to musicalize today.

I have something WAY better.

Back in the 90's, Fox Kids decided that it'd be a good idea to make a CGI cartoon of Donkey Kong Country to appeal to the masses of children on Saturday mornings and their love of video games.

Ok fair enough.  But they had another idea, too.

Let's have DK and the crew sing!

(Wait... sing!?)

Yes, sing.  There are about two seasons of Donkey Kong, Diddy Kong, Cranky Kong, and our dear King K. Rool getting their groove on in really bad 90's computer animated graphics.

And yes, I love it.  I won't bore you with my own opinions, I'll let you make them for yourselves.  This is just too special not to love.

Ok, was anyone else aware that Donkey Kong was a soulful tenor?  Did I miss the memo?

This song is my favorite.  I can't even believe a song like this exists.

Was the Big Bog Monster a boss in Donkey Kong Country...?

And before you all ask, yes.  King K. Rool was singing metal.  ...oh man.

I hope I didn't destroy your collective childhoods.

Well, that's a lie.

Saturday: The Red-Headed Stepchild

Yes, I know we technically had a cop-out day this week, but that's because I was extremely pressed for time.

Tonight, I just feel like not doing an in-depth post, haha, so I think from now on, every Saturday will be...

COP-OUT SATURDAY.

Where I post a handful of my favorite songs from other musicals and all of your horizons are duly broadened and expanded because of it.

Here we go!

Cornered [Phoenix Wright: Ace Attorney]

(This is actually a rock remix, not the actual song.  I like this one better, though.)

Stickerbush Symphony [Donkey Kong Country 2: Diddy's Kong Quest]

Again, not technically the original, but this Brawl remix is close enough to the original for it to still be beautifully nostalgiac.

Rainbow Road [Mario Kart 64]

The N64 iteration of Rainbow Road may be my favorite (because I can't navigate that Wii steering wheel worth anything...)  Hopefully you all remember this gem of a game.

That's it for tonight, see you tomorrow for something legitimate!

Maybe.

Anyone? Anyone? Voo-doo Economics.

Well, I just finished an economics paper detailing specialization of labor as it pertains to the in-game economic context of "World of Warcraft" (Why?  I hate that game...), so I'm in an economics sort of mood.

I initially wanted to do Wario, but I couldn't come up with anything in enough time, so instead, I have a totally off-base non-Final Fantasy update concerning our favorite economic supplier and independent firm...

The Happy Mask Salesman [Legend of Zelda: Ocarina of Time/Majora's Mask]

I'd like to talk about the Majora's Mask incarnation.  To start off, here's a Happy Mask Picture!

(Be sure to note his Mario mask on his back, and the Elvis mask on his side.  Bwahah.)

Then, here is his eclectic and bizarre theme.  A strange remix of the Song of Healing, an integral tune from Majora's Mask.

Well, now that the busy work is over, I've got a concept to throw around.

Non Final-Fantasy characters are hard...

The Happy Mask Salesman is basically just plain bizarre.  Some speculate he's not even from Earth, due to his crazy reactions and his connection to the falling moon in Majora's Mask.

Basically, Happy Mask Salesman is crazy bipolar.  What I'd like to reference is the point in the game in which Link confronts the Happy Mask Salesman in the clocktower (this is early on, by the way.)  Happy Mask Salesman is more than happy to help... for a price.  Majora's Mask.  So, the song should start off with the Salesman talking of how he'll do anything to help Link out of kindness and generosity.

Then he should ask for the mask.  Link doesn't have it.  Uh oh...

Happy Mask Salesman goes into a berserk frenzy, and the mood instantly shifts.  Link probably fears for his life at this point, and does everything in his power to calm the Salesman down, promising his mask back.  The Salesman then complies and does a complete emotional volte-face to his complacent and "normal" (for lack of a better term) self.  An organ pops out of nowhere (just as in the game) and Link is taught the Song of Healing.

