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It benefits from a condensed dramatic arch and slightly deeper orchestration compared to its predecessor. This sinister influence also pervades the main dungeon themes to beautiful effect in the game. While “Dungeon 1” has the colours of a movement in a romantic symphony, “Dungeon 2” is an experiment in ambient soundscaping and synth vocals. The themes to portray the Holy King’s Tower, Demon King’s Palace, and Leonid’s Castle are also among the most exquisite and expansive additions to the soundtrack. The soundscapes are a perfect complement to the in-game scenery and demonstrate Ito’s compositional and technological mastery in equal measure. However, the dark influences do not overwhelm the soundtrack and there are still plenty of other tracks to balance the experience.
Some themes, such as 'Captain Hawk' and 'Gray', do labour the march format and come across somewhat formulaic; however, the strength of their melodies and nature of their personalities still makes these themes highly enjoyable in and out of context. The only throwaway theme is 'Jamil', but even this is catchy on the first few listens.
The iconic opening phrase of 'Battle 1' gets listeners suitably invigorated and the subsequent sections keep the adrenaline flowing with their nonstop melodies and bold orchestration. 'Battle 2' is even more catchy, with its passionate trumpet solo and slapped bass accompaniment, and mixes Latin, orchestral, and rock influences seamlessly. In both cases, the sound manipulation is top-notch, with each individual instrument being convincingly synthesised and strongly punctuated, to create a balanced overall timbre. In fact, both of these tracks exceed even those by Nobuo Uematsu in the first four Final Fantasy titles, which is no mean feat. The hurry theme 'Escape!' Tends to be less impressive with its ever-repeating crisis motifs, but still uses the SPC chip efficiently and conveys the desired emotions well, while the new victory and game over themes are also serviceable orchestrations. The climax of the score does not disappoint.
While 'Dungeon 1' has the colours of a movement in a romantic symphony, 'Dungeon 2' is an experiment in ambient soundscaping and synth vocals. The themes to portray the Holy King's Tower, Demon King's Palace, and Leonid's Castle are also among the most exquisite and expansive additions to the soundtrack. The soundscapes are a perfect complement to the in-game scenery and demonstrate Ito's compositional and technological mastery in equal measure. However, the dark influences do not overwhelm the soundtrack and there are still plenty of other tracks to balance the experience. Character-based anthems make their long-awaited return on this album and portray the diverse cast well.
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However, a handful of tracks are downright obnoxious due to their pompous writing and piercing synthesis, including the disappointing arrangements of the opening, victory, and end title themes. To convey grandeur, it's necessary to do more than turn the volume up to the max. Summary Due to its lack of Western localisation, the soundtrack for Romancing SaGa 3 only went to achieve considerable fame in Japan. The soundtrack is highly regarded there, thanks to its memorable melodies, diverse stylings, and atmospheric depictions, and regarded with similar esteem as Final Fantasy VI and Chrono Trigger. Although most will lack the nostalgia factor, those looking for an excellent Super Nintendo RPG soundtrack should find that Kenji Ito brings the goods on Romancing SaGa 3. Album was composed by and was released on November 25, 1995.
