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BRAVE10 Special Soundtrack CD Brave Strike!

2013-02-15T04:07:00.001-05:00

Enclosed in BRAVE10 Vol.5 DVD/Enclosed in BRAVE10 Vol.5 DVD/BD (ZMBZ-7745/ZMXZ-7735)

Wow, what a cover! Not that the cover makes a soundtrack. As stated above this CD is packaged with the fifth DVD volume of the Brave10 series. I was not too impressed by the teaser trailer when it first came out a year or so ago. The music didn't fit the time setting, however, it works with the fast paced action. Yet here I am, reviewing the music, despite how uninspiring it was in the demo. To be honest, I don't physically own this. I haven't even bothered to obtain it. Fortunately, someone uploaded it on youtube, thanks to user Zax Kuroyami.

01	メインテーマ	1:46
02	艶男。-adeosu-（INST） -animation Ver.-	1:55
03	英姿颯爽（エイシサッソウ）	1:53
04	天衣無縫（テンイムホウ）	2:00
05	気炎万丈（キエンバンジョウ）	1:52
06	暗雲低迷（アンウンテイメイ）	2:44
07	明鏡止水（メイキョウシスイ）	1:56
08	泰然自若（タイゼンジジャク）	2:41
09	不撓不屈（フトウフクツ）	2:20
10	平穏無事（ヘイオンブジ）	2:45
11	光彩陸離（コウサイリクリ）	2:33
12	精霊飛来（INST） -animation Ver.-	1:44

Disc length 26:09

Main theme is a rocking opener with a nice melodic ballad. He does go over the top though, in the later half's acoustic melody. The percussion could use a little boost so that it can be heard, as they are well performed.

Fukusuke wrote track 2, while track 12 is composed by three fellows known as gennbu, koujin, and sayroo. Never heard of them, but OK, no need to bother and research them. They are instrumentals, probably meaning they were songs? Anyway, Nagaoka treats the composition with ethnic Asian strings, and a hip beat. The final track gives a funky guitar solo opener, followed by a bass, leaving off with a satisfying finish.

My first run through the music provided, didn't leave much of a mark in my few brain cells. However, now that I'm thoroughly listening to it, the quality is much higher in some of these pieces. Mostly in the slow, melancholic ones though. For instance, in tracks 4, 6, 8, 10, and 11, all have movie quality music in them. Emotional, moving, riveting, and powerful as well. This whole soundtrack is one of Nagaoka's most generic, yet a few listens can really make anyone understand any of his works.

I especially like the touching theme for Heion Buji, track 10. A harp paired with violins and oboe that is dying to bring tears to whomever listens to it. The following track is more suddle in approach, but manages to get sweeter in the middle of things, before it soars with its melody. Track 8, Taizen Jijaku, and 7 as well, is worth listening to, as I find it hard to explain just how it can change a mindset. Track 4 is rather the most generic of them all here, but in its own right, an excellent slice of life theme.

Third track rocks its own ballad, like in the main theme, only being more original. Nothing spectacular there, in fact, its just passable at least. Kienbanjou, track 5, is a little more on the upside of the continued rock influence. Seikou does get serious for this track, but the jingles do throw it off bit. In track 6, a change of tone with the anxious violins, stalking piano keys, and mysterious cello leading the other strings.

The highlight of the soundtrack is track 9, which is a more elaborate and paced version of the main theme. However, I still don't like the acoustic wind work, though the touch of flamenco is new. Now, I am out of tracks to cover, as I was imagining I haven't started.

Being a special release, I'd say this is a fair and deserving grade. As I stated before, for one of Nagaoka's most bland and low key efforts, it has many glimmers. He's used some styles here that were very new and fresh. Only a few pieces are able to sink into right away, but that is what makes this musician unique. I have to listen to each composition a few times just to understand the style.
Album:B+
There is no grade for package, as I do not own it. Someone who's already collecting the series, is going to be happy to have this very small sample of the series music. However, for us who just want the music would have to spend nearly $100 to own it. At least, its not only for the music, I'm sure the other content can be consumed. Had it been a full soundtrack, giving up a Benjamin wouldn't feel bad.

Fire Emblem: Awakening Demo

2013-01-21T16:49:00.002-05:00

Nintendo has finally awakened to advertise one of their most elusive franchises. The slew of advertisement is very encouraging. In fact, I don't think they have done one since Fire Emblem's debut in the U.S. No matter how bad the game feels to me without its original creator, I will still be buying them. The big N has done more than just bring it to other territories, but they really put more investments with the title. There probably is more advertisement than the Metroid series games.

I am happy that the latest has eventually been given the chance to go outside home territory, the previous installment, Heroes of Shadows and Light, did not even get bothered with. Especially, given at the time of Heroes release, most RPG's weren't going to be published in America. Now, most of those games such as, The Last Story and Xenosaga have eventually made it out, thanks to the movement known as Project Rainfall. In which, Nintendo officially replied the consumers outcry to have an American release, simply by saying "NO!". Instead, NoNintendo gave us Kirby, but at least now they seem to be becoming like Yes Man.

Since the announcement of Awakenings release, I was relieved and actually less enthused by it. Though given that all this hype and showcasing all around, I decided to download the demo on my handheld after vacuuming the dust filled box of the 3DS that I have barely opened.

The demo only contains Prologue and Chp.1 with many features blocked off. What is the point of showing the options on creating an avatar if they cant be used...? Most of the in-game play features are usable in Hard and Insane. Normal and Hard mode are fairly simple, with the latter should take be taking some precaution. I could barely get passed the second turn in Insane mode. This makes the game more worthy, and I can practice before the real deal arrives.

SPOILERS!!! Given that Marth's identity has been revealed. They didn't do such a good job of covering up that he is a she. The voice actress may have deepened her voice, but it is still too obvious that she was trying to cover up. Just her speaking defeats the purpose of the mask.

Story wise it felt too much like The Blazing Sword with the details about the world thrown at the player. The avatar asks what something is so that we can learn, isn't the best way to present the situation. In the second chapter, I don't know why Marth wasn't available to play as, since "he" is capable of fighting.

It was nice to here the voice, but why only place few standard lines when they could have the entire script read to us. Either have voices for all or none. I am not too fond of the graphics, especially at the characters feet. They look like they are planted underground and their legs don't move. Lots of changes in that department need to be made.

Nintendo has pushed the investments further by bringing the bundled package to us here. The only difference is that there is no physical game, but it is already programmed on the device. On the Nintendo's Facebook page, they are doing regular spotlights on the characters of the game. Also, there is, for the first time, an art booklet for this franchise. So far only Gamestop is providing. I am looking forward to these. The only thing I wish, was the bundle to be an XL version, since I do prefer it better than the clunky fat original.

My Boy Friend

2012-11-13T14:36:00.000-05:00

Included in the forth volume VHS of the Hoshineku Full House series is this little single. Published by the Walkers Company Inc. Vocals again from the talent group known as LISP, which have not appeared again till recently only on another soundtrack done by Nagaoka. I'm not sure if they are the same people though. A chorus joins in this time, name MILK, but no details on what the name comprises of.

01	My Boy Friend	4:28
02	そしてすべてが終わり	4:37

Disc length 9:05

My Boy Friend takes the lead as being the fun song with its amazing opener. Certainly a huge touch of jazz is inserted for this one. LISP stand out more and each singer can be heard even when singing together. Despite the girly title, I don't feel it as being singled out for the female audience. Second song is composed by Hitomi Kuroishi, so it feels a little more conservative in terms of music and pace. Drums, vocals, and bass guitar are pretty laid back, which give off a romantic love feeling without pushing it too far as such. Both songs are pretty similar to each other, and definitely have a different tone then the singles from vol. 3. Nagaoka's own composition and arrangement for the first song is certainly stronger then his last in vol. 3, Dancin' Twilight.

Remember, this is the artists first real gig, at least as a solo artist. Before this it was a few image albums that seemed to be like he was shadowing or interning as for experience. I did not expect much difference in song making here, but behold there are some marked improvements. Specifically in Nagoaka's control of the vocals. Same vocalists but they feel more matured here and while the three vocalists of LISP sing over each other for most of the songs, each singer has a chance to take a few verses individually. There is no fear of high notes being struck bad or at all, and no problem with the cute sounds of the synth board overlapping the vocals. So I'm intrigued by how well Mr. Nagaoka has leveled his instrumentation and vocalists. I still place Honeymoon as the best song of the four. There is fortunately enough consistency between all of them. Both single discs are worth the place in anyone's collection large or small.

Critically Velocity Original Soundtrack

2012-08-26T15:30:00.000-04:00

Another quietly released album, with still no knowledge of its existence on the market, like most other albums anyway. Fortunately, there is no need to seek this soundtrack out, as it is available to the public to both Japan and America. However, the game itself was never released in the states. It's a shame, because judging by its cover to the left, it looks just as good as the F-Zero series.

It was first announced as Rune Chase, changed when it didn't meet its release date and was given extra time to complete. Though, let me talk about the game itself, as it does bare some features that do differ from Namco's main drive, Ridge Racer. Although, instead of just being a bare racer, the player is allowed to roam freely on the roads. There is the adventurous story mode, but they give the ability to explore the world.

At first glance, I was saddened that the music is mostly urban jazz. There could have been the choice to go smooth jazz fusion like in Ridge Racer, but I guess they really wanted to steer away from that idea. I was going to review the soundtrack per usual, by composer, but it seems each track continues right off from the last. So, by the order of the track list, I have to take the straight road.

Tracklist

01	Sunset Runaway-Ryuichi Takada	1:59
02	Invitation-RT	2:07
03	Toward a Difficulty-Junichi Nakatsuru	4:30
04	Break Time-JN	3:08
05	Memory of Passed Day-RT	2:10
06	Priyo City Part 1-Yuuichirou Noro	3:25
07	Priyo City Part 2-YN	2:56
08	Priyo City Part 3-YN	3:21
09	Priyo City Part 4-YN	3:31
10	Priyo City Part 5-YN	3:44
11	Crush ’em All-Jouji Nishigomi(George)	4:45
12	Racing the Storm-GN	4:01
13	Escape from Crisis-GN	4:25
14	Urban Striker-GN	3:42
15	Time Bomb-JN	7:02
16	Smooth Drivin’-RT	3:10
17	Through the Alley-Kakumi Nishigomi	3:47
18	It’s an Easy Work!-KN	4:13
19	Street Courser-GN	3:40
20	Blazing Vortex-GN	3:32
21	Stormers-JN	4:00
22	Funny Fat Guy-RT	3:19
23	Most Dangerous Game-JN	4:00
24	Master of Speed-GN	3:57
25	The Fixer-RT	4:00
26	Purple Highway of Daybreak-YN	5:03
27	Mission Complete-YN	0:03
28	Mission Failed-RT	0:02
29	Reward & Honor-RT	1:00
30	Depression-JN	1:32

Disc length 100:04
Symbols fiddle and soothing keys start off in Sunset Runway, followed by jazzy strings. Ryuichi Takada does arrangement with the strings, added by brass, synth keyboards and explosive percussion. The brass sometimes gets too brassy and jazzy, but only for a few moments. This track is the opening cinematic theme. It works well for a chase scene. Still, jazz is not the right fit for a situation like that. Invitation, I assume, is the menu theme, and what a welcome Takada presents. Attractive are his keys, and the drums playing in the background, all representing a slow entry for a game about speed.

Nakatsuru gets the first in-game track, using the some strings as Takada's, only less abrasive. The brass covers over while the strings continue to repeat. Toward a Difficulty, gets better when the drums start in. A flute takes the lead somewhere in the piece, and rather adds to the situation of whats happening. Back into the loop, Junichi takes his time and fleshes out his strings and brass, improvising the flute and horns the second time around. At the abrupt end, we go into Break Time, to take a load off. The pace is truly changed from his previous track. Lounging around with cello strings and keys, while the sax sings on top. This is not the Nakatsuru we normally hear, as he really lets the listener sit back for the first time.

Takada picks back up in the same note. Memory of Passed Day is similar to the menu theme, but he has more work for the percussion in the background. I'm not too found of his use of brass. The next five Piryo City tracks are done by a new composer to me, Yuuichiro Noro. He takes a more subtle approach then the other two before him. While the jazz style is there, the rhythm and blues are what he excels at. The strings, sax, and drums work hand and hand, to deliver something new. Part 2 has some rock influence as well as some electronic sounds that hurt the piece. When those sounds don't ring the ears, the electric guitar solo does make it worthy listen. Part 3 picks up in the first parts attempt to go flamenco. Again, the sax really makes me wonder if this is a racer. At least, the strings and piano keys make me want to dance. Part 4 continues the second parts rock style, opening up with electric guitar. The drums make it feel sound like its heavy metal. The driving guitar manages to keep me tuned in. Getting back into another slow Spanish mood, Part 5 lowers the pace again, which makes this soundtrack wholly feel like elevator music.

Another new composer to discover is Jouji Nishigomi or George. He is the first really offer an attractive piece right from the opening of Crush'em All. It is a rockin' track, with hints of jazz. The drums spell out the name of the track well. George does have the same techno sounds as Noro, but implements them in listenable manner. Racing the Storm doesn't have the flare as the previous, though I'm not being negative about this track. The rock instruments maybe minimal, but the feeling of racing is there. Percussion give the beat alongside the brass and keyboard solos. Escape From Crisis combines the other two's style, resulting in a rather unique experience. I won't go further into detail. Urban Striker does some fancy conga and brass work, with some funky soul keys and bass. Some of this music reminds me of the silly Mario Kart themes, in which a lot of this soundtrack resembles.