This next part may not work or not, but maybe for just the last verse, even half a verse, at the end of the song, Salesman begins to lose his grip, transitioning slowly from pleasant to terrifying and dark, singing something along the lines of "So thank you for getting the mask back, kind sir, but if you don't get it back..." and proceeds to threaten the daylights out of this sad little Deku-Boy.

I can't think of any song for reference... the Happy Mask Salesman is just too weird...

Flock of Seagulls

Ok, I promised a good post today... and you earned it!

Today's topic is...

Not Kefka [Final Fantasy VI]

...

Because it's actually Setzer Gabbiani [Final Fantasy VI]

(Sorry.  That's something Setzer would do, right?)

Our dear Mr. Gabbiani is the owner of the world's only airship, The Blackjack, thus he has more than a little command over the his mobility options.  But because of this freedom, he's become a bit too freewheeling.

Before the events of the game, Setzer had a very spoilery relationship with a spoiler, the events surrounding which are very spoilery, so you can find out on your own time (but it's sad.  Spoilers).  Because of this, on the rebound he set his sights on an Opera Star named Maria.  However, the Returners, seeing the value of the world's only airship in their quest, decide to trick Setzer by replacing the actress.  Ultimately, Setzer is tricked Harvey Dent style with a two headed coin and joins the team.

The thing about Setzer is that he never quite takes himself or anyone else seriously unless things get crazy intense.  When the world becomes the World of Ruin, for instance, he becomes more rundown and less motivated.

What a drag, right?  Let's think about the happy times!  I really like the idea earlier of FF6 being a show full of recurring themes interwoven together, like Les Miserables in style (honestly, that kind of epic interweaving composition could work for any of the Final Fantasy musicals...) but because FF6 is a little more eclectic and fantastical than the dark postmodernistic worlds of FF7 and 8, we can have a more diverse range of styles, such as jazz, which I think works perfectly for Setzer.  Honestly, when I think Setzer, the first song that comes to mind is this...

Pretty Setzer-y, huh?  Just that kind of easy jazz captures the early kind of glossy, glitzy, and overall freebootin' attitude he sees life with.  Sailing the skies on his own.

More importantly, however, his insistence for singing easy jazz and smooth listening songs make it seem like he's covering something up.  As though his tendency to glide through life is a facade put up to hide some tragic past (sure enough, what do you think is the case?).  So, I really like the idea that Setzer's music has a really easy feel early on because with a little added insight, it exhibits both parts of his personality.

After the Cataclysm, of course, things get a little darker overall... but that's something for another day.

Daily Schedule, My Foot!

Oh, jeez, oh jeez, oh jeez, oh jeez.

You all get a cop-out of an update tonight, since I'm casting a fandub of Skies of Arcadia and I totes lost track of time.

So, in honor of that, here's a couple of tracks from Skies of Arcadia that you all may like!

...Sorry.











Tomorrow, a good post, definitely!

Impidydoo!

So, I had an update all ready for our favorite FF6 villain ever, Kefka.

When suddenly, there was ink all over my computer screen!

This guy demanded I do the update about him instead, and I figured, why not?

Ultros [Final Fantasy IV]

This guy is just plain goofy!  He's a recurring boss throughout the game and always just makes things difficult, whether it be inking the party into blindness, or having his pal Typhon sneeze the party into oblivion.  Basically, whatever iteration of this character, no matter where it falls in the plot, needs to be a lot of vaudevillian nonsense and a WHOLE lot of camp.

You know, I'm embarrassed to say that I can reference it, but a lot like this...

Oh, Robbie Rotten... you're so campy!

Basically, it's that kind of camp feel for any of Ultros' appearances (the soft shoe would be hysterical with an 8 legged octopus-being, by the way).  I also demand that in his Opera appearance, for his Imp Song (and I forget if he does it anywhere else), he needs to be able to do a piercingly high opera mock (we're talking soprano-in-the-stratosphere-countertenor-falsetto here).  It's only fitting for his surroundings after all.

