“The Palm of Her Hand” combines bass brass with light strings for an interesting mix of doom, danger, perseverant righteousness, and a sense that good will prevail. “They Don’t Look That Tough” is another solid battle track, and “Was It All a Lie?” brings us down to a sweet sadness. The remainder of disc one is less varied and compelling than the former half.ĭisc two features some of the better music on offer, including “My Life Is Yours,” which is reminiscent of Howard Shore’s The Lord of the Rings soundtrack. “The Underground Labyrinth” feels almost like a track from Dark Souls with its suggestions of vocal arias and mysterious, slightly menacing tone. The action tracks like “Fight or Flight” and “Fool of a Thief” are less memorable than those that came before, although “Her Reputation Precedes Her” is a gorgeous, dulcet combination of strings, woodwinds, and harp. “No Picnic For Me,” the aforementioned instance of guitar, is an incongruous and utterly irritating track likely meant to be silly and fun. Although the first half of disc one is strong, it does contain the only truly bad track on the album. Mitsuhiro Kaneda’s “Have Faith” suggests approaching doom (and an explorer’s excitement) while “They Haven’t Seen Us” is a rousing ode to the joy of combat. “Out of the Frying Pan,” the after-battle song, is a fantastic victory fanfare that provides a sense of triumph quickly followed by quiet respite for the wayworn adventurer. Sometimes multiple composers can dilute the overall vision of a game’s sound ( Final Fantasy X comes to mind), but Kimihiro Abe’s composition not only adheres to the Crimson Shroud sound, but furthers it as well. The battle music “Show Your Mettle” is the first non-Sakimoto track on the album, and it’s also one of the best. If the “Main Theme” is too cinematic to fully represent the soundtrack, “A World Where Magic Never Was” is a better microcosm of the game’s sound and a great showcase of Sakimoto’s composing talents. The result is an austere grace appropriate for a classic game of Dungeons and Dragons, yet a sound uniquely Japanese as well. Horns and strings continue to dominate the very orchestral soundscape, and guitar appears on just one track. Most of the music doesn’t have the same sense of bearing witness to an aural vista, which actually works to the soundtrack’s benefit in this case. A good representation of Crimson Shroud‘s sound, the theme is the most overtly cinematic of the album’s songs. We open with the “Main Theme,” composed by Sakimoto himself. The first half of disc one features most of the best music, while the second half houses some of the weaker, less memorable tracks. For extragame listening, the tracks are somewhat hit or miss, but with an emphasis on the former. In the context of a game that harkens back to RPGs’ roots, the soundtrack is a perfect partner. Hitoshi Sakimoto, of Final Fantasy XII and Tactics (among many others) fame, leads a small team of composers in creating a classic orchestral sound befitting the JRPGs of the golden age. So get ready to blast off in a rocket fuelled Starfield performance preview.For a game that can be beat in around six hours, a one hour, 36 minute soundtrack - about a fourth of Crimson Shroud‘s length - is almost ostentatious. We also compare the improvements over the previous showing, enhancements within the engine, and much more. The biggest question after the show(s) was: why is it 30fps on Xbox Series X and Series S and not 60fps? In this IGN Performance preview, we dive into the details shared by the team, the revealed PC minimum and recommended specifications, and how the Creation Engine 2 works, comparing the previous games to gauge some of the potential reasons why the team might have chosen 30fps. With Starfield being the center of the Xbox 2023 Showcase last week, Bethesda gave us a deep dive into one of the biggest games this generation.
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