Nakatsuru reappears in the seven minute brass/rock out, Time Bomb. It is a piece that carries the weight for the entire soundtrack. Even so, his shorter ones are a little more enjoyable. Takada is back again for a Smooth Drivin', in which the percussion is what stands out most here. Ryuichi really could work on his brass, since he managed in Soul Calibur 3.

The next two tracks by Kakumi Nishigomi(whom I'm guessing is the brother to George, and if so the elder one) does not do so well among the composers here. The electronic sounds covering entirety of the track can be a turn off while listening to Through the Alley. Percussion are a plus, and the improvising of them near the end saves him from being a skip. The drums pick back up in the next track and surround the ears in all directions, making it an easy listen. Its an Easy Work has reminiscent feel of some song, probably Broadway back in the days. I can't tell what instrument takes the lead, either guitar or keyboard, sounds electronic but adds flavor, as well as the trumpet solo that comes after it, before keys take back over. The final solo is an electric guitar for sure, and keeps Kakumi in good standing with the crashing of the drums again before it fades away.

The other Nishigomi takes the spotlight, opening up like in Crush'em All, and using an electronic sound that reminds me of the Sonic games. Street Courser seems to take some of the rock elements of Kakumi's and finally taking the soundtrack into a better direction, if Nakatsuru hasn't done that yet. Blazing Vortex uses the all too repetitive brass linings of Takada's. The techno beat and sound effects like the wind fill the background, while the sax takes lead. Interesting slew of engine sounds actually make appearance here.

Pace is kept up in Stormers, in which Nakatsuru uses funky guitars, a somewhat nice saxophone solo, synth keys, and a great drum arrangement. Nothing truly outstanding, but he does have a certain uniqueness that is hip and fresh. Takada changes it up a little, as Funny Fat Guy goes comical and silly. It is more serious than what I just said, and can be stomached for the most part. Alternating back to Nakatsuru with Most Dangerous Game. The guitars play out a 007 spy-like tune, only he did not flesh it out as much as I would have liked. At the halfway mark, a very fun interlude of brass that sounds like screaming women, gets the listener aroused, followed by a bluesy guitar solo.

George Nishigomi changes around again, in a very different offering of Master of Speed. This is truly a unique sound from the rest of the tracks so far. It is mysterious, ambietic, and leveled to enjoy from start to finish. Even Takada changes his sound and style, gaining him some credibility. Both of these tracks have nice bass. The Fixer has some annoying engine that sounds like its being pushed to its limits. Percussion and strings are done well and brass is minimal this time. Yuuichiro as well lays back and gets the listener to relax as well with Purple Highway of Daybreak. Seems to be the games results theme. Noro-san's best offering yet, and one jazz piece that can really open anyone's ears to the genre. Ryuichi's Reward & Honor is a short version of Noro's last but not as attractive. Nakatsuru as well, doesn't surpass himself or anyone else with Depression.

Album:C+

I got this soundtrack strictly for my fanship of Junichi, but if I were to just download his tracks, then I'd be ripping myself off. $7.99 for 30 tracks, spanning a total of 100 minutes is a deal really. Much of the music felt out place, but then again I haven't played the game. The videos on the net didn't help that feeling either, and the premise of the game certainly is not typical of a racer genre. This is one of first albums that I find hard to recommend. Even Nakatsuru, whom did offer his talents, still fell short and quite frankly, disappointed me. I didn't have hopes for any of the others, especially Takada, but he pulled through in the end. I am glad to not be afraid of the new players, Noro and the Nishigomi brothers(that is if they are bros). The price is the real factor in owning the soundtrack, even though my review can argue against it. No composer had truly failed here, but there really isn't much of absolute must listen to tracks.

Also, I don't know what had pushed Namco to release this years after the games release, but hopefully this will set a trend for other games in their library that they didn't have official soundtracks for. Such as, Soul Calibur Legends, Time Crisis, and Urban Reign. The game may have not made it here for U.S. citizens, but at least we can download it.

Tekken 6 for PSP Original Soundtrack - EP

2012-06-05T13:52:00.000-04:00

Searching for more of Junichi Nakatsuru's music, it has lead me to this download. I've never played the game, and I probably won't in any future, but there is no reason to not try the music. This set of music was composed for the PSP release of Tekken 6. Six tracks for only two dollars and 99 cents is a real bargain. Why pay a dollar just for Nakatsuru's contribution when I can own the entire collection? Here is what good that come out of that.

01	Blue Wall-Akitaka Tohyama	3:14
02	Broken Ties-Tetsuya Uchida	1:46
03	Spider- Tetsuya Uchida	2:06
04	Rebirth- Yoshihito Yano	2:30
05	Synthetic Pulse Installation-Tetsuya Uchida, Yoshihito Yano	3:36
06	Side Winder-Yoshihito Yano, Junichi Nakatsuru	2:12

Disc length 15:24

Tohyama opens up with a techno beat in Blue Wall, and the flavor of the arrangement doesn't start until about 45 secs with some string-like instruments. He then takes us back into the loop with the standard beat and electronic flips of sound. The second time around feels more accomplished. Akitaka doesn't really push for any type of flare. I don't think he really pushed his personality here. It is a laid back kind of piece, keeping the same mood and beat throughout the three minutes. The track is at least passable, but I don't know how techno music can create a fighting environment.

Broken Ties is a hip rock tune with some nice vocal lyrics added to it. Even with the rock elements, it doesn't mask the fact that its mostly techno-electronic sounds. This track may feel repetitive, but it will over before that it grows annoying. I've never experienced Tetsuya Uchida, but this is a good start. Spider continues in a rock fashion, though he can't keep from the electronic sounds like Tohyama. At least Spider does not loop. The opener feels like menu music, but the rest of the track changes tone.

Uchida is aided by Yoshihito Yano in Synthetic Pulse Installation, which is not too different from Akitaka's offering. It is definitely more industrial in style. The techno beat and sounds can be bothersome. For two composers working together, one would expect to be lost in style, but I can sense none in this one. It is the worst of the bunch, as it feels like a collection of sounds, hence the name of the track. Somehow, they don't manage to completely turn off the listener.

Yano seems to fuse Uchida's rock style with Tohyama's trance in Rebirth. Some guitar riffs like in Uchida's tracks, fill in the background, along with the bunches of synthetic sounds and hints vocals. Yano has kept it simple, which should be the case for music that can be entirely synthesized. However, Nakatsuru aids Yano in Side Winder, the best of the tracks. The opener is dark and broody, almost devoid of any electronic synth. Nakatsuru basically took Yano's Rebirth(with some of Uchida's guitar riffs) and gave it a rehaul. The entire track changes rythym, giving the soundtrack a fresh feel. Along with the ambietic synth, there is the guitar riffs, some electronic guitar-like rythym flows through, and the track doesn't fade off like the rest of them.

This album is very concise. While the composers were at different ends of the spectrum, in terms of music style, the overall sound is kept similar. Either there was electronica, rock, or the fusion of the two. Uchida stood out to me the most for his attemptive creativity and guitar fusions. As expected, Nakatsuru really offered a unique take on Tekken's techno-cratic style.

Being a digital download, I would like a better effort in terms of packaging. Sure the music at a discount price is enticing, but what about a credits picture, or actual credits on the list of music. Composer comments, bios, how the album came to be, etc. There should also better album cover artwork. It's too generic. And being that it is a digital download, it doesn't get a packaged grade.

Album:C-
Three bucks for six tracks(decent or indecent), I think is still worth the dip in the wallet. I am satisfied, greatly in what I've heard. What's lowering the grade, is the lack of, well... actual music. The entire album seems to be done by sitting back, with only real assertion by Uchida. There isn't enough volume pumped into the score. Only Nakatsuru twists things up for a short period of time. In my parting words, I would still make the purchase.

暗黒神伝承武神:劇中音楽集 Takegami OST

2012-05-16T04:58:00.004-04:00

Ah, finally!! I've been wondering if this soundtrack exists. I'm glad I found it. Not rare or expensive. In fact, I think this CD is highly overlooked. It exists, and this is my attempt and spreading the knowledge.

22 tracks? It should be expected not to expect everything. Our composer is the sound producer here, unlike in Kabuto. So here we go.

Opening track has Terumi giving her prayer to the Eight-Headed Dragon. It was not given in the anime. Nice flute music in the background, then rolls the eerie intro music. Not a good start, they should have had that separated. At least offer the BGM in a separate piece. It was some good wind work. Other than that, this is the best start. Fortunately, it only happens for this instance.

1. 開かれし伝説の扉
2. 淡き想いに…
3. 闇からの胎動
4. 武速文献
5. 翡翠輝く時
6. 朱砂の王と地の龍と…
7. 五坊陣
8. 古しえの記憶
9. 悲しみを抱き止めて…
10. 逃亡
11. 龍目紋の龍
12. あつい想い
13. 天空の巨人
14. 去り行く女性の温もりは…
15. 八百比丘尼
16. 婚姻説話
17. 水蛯子
18. もう一人の巨人
19. 神々の戦い
20. 武神
21. エピローグ
22. 天翔

I'm going to go even further with the opening sequence track. Ethnically rich in Asian themes. I wish the breaking sound in the film was included from the film. After the tense intro music, a melancholic piece follows. The piano sounds dated, or out of tune, but is probably was done purposefully. An oboe accompanies the piano, adding more sadness. Dark bass chords are struck at the begining. Then get darker nearing the end. I remember feeling the pulse of the bass in the show. Here it seems like just a sound. The next two pieces are just as eerie and dark as the first. Track 3 has evil night jingle. Superb sound effects that gives you the chills. Track 4 starts with woodworks and broken keys. Electric guitar and windworking carry you through this isolated piece.

The above can be quite disturbing. Track four can be most irritating, but thats for normal minds. Their dark and brood themes can be haunting. Best to be enjoyed when alone. I'm really happy with the inclusion of track 5. A rock arrangement, infused with the gothic themed show. Again, I was not feeling the percussion on this piece.

Track 6 is the main fight theme. Starting Koichi's realization, some acoustic flutes, then the percussion hits. Though it was much more effective on screen. Woodworking signifies the emergence of the monsters. Quite a long piece, but needs to be louder.

I'm guessing the tracks are in order of appearance. That ends the first episodes tracks, and they've missed many unfortunately. Second episode opener is here. I missed it in the show, or I thought it was just sound effects. Glad to have it. Heavy drums and odd sounds give new flavor to the show. Track 8 excellently spinkles with piano keys. A great arrangement of the keys, that soon follows with a vocal. Nothing different from the anime, but sounds even better here. An uplifting yet emotionally low track follows it. Track 10 is Koichi's escape. Very enticing. Its short, but the bass and acoustic guitar and flute changes the tone of the CD.

The first action piece of the second OAV. Even more ethnic music. Love the strings and flute here. Gets one ready to fight a dragon. The action has yet to start, but gets you ready for it. Sound production has truly gone up in one episode. A short intermission from actual soundtrack. A short drama piece, track 12. Either it's Koichi's or Juinbo's seiyuu. I like it, the music used makes it a blessing with what he's saying, yet a burden that it is not a stand alone track. It opens with harps, and then adds the dark piano keys with the jingles of track 3.

Episode 2's action piece, in short, is amazing. I don't recall any music from this episode, but it's all laid out excellently here. I was really expecting Seichiro's and Sayo's Love and Escape theme. Though what's offered here is making me forget that. For track 14 and 15 comes back to the anime's dark theme. The childrens chant is a welcome in 14. Track 14 gets you down, but 15 goes even further. My favorite melancholic ending theme in triumphant mp3 form. Chinese fiddle strings with powerful acoustics that chorally fill the ears, reaching beyond the soul. Great addition of the pounding drums. Whether heard off the show or on this OST, these two tracks are going to make you cry. And keep on wanting to cry.

Given how both episodes ended on a bad note, and 2 ended even worse. Ep. 3 is does not continue in such a manner. Again, I don't recall any of the music standing out here. Though, production values seemed to have gotten even better again. It's opener is odd, but used the alien sounds to accurately depict the strange life form that was the subject of this story. It is truly an aesthetic piece. Violins sweep, flute alienates the listener, bass violin takes over, accompanied by chilling vocals all to trumbling close.

Track 17 jumps to the female monster chase fight/scene. This one sounds like techno, but uses mostly traditional instruments. Track 18 is another superb action piece. So well done, that I felt the size of the monster that approaches the city. Truly gets the feeling that something big is coming. All to a climactic end.

HoLLLLLYYY Helllll!!!!! Track 19 alone puts all of Nagaoka's music to shame. It blasts open with crazy drums and tense cello sweeps. The gong/bell sound is perfect rendition of how epic this battle is. More violins and strings show the intensity between the warriors. Amazing drum orchestration makes for a perfect track.

Next is the full ending to the first and last episode. Don't expect to hear it the same way off the anime. It's more fleshed out here. Bass guitar interlude in the minute and a half mark is beautifully composed. Excellent high point struck, and well crafted ending. Another drama piece after this, but the BGM is more of a music box deal, so I'm not mad it's not alone.