Oh.  Requirement Number 2:

Ultros must at one point go "Ha-cha-cha-cha!"

Basically, for any of Ultros' vaudevillian craziness, bigger is better.  The Returners should not have a clue what in the world is going on or what Ultros' deal is.  I have a feeling that his interplay with Typhon (who speaks only in nonsensical animalistic groans) would play a little like the Young Frankenstein version of "Puttin' on the Ritz".

...or is that just me?

Um...

Ha-cha-cha-cha!

Every Rose Has its Zorn

Well, today's the first time since I started this blog that an actual outside song struck me with inspiration instead of picking a character and closing my eyes and thinking.

Today's update brings us back to our resident crazy twin clowns, Zorn and Thorn [Final Fantasy IX]

You may remember these little guys from my post about "The Extraction," and this time they're not gonna be quite so sinister.  Creepy and a little offputting, sure, but today I bring you a somewhat more light-hearted Zorn and Thorn.

Early on in the game, Princess Garnet til Alexandros escapes the castle, and Zorn and Thorn realize this.  Their very funny introduction scene involves them bumbling around the castle not know quite where they're going and fearful that telling Queen Brahne the news will greatly upset her.

Now with that in mind, take a listen to this gem of a song.

Zorn and Thorn's introduction, maybe called "Trouble Are We In!" as a nod to the in-game dialogue (most of which I imagine could be kept for the tune.) allows the two clowns to bumble about the castle, popping out of this room and that, getting in minor scuffles with eachother and arguing, and then losing track of exactly what they were doing.

The beauty of a song like this, I think, is that it would work perfectly as a short reprise later on in the game when Zorn and Thorn are under new management and confront the group again.  Though instead of this time the song being bumbling and comic, it could be seen as somewhat more condescending and sinister since we finally know Zorn and Thorn's true potential (and it's pretty terrifying).  Call it something like "Trouble Are You In" and I think we're in business!  I think it's a really nice change of pace from something so frightening as "The Extraction" moment, and very different stylistically.  A good challenge and fun for the listener.

Sorry that was relatively short, I don't have a fully fleshed out gameplan for that song, but I think you'll manage for tonight.

Snow day tomorrow, please!

Uboaaaa!!!

Why do I keep saving these posts for the last minute?  I'm off school tomorrow, so probably expect something mid-afternoonish.

I just can't bear to get off the Final Fantasy train yet.  I need to think of a bunch of other good games that I can make music for (Final Fantasy just has so many good characters and plot events...)

So I am proud to unveil to you all my first MAIN ANTAGONIST musical idea!

Emperor Mateus [Final Fantasy II]

A lot of you are probably unfamiliar with FF2, so allow me to post a couple source materials.

Here's his picture:

And his final battle music...

Neat, huh?  Emperor Mateus is known for his dealings in the Underworld.  He is able to raise demons from Hell itself to do his bidding for him.  No one quite knows why though; it's never explained.  Sure is cool though, huh?  Mr. Mateus confronts the party in a demonic form, and likely expects them to defeat him, as his death allows him to fully amass himself in the underworld and become the ruler of Hell.  Make sure you take in all the possibilities before you defeat your villain, everyone.  That's the moral here.

Well, let's see.  What does our dear Emperor do next?  He uses his power to raise an otherworldly kingdom from the Earth and use it to rule over humanity.  This castle is known as Pandaemonium, and the music from it was referenced in the post below.

Mateus in a way strikes me as the original Kefka, honestly.  He was a villain who didn't take nothin' from nobody.  He killed people, poisoned towns' water supplies, and became the ruler of Hell, all with a smile on his face.

The song I'd like to pose to you all tonight is the raising of Pandaemonium from the ground.  I'm excited!

Imagine, if you will, the newly defeated Emperor in his demon form.  He falls to the ground, reverts to his human image, and begins to laugh.  Softly at first, getting louder.  I like the idea of an organ being prevalent in this song because both the Pandaemonium Theme and his Final Battle music are somewhat regal and majestic, while dissonant and conflicting.  Anyway, some light organ chords played in the laughter, and then finally, he lifts his head, his eyes glowing red, and he begins to laugh maniacally as the ground begins to shake.  A pinnacle erupts from the ground, the Emperor balancing on its point, and the entire demonic castle Pandemonium begins to rise out of the ground as its surroundings become more and more warped and the music gets more and more crazy.

He begins to sing about the futility of Firion (the hero's) plight, mocking him as the castle turrets erupt and it grows higher and higher.  The music swells and becomes more grandiose as the landscape warps and becomes more and more hellish.  Pandaemonium is a success!  We then have Emperor Mateus, maybe even floating on the zenith of his newly founded castle, the capital of Hell itself risen from the ground, gloating garishly about his victory against a vast, starry night sky, eyes still ablaze.  As he grows madder and madder with power up on his parapet, he claps his hands and the gate to enter the castle opens ominously, and a final verse of the song echoes down to taunt Firion and his crew.  Then the camera returns to Mateus up the highest point of his castle, once again, to finish out his demonic elegy with one final stirring chorus, a high tenor belt note comparable something out of an Andrew Lloyd Webber power ballad, but much darker and much more chilling.  He ends with maniacal, otherworldly laughter over some final organ chords, after which he utters one final taunt, such as "Meet you inside..." or something, and begins to laugh maniacally as the scene slowly fades out into obscurity.

That took longer than I thought.  I really like Mateus though, he was an unexpected find in FF2.

Total Cop-Out Post

Taking a break from making songs for characters and events for the night to talk about a travesty that has been committed.  Such a crime cannot be let to stand, and I blame you, all of you, every single one, for letting it happen.

...

Why did no one tell me about "The Black Mages"!?

Are you kidding?  Rock remixes of Final Fantasy songs?  No one said anything??

So, today, what I'm going to do is link a couple of my favorite video game songs.  This may be a weekly thing.  Just my way of saying "Thanks" and "I hope you accept what I like to listen to."

Well, enjoy!  Be sure to give me ideas for the coming week!

My Bloody Valentine

This was technically my first ever request for a character, so since I have no ideas at the moment, I'm gonna run with it.

The lucky winner is...

Vincent Valentine [Final Fantasy VII]

Allow me to reiterate that my thoughts about the Final Fantasy VII musical at large.  Basically, the inherent edginess of the world merits a heavy rock overtone, fitting with kind of the post-modernistic motifs in the game.  However, there should be influences, depending on the area or time of the plotline, of genres such as jazz, techno, punk, grunge, and so forth.

I know I always say this at the beginning of my posts, but this is a hard character, I think.  Vincent, while arguably a fan favorite, has very little plotline devoted to him, in the game at least.  The majority of what we learn about him is through silent flashback.

I don't like that.  I want to change that.

There are two options we have, here, I think.  The flashback needs to stay, but the animosity toward Hojo at the critical moments need to be stronger.  I hesitate to give Vincent a flourishing soliloquoy simply because I don't think it'll move the story along enough.  Doesn't seem like a strong enough objective other than "Here are my feelings, take that, world!"  We either have a song interwoven through the flashback, or we have a song (maybe a duet) directed at or with Hojo demanding repentence.

For our purposes, I'm gonna go with the former, simply because that's an easier aesthetic.  And either way, we get Hojo.

Vincent, just looking at him, screams "Macabre" at me.  Thus, I feel he'd be one of the ones with less of a rock edge and more violin and bells, but in all kinds of minor keys and a whole lot of dissonance.

So, here's some reference ambience for you, just to sink your teeth into as I continue the explanation:

Even more interesting is the waltz feeling that the above recording gives, and frankly, I think that's awesome.  Vincent's been in a tragic waltz with death and devilry for the greater part of his life, and I love personifying rhythm.  Form as it relates to content and all that.

Now close your eyes and imagine (but don't, because you need to read), Cloud and co. have just found out some eye-opening information in the Shinra Mansion Basement, when as they leave, a coffin lid slides open revealing the slumbering Vincent Valentine.  Cloud tries to stir him (a light tremolo on the violin, crescendoing until finally an eye opens).  Cloud explains a little of the situation, Sephiroth, Hojo, etc., and this obviously resounds deeply in Vincent as he was incredibly wronged by Hojo himself.  They discuss for a bit, then Vincent sends Cloud away.  Cloud shrugs and goes, leaving Vincent to himself in his reawakened thoughts.  He begins to sing to himself, almost in a lullaby fashion.  Perhaps with a sound resembling a disheveled music box or jack-in-the-box.  A kind of comfort skewed by the surroundings.  And as he tries unsuccessfully to calm himself down, he gets sucked back into his memories.  We see glimpses of Lucrecia, Vincent as a Turk, Hojo, Jenova experiments, everything, as Vincent realizes he must journey with Cloud.

He is forced to sing, to recollect all the scattered memories in his head as he races through the mansion to catch up.  As he falls deeper and deeper into his memory, the music becomes much more refined.  Guitars and drums are introduced along with the dark violin and tubular bells.  As he becomes more and more desperate to rip himself out of the memories, all the while narrating the events to himself, he falls deeper and deeper into this waltz of treachery, somewhat losing control.

Eventually he stops singing to fall into a flashback dialogue sequence in which he confronts Hojo.  It wouldn't be very long, just enough for him to interfere, then for Hojo to laugh wildly, act condescending, and shoot Vincent.  All through this dialogue build-up, the violins are crescendoing alone; all other instruments have ceased.  Eventually the tremolo reaches its height and BANG!  Vincent is ripped out of the flashback and falls to the ground in the lobby of the mansion as though he had been shot again.  The violin has silenced and the only sound we hear is a painful scream from Vincent as he relives the memory.

Vincent ideally has caught up enough over the time for Cloud to hear his scream, who runs back to assist Vincent.  Vincent, being propped up by Cloud, still a bit of a wreck, continues a verse of the song weakly, as the violins pick up quietly, still a little dissonant, but with more resolution.  Pleading to go with them and enact his vengeance, for his own love and to end his eternal nightmares.  Cloud agrees, blackout.

Hm.  That turned out to be extremely stream of consciousness...  Hope I didn't lose any of you.  It's late and I wanted to keep on schedule.

Also, FFVII now has the most song ideas on this site.  I'll try to spread the wealth a little more.

Trouble are we in!

I decided to divert from the Hero path again because I didn't want to do Zidane.  He's my all time favorite Final Fantasy protagonist and I want to make sure I have a full idea for his.

Now I have 38 minutes to make a post to keep on my daily schedule (because if I don't update daily, no one will want to read!).  So I'm going to randomly search the Final Fantasy Wiki and get a character and make an update!

It's what we call RANDOM THURSDAYS.  Actually, I hope to be better planned from now on.  More on that later.

Oh!  We got Zorn and Thorn from Final Fantasy IX!!  This will be fun.

I don't know how many of you are familiar with Final Fantasy IX (if you're not, become familiar.  It's my favorite of the series and my bias will be more and more evident as time passes.)  We first meet Zorn and Thorn in service of Alexandria's Queen Brahne, and it's incredibly evident that they are out of the ordinary.  Zorn, the blue one, speaks in normal patterns, and Thorn, the red, speaks in an inverted sentence structure.  You can also see that Zorn and Thorn are somewhat different in that they alone hold the power to extract Eidolons (the FFIX version of summons) from a summoner.  It turns out they will just follow whoever they need to in order to profit, leaving Brahne when the going is good and running under new management.