00:48 14 Podolui 02:31 15 Dungeon 1 01:55 16 Battle 2 01:53 17 Congratulatory March 01:54 18 Departure 01:28 19 Muse's Theme 02:55 20 Dungeon 2 01:48 21 The Pro-fe-ssor♥'s Theme 00:42 22 Pet Capture Epic Battle 01:27 23 Voyage 02:14 CD 2 1 Town of the Holy King, Lance 02:36 2 Holy King Temple 02:04 3 Magical Tank Battle 02:52 4 Great Arch 01:46 5 Jungle 01:02 6 Fairy Village 01:56 7 Nightmare 02:35 8 Dophore's Evil Deeds 00:34 9 Superhero Robin's Theme ~Evil Never Prevails!~ 02:51 10 Awakening 01:26 11 Vanguard Take Off! 02:07 12 Island at the Ends of the Earth 01:19 13 Desert 02:06 14 Crystal Ruins 02:53 15 Eastern Country 01:59 16 Capital of Kings 01:51 17 Rashkuta 02:25 18 Holy King Tower 02:48 19 Trade 02:11 20 Aurora 01:44 21 Snowman Town 01:53 22 Ice Lake 01:49 23 Gwayne's Den 02:03 24 Leonid Castle 02:40 CD 3 1 Demon King Palace 02:08 2 Demon King Palace Underground 02:12 3 Bunei's Den 02:27 4 Fire Fortress 01:31 5 Underwater Palace 02:44 6 Imminent Crisis 01:12 7 Four Demon Nobles Battle 1 03:02 8 Theme of Annihilation 01:46 9 Theme of Sadness 1 01:47 10 Theme of Sadness 2 02:58 11 To the Battlefield. 02:03 12 Gen Castle Battle 02:19 13 Last Dungeon 02:20 14 Four Demon Nobles Battle 2 03:41 15 Abyss Gate 02:07 16 Last Battle 04:50 17 Epilogue ~To a New Journey~ 05:40 18 End Title 04:09 19 Fanfare 00:10 20 Putting Up for the Night 00:14 21 Trade ~Counterattack~ 00:06 22 Trade ~Defeat~ 00:06 23 The Pro-fe-ssor♥'s Theme (Original Version) 00:40.
Whether with light or dark themes, the soundtrack consistently ensures the game is a much more emotional experience. A particularly encompassing example is the overworld theme 'Field', which manages to motivate and intimidate gamers in equal measure with its dramatic march-like rhythms. It is hindered somewhat by a fairly mundane orchestration and a premature loop, but is still a solid listen. The sonorous woodwind-based 'Voyage' and guitar-supported 'Muse's Theme' are among the more relaxing tracks on the soundtrack, whereas the themes of sadness use similar ensembles within a minor tonality. Ito also steps up to provide fitting depictions of the more exotic locations in the game, for example 'Desert' with Square's trademark wind sound effects and 'Rashkuta' with its Indian tonalities. 'Crystal Ruins' and 'Ice Lake' also sound abstract yet beautiful with their minimalistic synthy arrangements here. Of course, the biggest fan pleasers on the soundtrack are the battle themes and these are aplenty here.
Kenji Ito offers two incredible arrangements of the main theme to contrasting effect on 'Theme of Solitude' and the grandiose 'The Trials', before revisiting the SaGa classic 'Wipe Your Tears Away' with a nostalgic and bittersweet chamber arrangement. 'Last Dungeon' and 'Revival of the Evil God' are effective pieces to build towards the final encounter, with their drab orchestrations and crisis motifs, but loop rather prematurely; this builds up tension in the game, but is somewhat disappointing on a stand-alone basis and it was only on the remake soundtrack that this was put right. Thankfully, 'Decisive Battle! Saruin' compensates for this with a well-developed action-packed theme, mixing sinister chord progressions akin to the villain themes with motivating brass melodies to represent the heroes. The ending theme for Romancing SaGa is just as expansive and fitting as those from Final Fantasy's 16-bit era, offering mature synthetic orchestrations and thoughtful theme arrangements across an eight minute suite. Summary Kenji Ito's score to Romancing SaGa has received little exposure in the West, due to a combination of the game's Japanese exclusivity and the composer's lack of overseas fanbase. This is quite a pity as the soundtrack is one of the most functionally effective, melodically memorable, stylistically refined, and technologically commanded of its generation, exceeding even the likes of Final Fantasy IV, Secret of Mana, and Final Fantasy: Mystic Quest released around the same time.
30 - Nobuo Uematsu) Sound Programmer: Minoru Akao Coordinators: Tadashi Nomura Mitsumasa Ikeda Engineer: Takamitsu Okumura at Sunrise Studio Illustration: Tomomi Kobayashi Cover Art Work: Yuichi Fullno Executive Producer: Yoshitomo Ogata Special Thanks To. Akitoshi 'Game Master' Kawazu, Nobuo Uemastu, Kaoru Moriyama A note regarding the tracklists: The booklet has the tracklist written in both English and Japanese, but since the two hardly ever correspond, two separate English tracklists are featured on this entry. 'English (Official)' being the one listed in the booklet and 'English (Translated)' being a translation of the Japanese tracklist. Album was composed by / and was released on February 21, 1992. Soundtrack consists of 38 tracks tracks with duration over more than hour. Album was released.