The final track is another prized track among the prize that this OST presents. The tragic song of the Susa/Koichi sacrifice. Cause how can they make a song and not have it available. When listening to this, don't expect to know the lyrics because the first verse was not used in the anime. 佐藤幸世 or Sato Hiroyuki is the vocalist, whom I guess was a popular anime singer of that time. Nagoaka gets her vocal chords to work in sync with the already emotional composition. She hits the high pitch note, as is normal with Japanese Seiyuu, but does not even feel like it. A very mature song, thankfully. Love the whipping sound as the percussion. Here is a taste of the previous few tracks. Put some headphones on and listen carefully.

The packaging here suffers. Though it is normal for Victor to just have a few pages, or just a panphlet. The album cover is attractive, but more of that could have been inserted. The only extra provided here is commentary by the creator/director Osamu Yamasaki. Whom, I will be giving bio coverage of, eventually. Though, the man in question, Mr. Nagaoka had no lines to speak. That's ok, his musical voice is good enough. Package Grade: 4/10

I really had a difficult time reviewing this OST. That's because I have no education on what the sounds or instruments really are. Even so, this soundtrack is so amazing, that I still can't find the right words to describe it. Absolutely, NO track can be done with out. Many BGM's are missing. Though, what is here, cannot be denied. Koichi's theme was probably left out, becuase it was upbeat and happy compared to the entire soundtrack. I still think that this soundtrack could have been completed. While the compositions are without peer, the sound was very weak. Especially for the first episode. They must have heard of Bass boost at that time. It might be the greatest music, but it needs to be heard. OST Grade: S++

Seek this treasure out!!!!!

JASDF 801st. Tactical Training Squadron: Music-Pod

2012-02-29T01:17:00.000-05:00

Released on December 16, 1994 by BMG Victor Inc. and Lipop Record. Catalog no.: BVCH-615

Ah, yes, another rare gem. I would like to mention that I do have an extra copy(as of March 2012), for I can't find it on any site. I couldn't wait to obtain this cd. Only a few popped up for sale. One way to tell this soundtrack is worth it, is the second is not. Nagaoka has done the first three episodes of the OAV, mainly because there was a year before they continued it and another composer was picked up.

The second OST and remaining four episodes were done by Norimasa Yamanaka. Whom, has done "Legend of Lemnear" and Hayashi's "Explorer Woman Ray", but she's well known for "Appleseed". Her CD has been sitting there for a mere 300 yen since 2010, until recently. Either, the seller had given up, or somebody felt sorry and decided to take it off his hands. Poor Yamanaka. Though, I will eventually try it. After seeing it so long for sale, while Nagaoka's CD was fought for, I wasn't in a rush to get her take on the series.

Being impatient to receive this soundtrack, I looked up the show on youtube and wasn't impressed but by a few action pieces. The opener was and still is one of the most attractive themes I've heard. Though, the action pieces were making it a more painful wait.

01-01 虹になりたい(オープニング・テーマ|フル・バージョン)

01-02 801TTSのテーマ

01-03 オンボロ隊舎

01-04 科特隊801

01-05 更衣室ラプソディ

01-06 大怪獣ピョゴラ

01-07 夢,ふたたび(羽田のテーマ)

01-08 TAKE OFF!

01-09 EMERGENCY

01-10 めざせ!ブルーインパルス

01-11 スクランブル!

01-12 ウキウキMORNING

01-13 春風に吹かれて

01-14 WEEKEND OF 801TTS

01-15 静寂の午後

01-16 破局へのドッグファイト

01-17 黄昏のランウェイ

01-18 石動のテーマ

01-19 揺れる想い(三鷹のテーマ)

01-20 回想

01-21 傷心の三鷹

01-22 BLUE SKY DREAM

01-23 BLUE SKY DREAM #2

01-24 太陽があたためた気持ち(エンディング・テーマ|フル・バージョン)

01-25 虹になりたい(ラジオ・バージョン)

01-26 太陽があたためた気持ち(ビデオ・バージョン)

01-27 太陽があたためた気持ち(オリジナル・カラオケ)

01-28 おまけ#1 T-4/アイドリング

01-29 おまけ#2 T-4/フライパス

Let's start at the end of this disc. The last two tracks are the sound effects to the aircraft. It is credited to Nagaoka, surprisingly, but then again he is a sound designer. It was not necessary, but it's a nice addition. I don't think they were designed. They do sound like authentic fighter planes, though listening through the tracks, it seems as though they were arranged.

I feel Victor Entertainment went above and beyond on this soundtrack. Not only do we get sound effects to the aircraft, but also Nagaoka's first complete CD. There is not a damn piece missing from the show. They've even included the full opening and closers along with the ending karaoke, so you can enjoy them in their full glory. But that's not all, you also get the short aired version of the songs.

Mayaka is the vocalist for the opener. She does resemble Ai Orikasa's voice, though, but with a groggy voice and a high pitch. The only problem I had with the opener is the drums. They were altered on this cd. I liked it a lot better in the show. Here the drums sounded... less percussive. Still, it doesn't take away from this excellent composition. Seikou normally doesn't make great openers, or openers at all. Mayaka's voice does hit the high note too high sometimes, which make it irritating, but makes up for it when she holds a note at a low key. There is a jazzy feel to this rocking piece but you won't catch it right away or at all. Nagaoka makes an excellent finish with his improv on the guitars. This is J-pop at its finest.

Most of BGM's are short and rather stale. The 801 TTS theme(track 2) is just as its titled. Track 3 has a lazy bass guitar and some percussion, with laid back comical piano. After that, we have nicely arranged jazz tune with some attitude. I find it a more appropriate theme for the character Arisa Mitaka. Number 5, again, your typical jazzy, slice of life, comical tune.

All the above are similar, yet do their job well. It is the type of music that should play when nothing exciting is happening at an organization such as this. This is standard fare for Nagaoka. There just isn't enough time to grasp you and get you addicted to the cd with these short pieces. None the less, sets the character and tone of the series. Also, they sound like his work on the Tenchi series, but not to that level. Actual sounds have been updated, as the beats can be felt and heard this time.

Track 6 is where this OST can enslave the listener. Opening with militaristic snare drums, with some jazzy brass, followed by some ethnic Japanese woodwork and strings arrangement. Even with the loop, it does not sound repetitive. I love the gongs and crashing symbols, all the way to the end, leading to a excellent finish.

Miyuki Haneda's theme comes up and puts the emotional depth of the OAV on ground. Seikou's piano is ever powerful and unique. Violins carry the piece through, with the touch of acoustic guitar. Soon after this track is done putting the feelings out there, we are treated with what I've been waiting for. ...

The stars of the soundtrack, Take Off! and Emergency! These two pieces made the already boasting scenery that much more enjoyable. The former is intense with percussion, yet just us uplifting with aerial guitars and brass. Crashing symbols that touch the soul at the finish. The later, also begins intensely, as the name suggests. Wild casting of the drums open up the track, but then quickly recoups with bass guitar. Then jumps back into the beat, and builds even heavier and more quickly on the dire situation at hand. These two tracks alone are reason to buy this soundtrack at more than full value.

Following the gravity of the cd, is an anthemic track. Nothing all that special, but it makes you feel as the danger has been averted and the good guys win. Scramble brings us back to what makes this CD worthwhile. Synthesizers bring out that sense of thrill and danger, as if you are actually going on a pilot mission. Guitars make the serious sound with the addition of a great beat and well used brass.

Fukifuki Morning is another slice of life theme. It's more upbeat, with acoustic and bass guitars, along with progressive synthesizers. Track 13 has some sweet melodic strings and oboe. Weekend of 801tts, is standard character themes. The only thing keeping it interesting is the use of percussions. These are some of Nagaoka's weak points, but they are still more than passable.

15th track is reminiscent of Miyuki's theme, but more quietly adding other instruments to the synth. Such as, the acoustic guitar again, and attractive keys. Now back to another action track that begins with a fun beat. Drums are arranged impressively here as well. Then brass, guitars, and symbols take cover making for a catastrophic feeling. The ending is held with an extra note of evilness. A romantic theme follows the previous. Though short and great, it is hard to actually get addicted to it. Another minute long, acoustic theme follows that. Wind sounds fill the background, giving a feel for the theme of the show.

Arisa's sad theme is just that. Very similar to Washu's Heartache, but again, not arranged to that level. Still these are Nagaoka's strength. Even in failure to do better before, it's still better than everyone's best. This track just fills the heart up with melancholy and joy. Right after that, is my favorite sad piece, Memories, if my translation is correct. Pianos instantly awaken the soul, then soon adding the acoustic guitars and synthesizers, finishing back with the dark keys. One after another, Seikou Nagaoka pulls out another powerful piano piece. This one tends to Arisa as well. For a girl that is bold, sure gets the softest music.

Both Blue Sky Dreams are nicely done and arranged, but with a more bluesy feel to them. Synthesizers may take away the grandness that the pieces are. The first is the piano arrangement and it holds its own at two and a half minutes. The second piece is shorted, increasing the pace of the previous with drums.

Concluding the BGMs section, I don't think its Nagaoka's best work. It is very well balanced, though. There is enough action, character interaction, emotion, and comedy to be weighted evenly. Both his action and melancholic tracks were wonderfully done, which are the best here. Below his best were the other ones, but I blame them on their briefness mostly.

Ai Orikasa and Aya Hisakawa sing the ending theme, The Sun Warms My Heart. Although, not as great as the opener, it is just as catchy. I get the feeling of being on the beach with the Hawaiian themed rhythm. Aya's voice similar to Ayeka's seiyuu, Yumi Takada. Making this cd feel like another(possibly secret) Tenchi product. i don't think the song was altered from the video like the opener. If so, it's not affected so. The shortened version is just as good. Both can listened through with a breeze. The full versions end just as quickly as the short. I wish the opening theme karaoke was included, as it is even harder to find the singles.

I didn't have scans this time, because I don't deem it necessary. There is nothing extra to show, except the staff praising and interviewing the composer. It is just text heavy too upload, unless somebody requests so. Excellent cover designs. Two pages of track titles, four of story coverage, two of character descriptions, one page of song lyrics, and finally credits. Comes with CD sized sticker of the Airbats logo. Package gets 8/10.

There is absolutely no reason not to have this soundtrack. Unfortunately, the reason for that, few composers can get a high percentage of well produced music, such as this one. Excellent songs, full, short, and karaoke, sound effects, and an actually completed collection of music. This album gets an B+

Trust / A confession of TOKIO

2011-11-04T15:21:00.000-04:00

Since only the TV version of Trust was available on the original soundtrack of He is My Master, I had to get the full version. Not only was there just the one song, but another original and the karaoke. Though I don't think the other song was based off of the TV series.

01	Trust	4:18
02	A confession of TOKIO	4:34
03	Trust (instrumental)	4:18
04	A confession of TOKIO (instrumental)	4:32

Disc length 17:42

The new song is arranged by Hideyuki "Daichi" Suzuki and composed by Hiroshi Uesugi, though its probably not that important. Daichi himself, has done a huge number of arrangement on many anime and game titles. This song was done near the beginning of his massive career and it shows his skill. A confession of TOKIO, is probably the more attractive of the two, simply because of the opener. Rocking base and electric guitars fill the airs, smoothly corresponding with Masami's voice. Drums are strong and none of the other instruments clutter over each other.

A tribute to the gals of He is My Master.

I'm not stereotyping, but TOKIO follows typically in the J-pop genre. Trust, however, is a bit more difficult to categorize. Being an opener for anime, the chorus is too childish for popular music. Pop music itself has been tending to children lately anyway. Masami composes this piece, and Mr. Nagaoka completes it for her, making it an overall great piece. Instrumentally, I do like it just as good as the other, and better. Masami's lyrics works great and effectively with the backing guitars performed by Nagaoka.

Seikou Nagaoka may not be the best song writer, but what gives him an edge over other J-Pop artists is his improvisations. After the second verse in the song, when the electric guitar takes the lead, is what makes his arrangement worth listening to. The drawback is, like I said before, the chorus that is slightly overdone. Vocals were done just right for TOKIO. I also think Masami's vocals were more mature in TOKIO, although in Trust, her solo was spectacular. Thankfully, she doesn't bother hitting such a high note.

Album:A+ Package:6

Both songs are a great asset to anyone's collection. Masami Okui doesn't have the high-pitched voice that is standard of the anime industry. That alone should be enough reason to own this. I'm glad that the karaoke versions were included, as they were both great instrumentally. Nagaoka especially gets kudos for his performances. The only thing is that the background chorus' were left in there, though it shouldn't be much in the way of enjoying a vocal-less song. In terms of package, I don't know why they would waste an entire CD, for it could have fit on a CDS.

Ace Combat 5: The Unsung War Original Soundtrack

2011-09-11T00:03:00.000-04:00

Does this look like a Japanese import or an American product?

I am a huge fan of Namco's Soul series, specifically Soul Calibur II. Naturally, playing those games will open you up the audio. Junichi Nakatsuru did a epic score on that game. So recently, I decided to test his metal in his other works. Although, here he is just a guest composer. Offering only a few tracks per cd.

There is certainly a ton of material in this 4-disc set. I don't know where to start, so I'll go by composers. Our Music Producer is Keiki Koboyashi, whom has his takes on the Soul series. Tetsukazu Nakanishi serves as Sound Producer. Joining our lead composers is Hiroshi Okubo and of course, the reason why this review is possible, Junichi Nakatsuru. Takanori Goto performs the electric guitar on numerous pieces. Most of which are for Nakatsuru's tracks.

Starting with the top, Keiki Koboyashi, is the main cook in question. He offers us with some enjoyable appetizers, Briefing I and Hangar I. The precedent leads with some funky bass and anthemic brass. It can give the feeling of taking flight, before entering the actual game. Hangar is also just hip, in that it welcomes the player with warm feelings, just before they get shot down. Shorebirds takes charge with its cinematic opening. Open War is the more darker than the previous. Both feel like tutorial music, and thus accurately placed on the CD.

The real food is now served to us with Naval Blockade. Mature strings and brass fill the ears with delight. Amazing crash of the symbols and tense beats of the drums, make war seem like a good thing. First Flight is taken from Ace Combat 4 and rearranged here. Strings whistle at a high pitch, but I don't know if it does better than its electronic counterpart. Still, it does not hurt Koboyashi's lineup. Rendevous opens up with some tensity, gains even more with speed, and the additions of a somewhat electronic beat, for about a minute, until it loops again with more emotional string and brass. Lit Fuse comes in crashing with the symbols and snare drums. More strings are added and a nice touch of the triangle. After a minute of preparing orchestrations, Koboyashi takes flight with high pitched sweeping of the strings. He finishes his work on the first disc with Game Over.

On the 2nd disc, Koboyashi offers some emotional pieces, but not without the help of synthesizers in Ice Cage and White Noise. Both are beautiful and touching renditions of each other. The precedent is painfully sad(in a good way) with its electronic beats and riffs. While, the ladder is more mature in terms of instruments and orchestrations. White Noise is more reminiscent of some Hollywood movie scores. As this entire soundtrack is made with that in mind.

Light harps open up in Free Flight. Snare drums and violins follow in. Heavier drums, symbols, and brass take charge for this patriotic theme. Supercircus just satisfies my taste buds. Action orientated with Takanori's rocking guitar. Koboyashi's brass builds the intensity of the piece, making for a perfect combination. Into the Dusk falls more in line with Free Flight, but is a Waltz-esque approach. It slowly starts with brass and then piano. Key by key, note by note, Koboyashi touches the soul with this piano arrangement of the main theme. And then ending this disc with Final Options.

Coming back onto Disc 3, Keiki follows up with his first Briefing and Hangar themes. Though in the second Hanger begins more quietly, both are pure symphonic entree's. Hangar arrangements us familiar to Jurassic Parks theme. Wings of Unity has an interesting beat, excellent violins, string, and brass compilation. Its not very different from the rest of his work, yet he manages to make each piece unique and independent. If Supercircus were stripped of its guitar and fused with Lit Fuse and his hip Briefing I theme, Dead Ahead would be the result.

The Unsung War is the main dish. If all of the above was not good enough, well this one accumulates all that Mr. Koboyashi has done thus far into one grand course. Powerful vocals seer through the ear, into the brain, and touches the soul. This track alone made Mr. Keiki Kobayashi the star that he is. The Warsaw Philharmonic Orchestra performs both The Journey Home and Razgriz. Both feel like movie experiences. They are sweet and melodic. For me though, being true classical music, is not my favorite meal. Razgriz is like the 7 minute wonder, but without the lyrics.

Koboyashi only cooks a few short pieces for the Arcade version. Both Clear and Victory Road are pumping, but it's at the end of the day feel to it, that won't get it stuck in the head. This complete soundtrack has an amazing main theme, Razgriz, which should be listened to, from the get go.

From Razgriz and on, I assume, are all BGM's to the cut scenes. Open the War has some pace to it, but the rest are slow pieces, and they should be taken the time to listen to. However, other than the aforementioned piece, these short tracks are good to breeze through. 15 Years Ago is an excellent piano arrangement, that could get repeat plays. Blind Corridor is sleek and creepy. It stands out as one of my favorites for Keiki's last moments in this 4-disc collection. It does burst out in the middle and then at the end. Fugitive Hope also starts out quietly, but gets down and dirty for whole entirity of it. There is surprisingly just as much tension and percussion in these last tracks as in the in-gameplay music.

Mary Elizabeth McGlynn adds her voice to The Journey Home, this game's ending theme. The lyrics are precise, and she hits the notes accordingly, but the song doesn't reach to me. I'm more attracted to the radio version, vocalised by Elizabeth Ladizinsky. It is uniquely engineered to start out as if it's coming from the radio back in WWII. Then gradually evolving into our modern day quality sound. Interestingly, and oddly, Puddle of Mudd's Blurry has been included. Never liked the song, but I guess its a nice add. Nakatsuru finally does a song, well, at least a remix of Blue Skies. Originally done by Hiroshi Okubo, and appearing on the two preceeding OST releases. I did not like it at first, for it's jazzy tunes, but after a couple tries, Nakatsuru regains my respect. Some composers can't do songs as well as instrumentals.

Speaking of Okubo, he contributes a few main game pieces and most of the arcade themes. All his arcade themes are hip, funky, rocking, and the antithesis of the main game tracks. I'm kind of weary of the decision that King Records has made to put these fun tracks in together with Koboyashi's more serious cut scene music. Although, they probably had no better way to do it. Okubo's arcade themes, are not grand, but can be catchy and have the audience dancing. They are all equally addicting, with Elemental Particle 2 giving the most jolt of electricity. Although, he uses only instruments that a band would use, but that's what appeals to me most anyway.

Given that only three console tracks were composed by Okubo, I would that is enough. I keep thinking that it's game over when White Bird I opens up. I do like the whole track, and the use of more traditional instruments. Hiroshi certainly stands out from the rest of the crews style, but thats not so much a good thing. For now, his work can belong with the entirity of the disc.

Way over on Disc-3, is White Bird II, which has even more electronic sounds filling in with his anthemic score. He does get a little emotional in the later half of the track, eventually making a solid effort. It's atmospheric synths are not too far from Metroid Prime's score. Heartbreak One takes drums kits and more electonic noises that will throw of any stereo system. Which is normal for anyone who gets this type of music.

Entirely new to me is Tetsukazu Nakanishi, who owns the first track, Title. It took some to get used to, but Nakanishi has opened my ears even more. He commands all of the enemy themes, which give off the more brash and clash then Kobayashi's themes. In Wardog, its does not stray far from the music director's style. Being one of the longer tracks on the first disc, it feels right at home as a tutorial theme. Very welcoming and enjoyable. I think he does better than Kobayashi. Though, Tetsukazu lags behind in menu themes, for being less orchestral and more purely sounds.

Ballistic Missile and Demons of Razgriz immediately gets into Ace Combats shady side, as well as the rest he offers. Scinfaxi picks up the pace with more percussion. Hrimfaxi is the same but adds Goto's electric guitar skills. All 4 pieces use sounds that would be found on the vessels used in the game, giving more depth and immersion into the setting. I criticize those for being a little too similar, although they are still each unique.

Powder Keg and Front Line are more active and dark, really getting into the intense wars. Nakanishi is not hesitant to use Goto in the latter. Front Line is very attractive with strong drums and guitar works, for great action music. Though, Desert Lightning gets even more gritter. The entire piece is filled with dark chords of brass and the Devils Chord, I believe. Takanori enhances the darkness with his talent.

Desert Arrow has that fantasy element and emotional symphony sound that is being drawn from Hollywood. Some nice percussion leading to a nice peak at 2:30. Fortress takes a different route, mostly consisting of strings and brass. The percussion enters around halfway, and things get more interesting. Ancient Walls is not too different from the previous. Not too attractive beginning, but after a minute or so, it grew on me. The extra jingles made the difference.

The one characteristic about Nakanishi's style is his beat, its what sucks me in. And his menu themes hold true to that, but lack any true reason to come back to them. Solitaire and Closure are both fun tracks to listen to. Solitaire has evil brass and a funky jungle beat. Closure is just as the name suggests, with a strong beat, emotional brass, and intricately written piano arrangement. Mr. Nakanishi finishes off strong, as I barely got introduced to him.

I've saved the best for last, Mr. Junichi Nakatsuru. Not one of his tracks disappoint. In my opinion, I question the importance of having the other composers. Junichi shows more love for instruments than anyone else. Takanori Goto would have been sitting out, what with the one or two tracks that he has been slipped into by Koboyashi and Nakanishi.

Ghost of Razgriz rips through air with Takanori's guitar. The same air sounds are used in Grabacr. Climatic from the begining, and soon adding more drama with a strong female vocal. Winter Storm really takes the listener into the mountains for a hike. Mask and 8492 is similar to the previous, but Nakatsuru knows how make it a worth while listen. Chained Reaction's brass carries through as if truly racing against the clock. All have some sort of dark piano keys imbedded between all the drama.

Four Horsemen is one of the more attractive offerings that Nakatsuru-san has, and it's certainly the more brighter ones. Hints of espionage acoustics, funky bass and electric guitar. From start to finish, and the middle interlude with the brass, just make the earbuds melt in. Reprisal is a five minute glory, that encapsulates all of Hollywoods grand themes into one track. Takanori's guitar skills work symbiotically with Nakatusuru's brass. The final minute's tearing oboe bring aesthetics back to music.

Blind Spot is surprisingly quiet, that is more heavy on electronic and computer synths. Mother Goose I is the most relative and effective track in Ace Combats line up. The entire track is a journey, changes landscapes between each minute. Opening up with electronic synth the first, getting ready for take off, and then quiets down for landing. Picking back up for an extreme and hostile situation, with heavy drums, strings, and brass. Pure brilliance.

http://www.squareenixmusic.com/features/liners/acecombat5.shtml

Above is a link to the composers commentary. Nakanishi doesn't have much to say, or rather, want to say. He's probably mad that he lost the director's position. They all have some sort of enthusiasm toward the project. Though, I find it weird to hear of Nakatsuru's cats and dogs. Junichi points out correctly, that each composer's style had a chance to shine.

Namco always manages to package their discs well. Completely the opposite of Nintendo. Just the four disc compilation is enough to dish out $50. The booklet is just as hard as the case. Flipping through the pages is a cinch, and no need to bend the book. Texts, color, and layout are all done just right. Commentary is the only extra, if that counts as any. They could have at least had English translations.
Package: 8/10

Yes, I made the right choice to buy this CD and venture out from my little circle of composers. Each one here has a happy home on my hard drive. It took me a year to accustomed to their work. There is not one composer that I cannot prefer over the other here. Having not played the game, I don't see any track here that does not work outside the game. Although there are some tracks that are passable and filler, but there are plenty to keep busy with and most likely repeat over and over.

There is no reason to miss out on this compilations, and at a fair price. Original prints are still available just about everywhere. http://www.cdjapan.co.jp/ is filled with tons of them. I am a proud owner of this CD and the successors as well, with reviews coming up eventually. Though I need to try and get the previous.
Album: A+

Tenchi Muyo! Ryo-Ohki Ongaku Hen 1

2011-08-25T15:50:00.000-04:00

PICA-1003

'92.08.25

I remember a different version of the cover. Mihoshi was in place of Washu. I find that odd, that all characters are shown before the release of the first episode, which comes out a month later. It's a good way to get a feeling the characters before they go on screen. Though, I'd rather have them come out as a surprise, then have this come out. Anyways, there is a lot planned for the future with this CD.

One would expect an OST to mainly consist of, well, ORIGINAL MUSIC!! There are 8 short dramas, couple character songs, few instrumentals, and OP/ED themes in their full glory. Chisa Yokoyama, Sasami's Seiyuu, sings the ending theme. Composed by Ikuru Fujiwara, the man behind most Pioneer/AIC theme songs. He does an excellent job of capturing the fun in the anime in this one song. Chisa's voice is actually not that annoying. I can listen to this song without any qualms. Even when compared to the amazing English versions.

Unfortunately, the original OAV theme opener does not lay anywhere on this disc, but we do get the Original Version and the Re-Mix Version. Oddly, they place the remix first and the original last. The original, of course, stays true to the opener, only getting into the main arrangement immediately. Some haunting vocals have been added. Love hearing the bass. Drums are masterful. The jingles and japanese acoustic give great flavor. Just when you think its over at 1:50 it loops, but doesn't give the feeling of repitition. As Nagaoka, improvises it even further. The remix version, is not necessary, and kind of can be a turn-off. The drums are more ethereal here, as well as other instruments. I was expecting more use of synthesizers, but all instruments sound authentic on this one. The piece does feel a little slower. I actually I am happy with the turnout.

I've avoided the character songs for to long. If not for this review, I wouldn't have embraced how well done these songs are. Ryoko's seiyuu, Ai Orikasa, takes the mic in Daiichi Hakkensha Blues. The smooth rythym posed in this song goes along with the cover. As in, it gives off the whole jazz club feeling. Nagaoka and Oriakasa should go together more often. She does express her seduction as the character would in this song.

Away from the R&B section, Yumi Takada, poses as Aeka, and sings us a ballad. Seikou puts the Juraian themes in this song. Piano, harps, oboe and snare drums occupy the entire track. Takada is accompanied by some male vocals at the end. All leading to a triumphant finish.

Both Takada and Orikasa follow Masami Kikuchi in a duet, only with three people. Ueno No Koi No Monogatari continues the rythym and blues theme. I guess jazz and R&B is not so bad when in the hands of Nagaoka. Ryoko and Aeka bicker with each other, trying to out sing one another. The song almost falls apart hilariously at the end.

Now for the radio dramas, constructed by none other, lady Nahoko Hasegawa. It's worth actually getting into these voiced adventures. Out of the Tenchi dramas, these are my favorites, because she truly expresses the characters in a unique way. Hayashi Hiroki even sketches out the scenario for each drama. Giving an extra method to understanding the dialog for non-Japanese speakers.

Mini-Drama 1 sounds like they are at bar. Again, accurately depicted in the sketch above. Ryoko is daydreaming or something and Aeka breaks the fantasy. Then Aeka gets drunk as well, and she gets into her monologue. Things get wild with some rapid footwork. Aeka gives some shock therapy that tickles Ryoko.

Ryoko's Theme follows. A great representation of the character. In one of the many Tenchi books, Seikou states that Ryoko is his favorite character. It certainly shows here. The track is filled with a strong beat, synthesizers depict Ryoko's fiestiness, and at the same time her lonliness.

Second mini-drama, is a short Ryoko monologue. Tenchi and Sasami are spying on her. Trying to keep quiet and laugh at Ryoko's thoughts. Ayeka gets the third mini-drama, for the full 30 seconds. Then in the fourth, it's both of the girls, discussing something. Aeka looks for Tenchi's attention, but does not respond. She then yells for a response. Ryoko laughs at the relationship. Tenchi seems very overpowered here, but at least he says somethings. Sasami is picked on for some reason.

The middle of the OST has some long instrumentals. The first is the Ryo-Ohki Summoning, or Sneaky Tenchi theme. Bass, violins, and some acoustics quietly fill in for two minutes, before some percussive instruments take charge for another two minutes. It feels tense as it should, and the synth helps add character. Aeka's theme follows. Might take some time to actually like. Percussion and ethnic Japanese strings set the mood for the piece. Acoustic rythyms and pace establish the peaceful and proper nature that is Aeka. The opposite of Ryoko. Don't skip this theme, becuase then the character can't be fully understood.

The Destruction of the Saito Bridge, begins with synthesizers and a beat, signifying that something is emerging. The intensity builds, before some snare drums and ticking sounds give it speed. The oboe moves in for the evolution of the BGM. Guitars start getting pressed on to show the gravity of the situation. At two minutes the action begins. Oboe, clarinet and strings represent the fall of the ships. An epic track that deserves the repeat treatment.

Mini-drama 5, has Tenchi on the edge. Sasami and Aeka try to play karaoke. Sasami comes out of no where laughing in the sixth drama. Tenchi is running again.

Another Aeka BGM insert. This sweet piano/oboe ballad is very welcoming, but is put to shame by the next BGM. The instrumental gem, Royal Teardrop of Jurai. I'm not even going to describe how powerful this ensemble is. A majestic symphony.

In the 8th drama, Ryoko sings her song which wakes up and annoyes Aeka. Whereas, in 7, Ryoko and Aeka are sneaking in the middle of the night and cross each other. They do battle. Aeka seems to be doing some damage. Sasami is awoken, wakes up Tenchi, and he has a fit by the girls destruction. They simmer down and pout about it.

Kajishima provides the character illustrations. Artwork that I cannot find in any other Tenchi media. The Washu uniform is sleek. Wish it was used in the anime. Pioneer does not mess around when it comes to extra's, but where is the music. The booklet is complete with images and descriptions. In my opinion, over the top design. Booklet barely fits in the case. Package: 10/10

What is provided here is beyond complaint. The cuts between the tracks were off. It was as if it was all recorded in sit. A split second of the drama echoes into the BGM song. The BGM song carries on into the drama. With only 6 actual BGM's, it's hard to really grade the musical world of Tenchi. There could have been the Tenchi and Sasami themes at least. Aeka's themes may bore the listener, but they are quite essential. The rest of the soundtrack is a party, and Ryoko alone is a fiesta. Album: A...

HONEYMOON, FOR THE MOON / DANCIN' TWILIGHT

2011-06-06T23:35:00.000-04:00

As I delve deeper into the giant music library of Seikou Nagaoka, I come across this lonely single. Sitting on the hands of someone who clearly has no reason to hold on to it, I grab it off his hands. As far as I can tell, this is Seikou's first venture as a solo artist. He is the sound producer here, yet wasn't for his works on the Kabuto soundtrack, which happened a year later. Judging by the cover, I assumed that these songs would be cutesy. Being afraid so that I deafened my ears for what was held on this 8cm disc.

01	HONEYMOON, FOR THE MOON	4:09
02	DANCIN' TWILIGHT	4:41

Disc length 8:50

First second playing, was a delightful percussion ringing through my mind. Soon those annoying high pitched tones join the drum line, though are not that disturbing. Synthesizers can be easily picked up, yet still the sound quality of the snazzy brass is quite enduring. Lisp's vocals are actually do not screech, giving a smooth listening overall. Each of the vocalists get their turn for their solo. I am extremely satisfied with this song. I can highly recommend collecting this single just for this one. He does not perform so well with songs, but does an amazing job keeping the overall tone together.

Noburo Ishiguro has written the lyrics for these lovely songs. Looking into the name, I see he's the creator of the anime for this series. Not just holding that title, according to animenewsnetwork, he is basically the entire staff. From director, writer, animator, design, along with few other members of course.

Second song does not fare so well. It's entirely a new beast, in its own regard. Vocal performances are much more deep and relaxing. Dancin' Twilight is a sweet ballad, and at times can be even better than the other song. Although Honeymoon was composed by Kazunori Seki, Mr. Nagaoka can always transform someone else's writing for the better. However, he seems to fall short for his original music sheets, but short by a spectacle.

Seikou shows no signs of holding back in starting his career. I still feel that his style has not changed compared to his recent releases. That can be good thing, as well as bad.

There was no bother to include karaoke versions. It would have been a great addition. The price of "NOT FOR RESALE" would indicate that this is a bonus. Be happy just to have the songs. I hope to find out if there is more work that Nagaoka has done for this anime, Hoshi Neko Fullhouse. Which at animenewsnetwork, credits the series composer to someone else. So, most likely Nagaoka has done a few songs.
Album:A-
Singles don't really deserve a package grade from me. Their price isn't all that demanding, although compared to the digital releases of full albums today, it is.

Ryu ga Gotoku: Kenzan OST

2011-03-31T07:11:00.000-04:00

Being picky can be dangerous for oneself. When I like something, I tend to block out its anything similar. That thinking is wrong. Since I am attached to a particular thing, eventually and naturally, I'm going to get bored of it. I have made a home for something, but there is a need to go out and experience something new.

The reason for my monologue should be found relative in this paragraph. Now, having played Sega/Nintendo's F-Zero GX and being exposed to its exhilarating soundtrack, I was glad to be introduced to a new musician. Even though just about every track can be set on replay, it was time to explore something new. Like what I had done with Soul Calibur's main composer, Nakatsuru, I will do the same here.

Hidenori Shoji is the reason for my purchase here. Only listening to his racing themes, did not prepare me for what was available here. It was hard for me to skim through. I was about put this up for sale, but I'm glad to stick it out. Meanwhile, the supporting composers are Hiroyoshi Kato, Hideki Sakamoto, Keisuke Ito, and Yuri Fukuda.

Ryua Ga Gotoku: Kenzan

Released: March 5, 2008

Published by: Wave MasterCatalog: HCV-0381

CD Tracks

01 Roar of Ryu the Elder
02 Mourning
03 Shame
04 Danger
05 Mirroring Oneself
06 Mark That Drifts
07 Water & Melon
08 Non Blade Sword
09 TAKUMI
10 Blood Maker
11 The Leading Role
12 Brand-new Japanesque
13 dive to the mess
14 Dance Music from Ancient Japan
15 100 Execution
16 Immorality
17 Dull Color Fangs
18 For Will
19 Sneakin' Drive
20 baile con la mariposa
21 Swordplay
22 The Melody Played by a Patriot
23 Gion's Bowling
24 Playing in the Tatami Room
25 Thistle Shop
26 Dreaming Shop
27 Masochism
28 TSU-N-DE-Receive You
29 Platonic Love?
30 Demand The M-Shape
31 Ultimate Worldly Desires-feat.Tears Of Father-

I'll start with the opening track and the smallest contributors. Shoji's opener is very atmospheric. Similar to his menu themes for GX. It is chilling entry, that soon sets on fire with the following tracks. Jumping to the last track, composed by Yuri Fukuda and arranged by Hiroyoshi Kato. Not what I would expect coming from a game set in feudal Japan. It's a very upbeat, funky, dance, trance, techno, Kidz Bop kind of tune. I'm liking just by listening to it for this review. However, it is more appropriate for a dance competition.

Tracks 27-31, by Kato-san, are basically similar to each other. Masochism, though same music as Tears of Father, is infused with the ambience of Shoji's opener. The last tracks don't stray to from typical club music. I don't find them particularly important, or belonging.

Keisuke Ito does well in taking us back in time with ethnic Asian string arrangement in Thistle Shop. Very laid back and soothing for the first minute, though he falters a little bit after. Kato also plays with the fiddle in track 24, but Keisuke had more flavor. Instead of striking the strings, Ito sweeps in with violins in Dreaming Shop. The titles alone help make it easy to take in the music. This track does not connect so much, and barely gets the feeling of dreaming across. Maybe its for the best that he did not get any more tracks in.

The real and best music lies within the rest of the tracks. Mourning and Shame are handled by both Sakamoto and Kato. The sound affects in Mourning can be creepy, and some ethnic sounds thrown in there. Enough to twist reality, as if watching Serial Experiment Lain. A minute into the piece is accompanied by a taunting beat and thicker bass. Shame uses the previous creepy sounds, only with percussion, and the percussion can be frightening as well.

Hideki Sakamoto goes alone in Danger. This piece starts with shocking and electrifying percussion, alongside tense strings. The strike of the thunderous gong and drums is what really attracts me. Sakamoto's best, I must say. In the Leading Role, we get some tribal beat and vocals. Reminiscent of Crash Bandicoot themes. The flute and woodwork are played out nicely with the tribal chants. Water & Melon begins with unique funky guitar and gets some acceptable arrangements with electronic guitar. Just about a minute in, Sakamoto starts rocking out the piece good. For what little he has offered, he's doing as good as Shoji.

Kato gets solo and serious in Swordplay. Like Sakamoto's Leading role, but without the tribal chants. The beat is heavy with the drums, but then stops at about a minute for the emotional side. For about 20 seconds, it feels like being in a war film, and soon the percussion picks back up, keeping the melancholic melody. Marking the Drifts is similar, but only consists of percussion and flute. I guess I have my blogging efforts to thank for the chance to listen to others voices.

http://www.gamesetwatch.com/2009/07/ryuu_ga_gotoku_kenzan_interview.php

Above is a link to an interview with all the composers involved on this soundtrack compilation. How they decided not to have the sound restrained to the games setting. Personally, I would have liked Shoji to have challenged himself and the sound team to be restricted. Even so, it is good to read while listening to the soundtrack.

Mirroring Oneself sets itself well in the time era of the game. Ethnic Japanese strings, flute and drums slowly calm the mind, for what is about to come from Shoji. He starts building slow with Non Blade Sword. Moving rhythm and beat, with a touch of jingle bells. Takumi picks up further, with the heavier percussion of the previous and haunting keys, synthesized sound. Hints of the tribal Indian chants occur, adding the overall atmosphere of this collection of music.

Then the majority of Shoji's work consists of pump and drive metal. Brand-new Japanesque is a funky jazz version of Blood maker, filled with spanish flare and guitar rhythm. Dull Colored Fang follows in the shame fashion as the previously mentioned. Electronic bleeps and bloops are just the rage in these tracks. Baile con la Mariiposa differentiates by use of spanish guitar. Flamenco is influenced well in this track. Dance Music from Ancient Japan takes from Hiroyoshi's dance mania tracks, but stays true to the games theme with tribal chants and a more appropriate beat. With all of the above mentioned, it does not stray to far from the racing genre.

Diving further into Hidenori's electronic heavy music, we get 100 Execution, a gritty piece that does well for a couple listens. Immortality has a very interesting beat, opening up with some hindu chants and soon paired with electronic vocals throughout the track. Freakishly opening with odd guitars fading in, dive to the mess offers some more dark and fast paced music. Sneakin drive opens with the fiddle, but soon is overloaded with ripping guitars and bass. Even with guitars, this piece's overall decibels are among the lowest on the cd. That is not a bad thing at all, as it gives room for the brain to breath. For the last thirty seconds, the track slows down considerably. Gion's bowling, is a rather simple track, giving the player the ability to focus on the game at hand. Not worth getting attached to though.

For Will and the Melody Played by a Patriot are among Hidenori Shoji's best. His emotions come out high and are well spoken in these two pieces. The drums work alongside well with the brass and violins, in For Will. Patriot, however, is the real gem, as percussion rolls in heavily, followed by sweeping strings, and fade in loud brass. Then back to a solo percussion, followed by more powerful arrangement of the strings and brass. It is evenly balanced with a beat and a melody.

Package:3/10

This album's presentation is weak. Cover is accurately designed, but it is very basic. Does not scream, "Come and listen to me!!!" The insert is only a pamphlet, as it consists just track names and the front/back covers. Though the back(scanned below) is very attractive, and who can resist anything dragon related. No interviews, commentary, staff input, etc to read off of. It's just strictly music. If I played the game, maybe that wouldn't matter to me.

Thankfully, my purchase didn't turn out to be a waste at all. Only a couple of tracks are not memorable, and at most, a third of the collection is passable for the ears. Strong and enjoyable efforts from the supporting musicians, that I look forward opening my ears to again. Sakamoto and Kato's style's helped make me appreciate Shoji's even more. The entire sound team had created a CD filled with hip moving rhythm. Sakamoto's classical style was most fitting for the games setting, unlike Kato's trance beats. They did a nice job together, but it was Shoji's tracks alone that had the most juice. He had everything the other composers had, but with a soul.

Album:B+

Fire Emblem- Path of Radiance Ch. 6&7

2011-03-04T00:38:00.001-05:00

Since there is not much left at serenesforest.net and I'm too lazy to go through the game, I might as well just finish what is available. Shall we get through this...

Ch. 6: A Brief Diversion- This chapter begins with the world view and narration. The first thing pointed out is that the continent of Tellius is blessed by the goddess. Again, nothing more then just blessings from our omnipotent character. Also informing us on Gallia, a home to the half-man/beast. Crimea has been friendly in helping in decreasing the prejudice between the races. Which makes Elincia's quest more believable.

Opening scene has our heroes in the humid forest, discussing the ugly beast of Gallia. Ike is oblivious to the racism. Soren and Shinon explain the different races. Soren provides the proper term for the sub-humans, called Laguz.

Meanwhile, at the enemies group, Petrine is happy to get confirmation of Ena's prediction. Petrine says that her demotion as a tactician was by a little girl. I'm confused by that reference. They plan to catch the prey.

In the forest, the mercenaries discuss their best plan of action against their pursuers. Soren, their tactician, is very keen. Splitting from the main group, the fighters will hold of the attack, and the rest carry the princess to Gallia. Gatrie, Shinon, and Greil are the fighters. After the split, they find Soren's prediction correct, as the enemy was waiting for them. Elincia wants to lend her sword, but Ike denies her help.

The gang make it across the borders, but Ike and main force leave Elincia, Mist, and Rolf to head the palace. Elincia hands Rhys a mend staff. Soren believes it best to go back east on the bridge again to aid the others.

Not much information to gather in this chapter. I completed an actual summary of it's events though. Disappointing.

Ch. 7:Shades of Evil- Titania leads the group to an abandoned castle where she thought she'd seen a figure. It turned out to be Daein soldiers. Mia, a swordfighter hired into the Crimean ranks, looks for and finds Ike. Greil saved her from going to the Daein prison camps. Petrine, of the Four Riders, comes in surprised the mercenaries are holding. Surprised even further to find that the princess has made it past her troops. Greil comes in to talk smack at Petrine. Greil takes Petrine out for battle, while her troops block off the mercenaries.

After the battle, the Greil Mercenaries find Greil to be tiring Petrine. Then more reinforcements come to Petrine's aid. As she orders her soldiers to attack, Gallian beasts quickly dispatches the Daein forces. Petrine refuses to back down, for fear of the king. The Black Knight comes in to relieve her. Then there is stare down, specifically at Greil, and the knight walks out. Elincia came along with the Gallians, as she requested them to aid Ike. Ike uses the racist term and Ranulf fights back. Ike apologizes for the wrong term and Ranulf pauses in shock from Ike's manners. Ranulf tells the group that Daein has conquered Crimea. They quickly get along and exchange pleasantries. They plan to take the princess to see the king of Galia, but the mercenaries head to an old fortress there for Ranulf can't take in too many foreigners.

That night, Ike catches his father leaving. They have a long chat about the mercenary life, Ike's mother, yada-yada. Then Greil orders Ike to go back to the castle and we get our first Fire Emblem cinematics. Greil vs. the Black Knight. Duh-da-da-da-duh-dum...!!!!

So, General Gawain, former Four Rider, is Greil, and he wielded swords. A lot of development in a few sentences. Greil, in his dying words, says he won't say no more than he threw "it" away. Gotta love these terrible plot devices. The movie itself killed me with those cheap lines. At least, the cel shaded graphics were rendered quite beautifully. Voice work is rather nice, of course, nothing fascinating is offered. The Black Knight sounds like a robot, a gay robot at that. "Ssssssooo... You ttthhhhhhhinkk you can fffffight.?"

The king of beasts shows to stop the knights threats against Greils children. I don't know if the Black Knight is faking his fear of him. The knight retreats, and Ike carries him in the rain back to the castle. Greil mumbles to Ike to forget about revenge and to go with the king, and dies. Sniff....

Okay, so there are some good details in that last chapter. Sorry I couldn't get any pictures in. You'll be seeing the game text, but at least you wouldn't be just seeing my text. At least there is a cheesy movie included for the last part. Next chapter is going to be a long one.

Fire Emblem- Path of Radiance Prologue-Ch.5

2011-02-25T22:00:00.000-05:00

This will be fun. I will be reviewing the script to the game. The game has been reviewed already, but now I want to talk about the story. Thanks to http://www.serenesforest.net/ I can read the script without actually going through the hassle of uploading the disc into my wii. Which would have me getting a vaccum cleaner in order to remove all the dust. Serenes forest has uploaded up till Chp. 9, but I do have a file for Ch. 10. Though it won't be a while before I review it. Anyway, don't read this post for there are SPOILERS!!!!!!

Prologue:Mercenaries- is just your typical story setter. Characters are introduced. Not much information to gain. There are no lines for me to grab, but after the training sequence, we see the story begin. Moving on.

Ch. 1:The Battle Begins- I actually like the opening scene. Characters are firm, such as, Greil and Titania, while Ike and others are getting into shape. A bunch more yak-yak, but important thing said here is by Titania. She was cut off from giving us info on Ike's father. Next chapter.

Ch. 2: Rescue- More typical plots. Kids get stolen and the bandits run amuck. This is the first time the Goddess has been mentioned. Although, nothing else is relative at this point.

Ch. 3: Pirates Aground- More useless text. Nasir first appears here, watching. Didn't catch that through the game. Marcia comes in looking for her troublesome brother. Titinia mentions Greil out in other matters, sounds like he's a politician. The mayor of the town our mercenaries save, says that they belong in higher affairs, like the Crimean army. The gang agrees in more or less rebellious thoughts, especially Shinon and Gatrie. Things are starting to pick up.

Ch. 4 Roadside Battle- A note about Soren, he has been with another mercenary group. It might be important later. Crimea and Daein have begun warring. Soren just got in and already giving most of the story details. The two countries above have never been friendly. Daein's king is treacherous. Crimea's kings brother sent out the army to defend. Soren leaves them, to come tell the tale. The Greil Mercenaries may be for hire, but this affects them. Since they are mainly hired by the Royal Crimeans, it is in their best interest to aid them.

Soren lays it down harsh, but he's right. No pay, no play. He already expects Crimea to have lost. Titania gives us the linneage of Crimea. King Ramon and his brother Duke Renning. Soren gives us Daein's King, Ashnard. Saying that Daein is just superior.

Greil puts Ike in charge for the scouting of Crimea's capital, Melior. Shinon is in rebellion about it, but is silenced. Before they leave, Mist gives Ike the Regal Blade, from their father. Then he has leadership issues, and a talk with Rhys.

On the trail to Melior, they spot fallen Daien soldiers, possibly from one of the Imperial Guards. Soren brings it down from not King Ramon nor his brother. For Renning needs to lead the last standing soldier. Someone else in the court, could have run over the Daiens. The investigation is interrupted with Daien soldiers surrounding them. When Titinia faces the boss, she mentions she left the Crimean army years before. After the skirmish, they find a women, named Elincia. Soren wanted to leave her their.

Ch. 5 Flight-Elincia wakes up. Yay! Yada yada, yada... They go through introductions. Somehow they get done with greetings and on with the plot. Greil asks her if she has any ties with the royal family, since she was found on the site of the battle, but no reply. She then blurts out, her name and lineage as the daughter of King Ramon, Elincia Ridell Crimea. The only shocker to Greil is that he didn't know Ramon had children. Though it is true that she has been kept secret, to keep from a blood feud. She then tells us that her parents are dead, and her uncle is still fighting Daien. Her parents were slain by Ashnard. She fled, or was heading to Gallia on his orders. Galia's king Caineghis would provide safety. Each house was told of her existence for such a circumstance. Elincia lays out her request to be escorted to Galia. Titinia is reminiscing, and Ike asks if its from the days as a Crimean knight. She asks him how he knew that. She remembers Elincia baring resemblance to the king and queen. What confirms that she is the princess, is Daein troops outside demanding her. So the group chooses to take her, for the heightening of their name. Greil sends Titania, Gatrie, and Shinon to survey the road for advances of the enemy, while he and Rhys clean the library of important documents. The rest burns. Elincia helps pack and opens up even more. She has learned all forms of manner in hiding, such as, cleaning, cooking, swordplay. Interesting details. Mist shows her the medallion. It used to be her mother's. There is a light emanating from it. Mist tells that it only starting glowing a while back. Possibly, before Daein's invasion.

Meanwhile, the enemy is predicting Elincia's movement. Petrine, the fiery general, and Ena, an advisor of some sort, pinpoint her heading to Gallia. Petrine plans to capture Elincia herself.

Ok, I think that is enough for today. I'm sorry I don't have any scans available. I wasn't even playing. This script was provided by http://www.serenesforest.net/ It's not complete. Next week I will finish what they got. I didn't think that soon in the chapters would I be getting plot to write about. Hope this was organized for you.

City Hunter Original Special CD- #2 Bay City Wars, #3 Plot of $1,000,000

2011-02-15T13:41:00.002-05:00

Since I liked the songs from the Dramatic Hunter cd that I reviewed last month, I went and bought me this. This was the only cheapest one available with an obi. As soon as it arrived, I just popped it in. I actually listened to it all the way through, while working out. Opening song was engineered rather nicely. Then the following instrumentals carried me through the work out. Anyway, I was only turned away by the jazzy/blues theme of the music. I did like the rock orientation with it, but was used in a romantic way that I didn't like. Still, this CD is worth a look.

While the cover does say its from the motion picture, I don't see how that is so. This album seems more like an arranged or cover production. Even seems more like music videos. Instrumentals are done by Tatsumi Yano, and he arranged Take Me Back. The other two songs were done by various artist. I'm jealous that this production gets live instruments and there are composers who should be utilizing them.

01-	Rock My Love	4:31
02-	Night Moves	4:40
03-	DeathTrap	6:29
04-	Kanojo no Omoi	4:03
05-	Woman in the Dark	4:35
06-	Easy-Going Guy	4:14
07-	Take Me Back	4:10
08-	BayCity Battle	4:29
09-	More More Shiawase	4:58
10-	Never Say Goodbye	4:45

I'll start with the songs. Rock My Love has hip synthesizers and jazzy rock influence. Yoki Oginome does a nice job as the vocalist. Fitting for typical 80's and 90's themes. I like the middle of the song where she raps. Take Me Back is odd indeed. It starts out more like a poem, with some bluesy strings. Then the actually chorus and song take place with some soulful english lyrics. I really love the arrangement of this song. Both of the songs mentioned are very different. They were really smart in songs styles. Definetly not your normal beats. Oginome also sings More More Shiawase. Nothing attractive about the begining. This song is more traditional in terms of songs style. I didn't like the addition of kids singing in the chorus. Still this does some justice to the ears. Take Me Back definetly stands out though.

Yoko Oginome, ready to dance! This picture really has that 80's era feel.

It's time to test the series composer, the instrumentals are up. Night Moves is hip, starting with some bass drums, and the jungle beats. Snazzy strings and hornets carry you throughout this piece. It stops with some nice romantic vocals. The synthesizers and keyboards make it feel atmospheric. An excellent piece, all the way through, as it fades out. Death Trap begins with loud drum beats and moves in with some rocking gutiar, a great start, but the French horn rips in. That is what scares me about jazz. It always reminds me of someone ripping a big one. It's a long track, kind of too long. Yano plays around alot in this one. Exactly at the middle of track, it sounds like its skipping, but not. That was well put, and then starts back up again.

Forth track isn't all that special. This is really couples music here. Even with a date, I wouldn't put on, but it may put that "falling in love" mood for the women. Too much jazz club themes. Violins are added for extra sweetness. I like the drums, but doesn't help me like it much. Easy Going Guy is also for dance clubs. Takes you back to old west, and yet it its as modern the those jazz clubs still available today. Not my cup of tea, though. Woman in the Dark is a sweet rock melody. Very entrancing. Yano doesn't go far at all with trumpets and horns. Keyboards are well used for a nice ring in your head. It calls for repition like Night Moves. The dog-like guitar arrangement was wierd but good.

Baycity Battle gets into it right away. Again, with those annoying horns ripping it out loud, but damn if this track isn't so rocking. Guitars in the backround can be in the way. This is like battle in a casino. Nicely done anthemic ambience. Never Say Goodbye literally sounds like your turning on your Playstation. Piano's and violins rule this moody track. Vocal chorus and drums are a plus. An excellent finish.

I'm really happy with this purchase. There were alot of things that I'm against in music, but Tatsumi Yano does a nice job in attracting me to his style. He might make it to my favorite composer list. I just need more of his cds and he doesn't have much outside City Hunter.

This CD deserves an A for outstanding music, orchestra, and songs. Quality of tracks of are very high, but not a whole lot of variety. Quantity is about fair. In terms of the packaging, a 6/10 is fair. Jewel case is basically empty without cd and booklet. There is no back cover. The booklet is the reason for the high package rating. Booklet cover is nice, but doesn't stand out. Credits are laid out well and we get director and producer comments. Each song gets fleshed out on the pages. The score above is enough warrant for you to obtain this cd. It's not rare at all.

Street Fighter: The Legend of Chun-Li

2011-01-25T18:23:00.041-05:00

This will be one of those blog through the movie exercises. My cousin and I were strolling through the library and picked up couple movies to watch. I picked up Crank 1&2, he picked up this feature. I was surprised to find that this film made it out last year. I'm not a fan of the Street Fighter series, nor any of Capcom's titles, but it is interesting to see a translation.