The moment in particular I'd like to explore is The Eidolon Extraction.  I first feel that you should get a feel for the aesthetic in the scene, so I included the background music.  It'll be incredibly helpful in following along with my explanation.

That kind of eerie, exotic feel is exactly what I'd want out of a song like this.  I have one more reference to make as far as a musical reference point, and that would be "Playing With the Big Boys" from Prince of Egypt.  As seen here.

Now having watched both of those videos, surely you're putting the pieces together.  The two are clowny fools who speak in inverted structure and finish eachothers' sentences.  Zorn and Thorn are incredibly otherworldly (and for reasons you'll find out when you play the game, this is heavily supported).

The song shouldn't be very long, as it doesn't do a lot to drive the story.  In fact, I'm almost second guessing myself as to whether or not a song for the Extraction should be included, but I love it.  I also think it would work wonders if it was reprised slightly when they reveal their true nature later in the game.  I couldn't think of anything witty for a title, so I may just simply go with "The Extraction."  Simple, and to the point.  It's not necessarily a verbal narrative as much as it is an event with accompanying song, so I think that title works well enough, but if you have any ideas, share 'em!

The two videos above should inform your idea of my comprehension enough to know this much.  The song should be INCREDIBLY creepy.  They are literally ripping dormant spirits out of Princess Garnet's body while she's powerless to stop them.  They should be slinky, offputting, and most of all just plain surreal.  I love the exotic, almost middle-eastern feel that is presented in the game's original composition.  I also think that influence could fit well in the musical because, unlike FF7 and FF8 which I said should be primarily rock based with either orchestral, jazz, or pop fusions, FF9's universe is fantastical enough to merit a diverse blend of genres to fit any occasion.  Luckily "Princess" has the wonderful double-s sound at the end that allows them to slither around the lyrics, almost snake-like in nature and sound just straight-up creepy.  I think the videos say more than I can with further explanation, but ideally you're getting the jist of what I'm trying to put on the table.  The song would end with Zidane and crew bashing into the room.  I don't know if the song would be over or if Zorn and Thorn could spend one more verse taunting them with their success over Garnet's motionless body.  The ultimate slap-in-the-face, huh?

Hey, a little bit of completely shameful promotion, if you like what you see so far, please tell your friends and peers and bug them to come look at this blog.  I really want this to thrive on community input.  I can definitely come up with a lot of stuff on my own, but I want to cater to what everyone wants to hear.  So have your friends come, enjoy, and suggest new ideas, alternate ideas, or paths to take for subsequent posts!  Thanks. [/selfish]

The Hero We Deserve...

After yesterday's break, I guess I'll continue with the Heroes train of thought.  I'm having a lot of difficulty with this one though...

Final Fantasy 8 [Squall].  Squall is... difficult for me.  I think that it fits Final Fantasy 7's rock motifs, but more heavily and more consistently.  In fact, I see pretty much all of FF8's tentative musical score as a heavy rock influence with maybe a few poppier songs here and there (for moments like "Eyes on Me".)

Let me start by saying that I am absolutely in love with the song "Maybe I'm a Lion."

Next, let me confess I never really enjoyed FF8 all that much.  It seemed a bit trite to me at first, but as I've been exploring and researching it more and more recently, I'm starting to see some silver lining.  I think that while Squall gets a real bad rap for being kind of Cloudish in nature, I actually think Squall was a MORE developed character than Cloud, even though Cloud now has every spin-off and sequel in the book to help his cause.  Squall was only cliche to me because characters after him drew cliches that were original to him.  So... well, I kinda dig him now.

Anyway, as far as musical ideas, I'm admittedly having a lot of trouble, haha.  While I tried to distance him from Cloud, his voice type and scenario seems a bit similar.  Rock-tenor (or so) with a loner attitude.  Luckily, Squall has the romance story working for him with Rinoa.  I don't know if I could rival "Eyes on Me," though.  The song that takes the place of that MUST have allusions to Eyes on Me or I'll be unhappy.

