The newness of that transition, led by KCET rather than KCEK, produced a variety of particular exciting results, even if the overall game was lacking.Īctually, I believe what we hear in Curse of Darkness’ score is, in addition to an aesthetic conservativeness (relative, again, to Lament of Innocence), a Yamane-led standardization of musical tropes for the series. This is perhaps what led to a less experimental score, relative to the previous CD-based Castlevania game Yamane scored, Lament of Innocence, although it is just as possible that Lament’s musical inventiveness was a part of that general uncertainty about what making a jump from 2D to 3D meant after the critically-cooling N64 Castlevania titles (in fact, several of the tracks on the second disc for Lament’s OST seem to be unused pieces for an earlier build). The pressure to produce on merely the quantitative level must have been crushing. Consider also that Curse of Darkness was released the same year as two other games’ with scores composed by Yamane: Castlevania: Dawn of Sorrow (co-composed with Masahiko Kimura) and Over Zenith, or OZ (whose OST is nearly as large as Curse’s). ![]() Yes, some of the pieces are short incidental ones written for cutscenes, but even so this was a significant undertaking. Today, it’s honestly difficult for me to get enthusiastic about more than a handful of tracks from this truly gargantuan score - fifty-six tracks in total.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |