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.