Now, bear with me here, and this may be a bit of stretch.

Opening number (probably following a somewhat cryptic sword fight with Seifer, or maybe that fight would just be implied), titled something like "Whatever," seeing as that's pretty much Squall's catchphrase in the game.  Just follow this train of thought.  Squall leaves the infirmary with a brand new facial scar, and proceeds to walk through the otherwise cheery and loquacious Balamb Garden.  Squall, quite the opposite of the atmosphere, would traverse the grounds, dismissing every friendly attempt made toward him, as well as his whole lonely situation with several cold "Whatever"s throughout the song.  A kind of grungy-rock feel, but being upbeat enough to captivate the audience as a successful opening number.  At the end he'd likely bump into Quistis and the narrative would start from there, but before Squall has sufficiently "Whatever"ed his way through the garden, coldly attacking anything in his way.  Obviously, it hasn't been a great start to the day (considering his wonderful new face-tattoo), and he seems like the type that'd make it known.

It'd be a group number, sort of, in that he'd Whatever his way through all sorts of crowds, but the song would focus mainly on him and be sung primarily by him, with little interjections that he proceeds to dismiss.  Maybe Quistis could have a minor part at the end, and he'd answer her with one final "Whatever" as the button to the song.

Well, at least it was something, haha!

Change We Can Believe In

Today is a pretty big day for America, I should venture.

Now I don't want to turn this into a political blog, because that's not what it's about.  I don't want to burn any bridges concerning something unrelated.

Let me just say... I think I trust this guy.  I feel good about this.

Now, while we're all in the political spirit, I want to divert from the path I was on yesterday (heroes) and look at one or two of Final Fantasy's favorite political leaders: Rufus Shinra and Cid Fabool IX

Rufus Shinra [FF7] - He was actually a difficult one to come up with for a song, but I think I have an idea.

I love love LOVE the idea of FFVII being a blend of rock and various other genres.  I think that Rufus' solo (if there were one, of course) should definitely be a majority of rock elements like rocks, electric drums, and the sort; as well as have a techno backing, electronica, whatever you'd like to call it.

The song that pops to mind most instantly is "It Will All Be Mine" sung by Giovanni in Pokemon, Live! (which, rest assured, will have a post in time, because I love it.)

And I'm sure I've lost some of you with that reference, so I'll post it here.

While doing research, I actually even thought of a title for his song.  It would be a song all about how he wants to rule with fear, and how he wants to herald in a new age of Midgar.  I dunno if people like Heidegger could get little extended solo lines within (because I LOVE Heidegger, hah), but I thought that it would be a neat little reference to his in-game battle if the song were titled "Dark Nation".  (The name of his battle hound).  I actually really liked this idea because it was both a really great allusion, and, well, I think it sums him up to a tee.

Agree?  Disagree?  Tell me!

Next!

Cid Fabool IX (FF9) - Being that he spends 3/4 of the game as either an oglop or a frog, it was hard to think of where he's driven enough to sing.  The verdict is that I don't think he merits a solo.  In his throughline in the game, he just never has a strong enough motivation.  Honestly, the only time we see him by himself, he's a frog trying to get a key from a monster (which is really funny... but songworthy?)

Instead, I'd make it a duet.  I was watching some FF9 footage on youtube the other day... 'cause that's just what I do, I guess (don't judge me!) and I actually thought that there was an incredibly powerful scene between Cid and his wife, Hilda, as Hilda finally agrees to turn Cid back into a human.  He gets on his knees and promises he'll never make mistakes again and that he loves her, and the sappy fool that I am was really touched.