The beginning isn't slow, but it isn't fast. There is plenty of dialogue, and at least there is action here and there. The casting is pretty fitting, but I can't say if they accurately portray the original characters. Kristen Kreuk looks even younger in this film than in the Smallville series, that I've watched often in the past. Most of the cast is oddly half Asian. Acting is a little less than standard fare and dialogue is just too typical.

Some of the action is actually new and refreshing. It's always hard to do something different in martial arts. Jackie Chan pretty much set the bar and covered all that ground in his countless films. I don't like the camera angles used during those sequences. We do see some contacts between the fighters, but most of it is weak and can be seen as a facade.

Music is quite out there. Mostly Chinese melodies, and the use of woodworks, for the tension. Although like most American films. I won't be commenting on music.

This movie is satisfying, regardless of the immense amount of material left out. I liked the fight against Bison most. It was quite professional. Some story elements left my head scratched and scared. Such as, the energy balls, those were never explained, but they're not a big deal. Anyone can just accept it. The detectives on case are what I would call the biggest side story ever. I just see no reason from them to be included.

The movie is about Bison getting his daughter, but just how he lost her and why the big deal was for him to obtain her was not explained. That's where the movie failed in terms of plot. We're dealing with a mafiatic maniac and we are not given much details as his motives, business(what the main characters father was doing?), and goals. You can be leaving the movie enjoying the action, but then the actual story will be never realised. It is worth the watch, just don't worry about deep plot because it will leave you hanging.

I'm also a busy body!!!!

2011-01-21T00:23:00.000-05:00

Busy and getting little to none done. I will have a post for everyday, which means I'm cheating. How is that? Well, under post options, we bloggers are allowed to choose the time of post. Meaning, there could be no updates from me in month, then the next day, you see it all filled up. That's because I have school in the morning and work at night. This blog is the new and few moments of "me-time" which is also for someone other than me.

I started to write on a lot of stuff. At this point there is, Tenchi, Agga Ruter, Escaflowne, various cds, Fall of Eagles, the syrian comedies, Kajishima doujin, and games. But, there is still more I have to put out there. Besides just giving you my personal feelings about the various products, what else can I do that you would like to see? I've started Escaflowne, I'm liking, but I'm still not putting it in my collection. Give me a new title that you think I might like, for me to view and review. I'm open to suggestions, so there isn't something on this blog about what I like.

Regardless, I've already picked a new category. Every month I will post thorough biography about a person and why he/she inspires me. I call it "Person of the Month"! Now this is not a program to brag about my idols, but merely extracting people from their work. Japanese persons will mostly be the ones I'll be extracting information on, because they are very private people. Whereas, Americans are, "here I am, look at me, nothing would have been done without me, blah, blah..." So there won't be much work/search on them, and there is not many to choose from. These specific persons is not my way of picking favorites. I don't favortize people. PotM is an editorial to bring out my views on the persons history, bad and good.

Looking forward to reactions and feedback. I know at this point, what with 30 views, it's a deadzone here. Though thats more than a click from somebody a day. I'm looking to get 1000 view by the end of the year. Meanwhile, enjoy some rare tenchi images below and above.

This and the one straight above are from one of many doujins. I like the artist on for this one. Very OAV like, especially since we don't see Kiyone with a tie.

F-Zero Arranged Album

2011-01-18T17:16:00.000-05:00

Having played F-Zero GX for the Gamecube and loving it and the music. I went after the soundtracks. I found this gem, after reading the few reviews. Most gave it a 10/10. I am not a big fan of jazz, but I like collecting the few and expensive extra's that Nintendo puts out there. Seikou Nagaoka does a lot of jazz outside his soundtrack career, but I've grown to like his style. So it was worth giving it a try.

I was really turned off and away running through this cd the first time. It was mostly the jazz orientation that scared me. I was think of GX and I was wanting rock or even heavy metal. Actually, I was skipping through the first time. The alto sax sounded like a big one was being ripped, lol. Which is I am not into jazz. Especially since most music incorporated with it. But I was drawn to the drums, guitar, and the use of a band-like musicians.

This album production has banded together a bunch of American musicians, under lock and key of Nintendo composers of course. All tracks composed by Yumiko Kanki, except 2 and 12, which are by Naoto Ishida. Of the Americano's, Marc Russo(Sax's) and Robben Ford(Guitar) are the star of the show. We get a picture of them, along with a comment by Marc. Of course, they couldn't have an American translation.

01 Opening Theme 4:21
02 Big Blue 4:03
03 Red Canyon 4:11
04 Fire Field 4:16
05 Silence 4:34
06 White Land 4:22
07 Port Town 4:40
08 Select Time Theme 3:42
09 Mute City 4:25
10 Sand Ocean 4:39
11 Death Wind 3:31
12 Ending Theme 5:05
Realizing that I may eventually like, and I do, which is why I'm making this review. Number 1 is great for a introductory jazz peice. Makes you feel like a TV program is running through the list of racers and tracks. Just before the 2 min. mark is where Marc works his lungs. I like the sax player's lead from that point on.

I'll skip number 2 for now, but 3 Red Canyon, begins with the bass and carries you throughout with drums and sax. It feels like those old movies, or like on broadway. Think in the Mask, as he's going into the club. That scene where Jim Carrey, livening up, I think I can remember the music to be of the like. The way this track ends, perfectly fits that scene.

Fire Field is where it gets good. This actually fits into the racing genre that this cd should be doing. Drums and electric guitar gets you into that racing mood. Then the second guitar rocks out the show, leading to a great finish. 5 Silence has left me silent. I have no comments good or bad for it, but I will say this, I can listen to it but not worth repeating. It has its uses for the F0-verse. I remember the Ford commercials in the 90's sounding like this.

White Land is a perfect bland of mellow jazz and rock. It's more of an atmospheric track. It's very addictive, I repeat often. Port Town sounds like your in Mexico, Spain, or Hawaii. It doesn't seem like it in the begining, but definetly after the first minute and on. If you're having a party at the luao, this music should be played doing the limbo or the Moroccan dance. Select Time Theme definetly takes its time. It is a slow piece, as if the jazz didn't slow the overall pace of the album. I like the use of the bass in the middle of the track. Has a fun fading finish.

Mute City and Sand Ocean don't grab me so. Especially Mute City, what with all its many arrangements out there. I am kind of sick of it. It is still one of the better arranged ones. Sand Ocean starts out with the beachy feel, but kind of gets crazy with the strings, it sounds like techno.

Ah, Death Wind, it literally blows you away(I am not apologizing for the corny puns). This is what Jazz-Rock Fusion is made for. It's fast pace from the start, but it's too short. Its the best one on the cd. I can't sit down on this one. Sadly, it's too short, as it's fading out it gets even better. You must hear it.

Finally, I saved Naoto's tracks for last, because they are the odd ones. Thankfully, he/she did two, but I think there was no need for him/her to be involved in this project. Big blue is also like Mute City with tons of other arrangements, but like Mute City it captures the funky urban city life that this series is placed in. Ending Theme is fitting, for an ending though. It's these two that is hardest to listen to.

The package of the album is nothing at all, 4/10. Why, well Nintendo is not known for it's CD's physical contents. That score is too high of a score. We get a picture of two of the musicians, and a small comment by Marc, but thats it. There should have been more from the musicians, interviews, comments, how they(the Americans) got into this production. Nintendo often doesn't know how to show their love. They need help. Cover art is not even noticeable, F-Zero as the title, how am I supposed to know if it's an arranged or an OST. I can barely see that there is an engine on the cover and back. The inside of the panphlet, has Falcon looking into the desert. I won't scan it becuase it's not that fascinating.

This CD gets in A for composition and arrangement. A perfect, live arrangement of the games original soundtrack by Hirokazu Ando. So well done, Nintendo doesn't give us his original compostions. We don't need them though. This cd is not terribly rare, but definetly not cheap. The contents on this cd are all you need to go and find this rarity.

جميل وهناء - Jameel wa Hana

2011-01-17T15:38:00.000-05:00

Thankfully, I was born into an arab family. I would have never seen this, a classic among classics. This is the first Syrian comedy series, I've been introduced to, and hooked to. I still repeat every so often. Unlike the other arabic series, Ailet 7(for short) this is compiled into one straight series. In Ailet 7, each episode had a title and a focus, whereas this show carries the plot. 33 or 34 episodes I believe, from begining to end, and it's all interconnected. There is not a person who has not seen or heard of it. Most arabs don't like to repeat things. Even if its good. I always get the comment from many of my family members, "You're still watching this old show" Well, there is nothing like it, and I'll explain to you why.

Plot Synopsis

Saleem, the problematic child, sneaks into his parents room to change the alarm. Jameel barely wakes up by himself, realizing that his son changed the alarm. Hana asks her husband, Jameel, to get the boys, Tahre and Saleem, ready for school. Jameel is not happy with her request, because he says that his work is enough on him, and that she should be doing all this, but he does so any way. As he is waking the boys, Saleem is stalling purposefully, just to get his father to take him. Saleem gets what he wants, as he will, most of the time. Jameel burns the coffee and it overflows, barely getting a cup for his wife. Her ride comes from her job, in which she runs off to it only to be grabbed by Jameel. He asks that she back early so that he comes home to find dinner ready.

At Jameel's offices, we have Amal Jamal, his secretary, doing her makeup. Zooming outwards, we see Darweesh, the coffee maker on the telephone, with one of his wifes. He starts to deliver coffee and tea to the other employees. He has a habit of rubbing cologne on everyone.

Salem, one of the employees, enters with a rose in his hand, to flirt with, Werde, his co-worker in their department. Werde is not keen at all to his constant flirting, because he is married to Manal. When Werde throws Salem's rose, he goes to pick it up from the feet of his wife. Manal is pissed to see him at Werde's desk. She asks him where he stayed so late, and he replies at his mothers. Manal asks him that next time he goes, he takes her with him. He is able to calm her down. She then goes back to her department, and talks with her co-workers. She says to them that Salem's story at his mothers is a lie, and calls her to make sure. Manal's co-workers try to get her off Salme's case, so that she doesn't ruin their marriage over his freedom.

Manal goes back to Salem to find the truth. Layla tries to stop her, but fails. Layla says that she never asks her husband about his whereabouts. Samia tells Layla that they are both wrong and that they need to find the middle.

I'm going to skip synopsis for this series. It's just too long and I should be paid to do a half-assed translation. I really recommend watching this, especially if you like comedy. The technical merit is unsurpassed by any American film or soap opera. The screenplay, the acting, the music, camera usage, it's just sweet simple harmony.

Actually, it's going to take pages upon pages to translate a whole scene. So I'm going change it up. Since this is my favorite series. I'm not going to torture myself and write on each episode. Next post will be character introductions and descriptions. I will do a brief synopsis of episode 2 and cover some material from this episode. I have provided a link for you above, so that you can see the brilliant creation. Every 7 parts is an episode. The account has the whole season up there. Video quality is low, and sound may be ahead the picture or not in sync at times. This is recorded of a VHS anyhow. Sometimes the sound will only come from one side.

暗黒神伝承武神 -Takegami:Guardian of Darkness

2011-01-16T16:08:00.077-05:00

The only reason I obtained this DVD is because of my interest in Seikou Nagaoka's music. He's the only reason why I'm exploring other anime. I always go back to this DVD every now and again just to hear this epic score. I'm mad that it didn't get a soundtrack, especially since there is a song at the end.

A three episode OAV, is something really not worth passing. Any longer would probably be a drag. This anime is dark, which makes it very slow, even during the action sequences. The voice cast as can be heard, may be fitting for the role, but they don't know squat about acting. It's worse than the Anime 18 voice actors. I'd say Koichi's voice is most normal, and Terumi's is ok. Everyone else just lags behind.

Episode 1 starts out with nothing but music that chills the spine. Then we get an upbeat tune and we get some humor from this episodes characters. Though thats the only high point. This is all about Terumi's crush and the bullies from school. It's kind of confusing at times how the supernatural forces take over and heighten the drama of teenage life.

Koichi is my favorite in terms of character design. It's rarity to see a male lead to get unnatural designs. Everyone else is normal. Terumi did not look ugly in the begining. She was cute, and only lost the freckles. I don't see the Hollywood makeover that this episode was talking about. I like Osayo, very cool, mysterious, but the lifeless voice actor kills her. I refuse to watch in Japanese. I usually like the English cast better, but they don't perform.

The dragon and monster designer is by Masami Ohbari. What a fantastic and realistically evil creatures he has concepted. Too bad we barely see them in the anime. The eight headed dragon only focuses on the lead head, and the lightening dragon appears for brief seconds. Like Susano was fighting with air.

Episode 2 is not exciting, very slow pace till the very end. I find the Osayo background most intriguing. The music played in the lust scene was just beautiful. Action music was much better, as well as the ending dramatic theme. Stunning. Animation was ok.

Opening scene for Ep. 3 was aesthetically beautiful. We get another confusing Japanese/Chinese history/myth lesson. I love the divine music(aren't you getting tired my nods to the music) played with the images of the mythlogical characters. The portraits of these historical people are awe inspiring. Much better than our teenage lead characters. Kenichi Ohnuki is our character designer. He keeps it real, nothing too fancy. Better than most typical anime characters, being cute and big eyed, or just plain silly.