I don't have as much in mind for this song in terms of instruments.  If I had to venture a guess, I think it'd begin when he's still a frog begging for her mercy, something slow and heartfelt, followed by a verse or bridge by Hilda.  The climax of the song, in my opinion, would be when Hilda turns Cid back into a human, in truly touching "Beauty and the Beast"-esque fashion, and they finish the song together in lavish harmony as they embrace at the end.  Standard stuff, I guess.  What'dya think?

While I didn't think of any instruments or lyrics or anything, I did end up coming up with some pretty terrible title ideas for the song in my brainstorming.  I warn you, these are awful, haha.  The first one I thought of was "Hilda Guard," the next one being "We Don't Need Mist to Fly." (I warned you...)

And with that, have a wonderful Inauguration Day, my fellow gamers!

A Monday's Musings

I don't have any tangible ideas to throw out, but it's snowing, and we'll brainstorm as we go.

Regarding the poll... I see some of you already found it!  Today I want to talk about the ramifications of a Final Fantasy Musical, but I don't want to give it all away at once, you know?  Today I'm gonna talk about...

THE HEROES.

Final Fantasy IV (Terra).  Tina, as the Japanese so lovingly call her (what?  It's exotic...) would likely have something sullen and downbeat as a main recurring theme (I'm kind of talking in terms of Les Miserables as far is recurring themes, you know?)

Well, she's the first main female of the series, the next being the upcoming Lightning of FFXIII (excited!).  She's also, for lack of spoilers, different.  Ironically enough, as well, her main theme has an offshoot called "Awakening," the name of a song I wrote for the Phoenix Wright Musical.  I could see the same instrumentation, but not the same optimism.  For Terra's theme I hear something a little more... bleak, for lack of a better term, but empowered.  A main synthesizer backing would help make it sound a little more unnatural and otherwordly, and I think bells bring it somewhat back down to earth.  The listener should definitely feel distanced, but there's gotta be some room for hope.

Final Fantasy VII (Cloud) - Our very own spikey-haired protagonist, the original emo, Mr. Cloud Strife.  (Strife?  As a last name?  Thinly-veiled.  Good job Square).  Almost as good as Tifa Lockheart.  Or Cait Sith Beauregard (...what?)

Cloud's song I'd invision to have an interesting blend.  I'm trying to think where he'd have a soliloquoy.  Maybe after Aeris' death?  Actually, that'd be kinda cool...

A kind of inspiring song to follow the death, to get himself reinspired and ready to defeat the baddies (unfortunately, the closest comparison I can think of [in terms of tone, not sound] would be "Bet On It" from High School Musical 2, hahaha.)  But I want the song to incorporate both a rock edge, distortion guitars, bass and the like, but to also have an orchestral backing at some points.  I imagine violins starting the song, a rock chorus, and then an intertwining rock orchestra through the rest.  Get what I'm saying?

Cloud's voice part... Baritone to Rock Tenor.  I guess.  ...it's kind of hard to imagine Cloud singing, haha.

Hm.  The snow stopped.  I'll keep with this later.  Think of game characters or events that you'd put a song for, maybe I'll update the blog with my ideas for those too, at some point.

The Beginning

Actorman here, starting up a blog of his very own!  How exciting!

Basically, this blog got its start in my mind when I learned that if you write it on the internet, people will probably read it, and I have a lot of things to talk about (or sing about, if we get to that point later in this blog).

I'm the Head of the Phoenix Wright: Musical (found here at http://megalomaniacalme.net/pwmusical), and decided that so many other video games can lend themselves to musicals, I think mostly in terms of Final Fantasy, but there are surely plenty of other ones out there.

This is gonna be brainstorming for me, and you can give input as far as the ideas, what game you want to be brainstormed, and what you think.

Merging my two great loves together, musicals and video games, was practically inevitable.

So here, I will discuss video games, their soundtracks, an occasional musical soundtrack, and the blend of the two genres into one unstoppable mega-genre.  Oh yeah.  Things are gonna get crazy!