The action returns in this episode, but again with the confusing otherworld characters. The addition of Kouichi's cousin wasn't that much of a plus. Niether was Juinbo's interest in Terumi. His voice actor was even slower than Osayo. The head priest was neat, but slow again. I like the new monsters. We get a lot of cheap action flicks. At times the imagery in the fights are better than most, then we get still images of the opponents throwing punches. It's that kind of on and off again effect, that lowers this animations value. I

The only thing going for this animation is the artwork, design, and music. Of course, I went into this for the music, and it didn't disappoint. In fact, it should be made an example of. I don't know how Seikou Nagaoka does it. He must get some kind of feeling watching this. It definetly wouldn't keep you entranced if it was for the rocking soundtrack. Character designs are standard fare, with the exception of Isenagi and Isanami. Ohbari's monster designs are hard to surpass. Hiruko would have to be my favorite, especially the face's armor, directly above. Animation, like I stated at the end of the last paragraph, is fluid at times, and then they take shortcuts. English voice cast is lifeless, but at the Japanese track is definetly a lot more lively. Where its quite in the English version, there is a party in the Japanese.

It is not an really worth the original price, but I have kept it. I didn't pay much for it. Unreel Magazine states on the back of the box, "Watch it, enjoy it, then go back and watch it again!" Though, thats what I've been doing, but not to watch, to listen. That comment is one of those damned marketing and sale enhancing tools. I certainly encourage you to watch this. I want to rewatch just to understand the mythology. I have my reasons for popping this back into my player. Other than that, it doesn't really warrant a repeat.

Fire Emblem: Thracia 776-Blow'in in the Wind Single

2011-01-15T14:41:00.001-05:00

Very rarely do video games have CD soundtracks, and even fewer do have songs, and even far fewer CD singles. I find no use for CDS's. For franchises, singers, animations, etc, that barely make any songs, is where they are needed. This is one of those rare cases. I don't like to have media divided in so many different formats.

Koh Ohtani helps arrange these unique songs, with our veteran composer, Yuka Tsujiyoko. Ohtani adds his jazzy style, yet Tsujiyoko manages to keep the songs magically entrancing. Blow'in in the Wind(odd how they spelled Blowing) fits nicely into the Fire Emblem series. I understand that these were used for the BS satelite game. Which was taken in place with the Akaneia saga. Funny, how these songs made out two years after the fact. I like the middle of the song with the jazzy sounds and synth piano.

Wind rocks, with a nice rock guitar. I'm glad that the lyrics are done by our beloved composer. It works wonderfully with the vocalist, Juliana Schano. Nothing annoying about her voice thankfully. She is pictured on the back. She sings every note perfectly. Even the high notes, which is where people tend to mess up.

For this CDS, it is necessary to have it. If you are looking for karaoke versions. I like the cover art, done by Miyumi Hirota. It's the only place you can see it, as far as I can tell. Problem is, that only the one song has karaoke. You can find both songs on the games original soundtracks. So the only thing of value is the karaoke and the images. Both songs, beautifully arranged, all thanks to Yuka. Good luck finding this, and you will be paying a hefty price.

お祭り前日の夜- O-Matsuri Zenjitsu no Yoru 1987, Kajishima's First

2011-01-14T22:19:00.000-05:00

Yes, Kajishima junkies, he had a life before Tenchi Muyo. And he's certainly had a life since. A life in hiding. Thanks to Jen, a discontinued Tenchi site owner, I found his picture. I will show that picture of our little coward another time. For now, I will discuss his first big work before Tenchi. Gone by the title he uses often.

I believe that Kajishima has done the story telling. He could have done the art as well. He used the same style in one of his later doujins. I do like the whole book, but these scans are from the Kamidake Onsen CD-ROM 2005. I have found an auction site where one guy has it posted for 100,000 yen. Been posted for months. Good luck to him.

There are plenty of places to learn the story of K-sensei. I find the interviews at AIC's website,

http://www.aicanime.com/about/index_talent.html to be full of good information. Unfortunately, I can't find any information on the other people involved in this publication. In the image below, are the credits. This is during Kajishima's start at AIC. He was an inbetweener for his favorite, Rhea Gall Force, as well as for Sol Bianca. He does have the sketches for Puttsun Make Love, as he was the animation director and character designer. Knowing what he's been working on, gives you insight as to what he inputs in his creations. I've seen Sol Bianca, but I look forward to viewing Gall Force.

I only posted four of forty pages. I wanted to get the important stuff out. If I get enough push, I will post the meat of the book. First half deals with the story, then mecha designs, than Putsun Make Love sketches, and comic style story. It's a really good doujin. This answers astronerdboy's question as to why he chose the doujin route. Most of my information comes from him and animenewsnetwork.com

Jackie Chan Adventures- Season 1

2011-01-13T23:58:00.001-05:00

It really amazes me that children programming is more entertaining than adults. The character design is done by Jeff Matsuda. A wonderful job he has done, even though they are not groundbreaking new designs. Talented voice cast for targeting children. Definitely, my favorite character would have to Uncle, played by Saburo Shimino. Even though Jackie Chan is Chinese, I see a trend in hiring Japanese-Americans.

Opening episodes normally have either slow, rocky, boring, or non-thrilling sequences. Though, Ep. 1 and 2, interconnected, grab you immediately. Especially since we get introduced to most of the main characters. It's amazing that 7-10 characters are usually played per episode, and with good to funny lines. Of course, I would have considered this an adults show if that little brat Jade, would have stayed quiet throughout. I don't like kids on tv. Her voice is played well but she is just annoying. Capn Black is your ordinary secret agent. The Dark Hand organization leader Valmont is very fitting. Sad he doesn't have very good henchman, especially if he is sad to be wealthy. The demon sorcerer, Shendu, his talismans, and the Shadowkhan are very interesting and creative.

A neat extra feature was the mini-interviews with Jackie Chan himself. Not that great, but adds a little variety. 13 episodes, with nothing off track makes this first season strong. Lots of action and comedy, to keep you hooked. Any scenes with Uncle or Shendu are what I repeat the most.

Initially, I thought there was only a few dvd's containing the episodes, but now I see that the whole season is on one dvd. Yet I can't find it. Though now with digital media, you can get through the Netflix subscriptions. The clearest version you can find on youtube is from Crackle. They have up to season three, but have those annoying mandatory commercials.

Fire Emblem: The Sacred Stones

2011-01-12T23:22:00.000-05:00

Fire Emblem, one of my treasured series. Look at the cover art its beautiful. I see that it's work is like done as a painting. This will be a quick review.

First, this game was released as, how should I put it, as a decoy. To keep the fans sidetracked from the upcoming Gamecube title, for the series. Not a lot of thought went into this series. The game is fun, but short. Even with the extra battle modes and unlockables. Shorter than the more linear games before and after it. Not a lot to keep you attached. It's one of those get in/get out, disposable games, that Nintendo does often, to keep the audience busy. This wouldn't have happen if the original creator Shozo Kaga, had been still involved. I'll leave him out of this, like Nintendo has. For another time I will talk about him.

On to the game mechanics, which I'm not real to critical about like other professional sites, such as my favorite http://www.ign.com/. Graphical it has no difference then the previous ones. Certainly, Intelligent Systems made no effort in improving or making new moves in that department. Musically, it has it's style, but nothing like my gal Yuka Tsujiyoko. She supervised over Yoshito Hirano and others. Not much from the short selection of music that I can pick out. Maybe because three composers were involved, same number of directors for this game. Can't tell who did what.

The first half of the game is a breeze. I find it fun. Difficulty is laughable. I like the plethora of units to choose from. Though there were little as one to each category. The summoner was a real neat class, as I like most of the magic users. The best feature of the game is the choices, although its not expansive enough. The places to go, is one of those features, but nothing too attractive about. Nothing that can make me go Tower of Valni a second or third time after everything is unlocked, or even enough motivation to level up units through the skirmishes. In fact, all those map choices made the game a bit too convenient.

What should have been done was, between each chapter, have the ability to have some side plots for the minor characters. They could have upped the difficulty on the next main story chapter, so that extra skirmishes wouldn't be making the map so easy to clear. I like the choices available for unit growth. It's not as one way like before, but that feature was soon discarded. I would actually be hasty as to make Ewan a Sage or Druid. Though with the mine cheat, you can get all four magics as a sage.

I would have liked a little more choices on the weapons side. Especially the magics. I wanted to see different sprites for each individual and the weapons they use. Fire Emblem has a lot of variety, but it calls for more.

Story wise, it's below standard. The things that grabbed me most were the characters that either died or the minor ones. Such as, Orsen's betrayel, and his illusion of being with his dead wife. Then Queen Ismaire's death, La'Rachael and her gangs quest for justice. I found that last one to be a comical situation. For the villians side, Selena and her relationship with the king, to Lyon and his turn to the dark side is most revelating. The twin leads didn't hook me much, but Ephraim was a cool unit to use. I liked that each nation had dual sets of sacred treasure. Since this was a decoy game, a vast world was made but little to no information was bothered to be included.

Character design was really unattractive. I've inserted the images above of my favorite artwork. Minor characters were very weak, in design and personality. Getting through all their support conversations really didn't help much. La"Rachel and her gang amused me, as well as the uptight, Lute. I still don't like her. The villians dialogues are what made me intrigued. Selena was a strong character, as were the other generals, but thats normal for me to like such evil characters. Very few characters had good background stories. It left the characters and therefore, Magvel, a short one-stop place.

One final note is that I wish there was actually artwork for exlusive weapons and worlds. I'm kind of tired of seeing just character artwork and the few epic posters. This is a quality game from Nintendo and Intelligent Systems, though to them, this was bait for us. I'd get it just to enjoy the short story and have fun with many of the new and exclusive features to the series.

عيلة سبع نجوم - الحلقة 1 - رز بحليب (Aiilet Sebeuah Njoom- Riz Bihaleeb)

2011-01-11T00:00:00.000-05:00

I'm sure that this is something you, the audience, have never been introduced too before or after me. This program is a comedy series from Syria, the land of my origins. This type of filming is something I'd like to do, or wish that American TV would learn from. They make very good use of the camera, actors, story, props, and music. I know some arabic, lingually, and recently learned the alphabet. I'm a slow reader, but it's my way of knowing what is being read. The way its written sounds different than when said in dialect between people. Not like you'll understand just by me explaining.

Unfortunately, Syria being a third world country, has no real disbtributing company. If you want to watch something, it may be on tv, or it is available by bootleg. This show is very old, possibly 1990 at the least. Because of no distributors, there is no extra material to learn. There are magazines which do have interviews with the cast and crew, but I'm not able to track them down. Merchandising is nothing like here, and we here are not organized like Japan. So all you get is the show. Which is more than enough, because one episode can fill you up, and still leave you for wanting more.

The title translates into Family of Seven Stars. Each episode is subtitled, there is no number. The subtitle is Rice from/in Milk. There is no way for me to make you understand the humor of the title. It's one of those language specific jokes. Here is the episode I'm reviewing. It has a great opening theme, there is nothing of the like here. Three minutes long, is a good song, but is used on every episode. I like the editing of the opening video. It shows all the wacky hijinks that entail the show. Try it out. I couldn't find one with just the opening song, but at least you can try out the show, after seeing the video. I urge you.

Summary/Synopsis:

For this series I will give a thorough outline of the show, since you probably won't be understanding anything. Our main characters are bring in a goat which the tall guy, Chifeeh, stole from a wealthy herder. They are trying to milk it until stopped by the village chief.

Anyway, the chief takes our goatnapper to the police station. The rest of the family is trying to figure out a way to raise money to get a good lawyer. Chifeeh's wife's father, gets a couple of chickens to sell eggs.

Meanwhile, their neighbors, the fourth family living in that house, steal the eggs from the hen house, and blowing all chances of getting their Chifeeh out. Finally, Chifeeh getting a welcome back party. The men bringing him home and the women giving their welcome blessing. Then they all have brunch and start singing.

The singing goes on, until the fat guy's voice throws them off, because he was trying to eat.

Note: All songs used are real songs, most of the time they just change the lyrics, mainly to make it funny.

These people are very poor. There are four different families living in this oddly structured home. Each family has their own room, with one restroom, and two kitchens, divided among them.

It would also help you better to understand if you know the

Characters

First couple is Badii and his wife Zehera. Zehera means flower. She wears the wierdest clothes. Her hairstyle makes me mistake her for a man. Badii is the banjo player(or called ooud) and a provides most of the musical nods.

Tall boy Chifeeh to the left and his wife Ghada to the right. Chifeeh can mean, did you see? He is sly. Ghada makes up for his bad behavior like a guide.

Booran mother of Ghada and Badii. Abu Tumzeh is her husband, somehow, but not much is revealed on all relationships at this point. Booran is like the godfather in this series. She has most of the lines, and good ones at that, she has brains, and the courage to put everyone in their place. Her goals are to get out of this crappy lifestyle. "Abu" means father of. So Tumzeh is not his real name, but it's how he is refered to. He is the father of Tumzeh. In the arabic culture, you are refered to the father of your first born son. So Booran, would be called Em Badii. Abu Tumzeh is wierd, I don't know his role much now, but later we will. He is a man, but doesn't seem to be acting on top of things.

The members outside the main three in the house, Manal to the right is the daughter of garbage man, Abu Manal. More on them another time.

The village chief, don't know why he's wearing a santa suit.

Hanii, fat guy, loves Manal, and his mother to the left of him.

I'll explain more later, but this is already fun with all the dancing, singing, and wackiness.