This is the fourth game in an established series of Xbox exclusives combining elements of Dynasty Warriors with the basic structure of Western RPG's (Ultima, Diablo and the like). The series has never really done that well with critics or players, but whoever decided to call it's latest installment Circle of Doom on the Xbox 360 took whatever credibility the series had, knocked it out, and then kicked it when it was down. Taken at face value just looking at the box of a 360 game called Circle of Doom is inherantly humourous regardless of whatever game content is inside the box.
I just hope the final boss of sorts is a huge fire-breathing dragon who's powers, if inflicted upon the hero, manage to heat up your 360's core cpu until the system in the real world shuts down, in the process creating true immersion. That should be the ultimate way to die in Circle of Doom: the dragon catching you with his deadly breath, making you call the helpline again, and be without your xbox for 2 weeks to a month because those pesky Three Rings of Doom are back.
I was dummying/gutting games the other day at work and I got to this. When I dummy/gut something I have to put it's code and a description (ie the game's name) on the paper sleeve that houses the cd so that the other staff can easily find the game when everythings all filed away in draws. Now in an effort to be humourous/possibly offensive I was going to write Colin Mcrae: Dead, because Dirt and Dead are both four letter words that start with D, it's so punny! I thought about it for a while and realised that the use of the word Dirt in the context of someone being dead is just as funny.
Of course all of this is ironic because this was Colin Mcrae's last 'named' game before his tragic helicopter crash, which in itself is ironic seeing as he was a championship Rally Driver. Kind of like how what finished off Steve Irwin wasn't a Crocodile.
Okay maybe it's not all that Ironic but it is mighty strange that the Mario games got a fully orchestrated soundtrack before Zelda. Ever since the very beginning Mario soundwise has been all about the beeps and bloops and Zelda's style has been rousing scores. Super Mario Brothers in 1985 has one of the greatest pure midi sounding scores of all time, it has been said to have opened up a new world for developers in terms of what you could do with Midi. Then in 1987 with The Legend of Zelda Koji Kondo and his sound team attempted, with the many limitations the NES's sound capabilities presented, to create a rousing heroic main theme worthy of a hollywood film* and opened up the world all over again.
In Mario's teenage years (SNES, N64) the game series' soundscape took on a kind of reggae tone with carribean instrumentation and also briefly experimented with latin american instruments. In other words, not exactly what you'd find in a standard orchestra. All of this of course was done in Midi soundfonts. In later years, 2002 to be exact, Super Mario Sunshine played more with the Carribean tone, obviously inspired by it's setting.
1992's Legend of Zelda: A Link to the Past expanded on the sweeping rousing idea, especially with the introduction of melodies like the peaceful Kakariko Villiage theme and the heroic ending theme. In 1998, hot on the heels of his John Willliams inspired score for Lylat Wars (Starfox 64), Koji Kondo and co. released The Ocarina of Time with a score heavy soundtrack that at the time rivalled some of the CD based soundtracks of around the same era.
For the purposes of background: In 2001 Super Smash Bros. Melee was released with a fully orchestrated soundtrack and an unbelievable amount of in-game content, so Orchestral Soundtracks turned out not be the space-guzzler they were once thought to be.
In about 2005/06 the real trailer (the one after the teaser) for The Legend of Zelda: Twilight Princess came out using an original fully orchestrated composition and in doing so hinted that Zelda's soundscape might finally be getting what Final Fantasy fans had had since 1997. Sadly Miyamoto's fear of CD quality music interrupting game immersion, with a pinch of Zelda's good old friend time constraints, meant that in late 2006 Twilight Princess was released with a Soundtrack again generated by synthesizers. At the time this was largely criticised. General consensus among reviewers was that the score was Nostalgic, but not in the good way you usually associate with Nostalgia.
Then in 2007, the musicians behind Super Mario Galaxy argued with Miyamoto and created something that was both epic in nature and also uniquely Mario, and all the Zelda fans were like "wtf man, this is bogus" or words to that effect. Super Mario Galaxy's music sometimes feels the smallest, tiniest, slightest bit out of place, but never as out of place as the weird ambient pieces we got in Ocarina of Time's dungeons.
IN OTHER NEWS:
The next 'Iwata Asks' is up at Wii.com and this time the subject is Super Smash Bros: Brawl. Make sure to read the Galaxy and Twilight Princess interviews as well if you haven't already.
The Jeff Gertsmann thing is Videogame's equivalent of Zidane headbutting a dude in the chest. 1up editor Sam Kennedy's blog post on the subject is brilliant.
- Danny
* John Williams is often credited for doing a live arrangement of the theme, this is widely regarded as false. Many people think the track's ID3 tag and subsequent popularity is purely peer-to-peer created: ie one misinformed western user came upon a performance of the theme by a Japanese orchestra, picked up on the heavy references to Williams' music and made a wildly uneducated guess.
I just hope the final boss of sorts is a huge fire-breathing dragon who's powers, if inflicted upon the hero, manage to heat up your 360's core cpu until the system in the real world shuts down, in the process creating true immersion. That should be the ultimate way to die in Circle of Doom: the dragon catching you with his deadly breath, making you call the helpline again, and be without your xbox for 2 weeks to a month because those pesky Three Rings of Doom are back.
I was dummying/gutting games the other day at work and I got to this. When I dummy/gut something I have to put it's code and a description (ie the game's name) on the paper sleeve that houses the cd so that the other staff can easily find the game when everythings all filed away in draws. Now in an effort to be humourous/possibly offensive I was going to write Colin Mcrae: Dead, because Dirt and Dead are both four letter words that start with D, it's so punny! I thought about it for a while and realised that the use of the word Dirt in the context of someone being dead is just as funny.
Of course all of this is ironic because this was Colin Mcrae's last 'named' game before his tragic helicopter crash, which in itself is ironic seeing as he was a championship Rally Driver. Kind of like how what finished off Steve Irwin wasn't a Crocodile.
Okay maybe it's not all that Ironic but it is mighty strange that the Mario games got a fully orchestrated soundtrack before Zelda. Ever since the very beginning Mario soundwise has been all about the beeps and bloops and Zelda's style has been rousing scores. Super Mario Brothers in 1985 has one of the greatest pure midi sounding scores of all time, it has been said to have opened up a new world for developers in terms of what you could do with Midi. Then in 1987 with The Legend of Zelda Koji Kondo and his sound team attempted, with the many limitations the NES's sound capabilities presented, to create a rousing heroic main theme worthy of a hollywood film* and opened up the world all over again.
In Mario's teenage years (SNES, N64) the game series' soundscape took on a kind of reggae tone with carribean instrumentation and also briefly experimented with latin american instruments. In other words, not exactly what you'd find in a standard orchestra. All of this of course was done in Midi soundfonts. In later years, 2002 to be exact, Super Mario Sunshine played more with the Carribean tone, obviously inspired by it's setting.
1992's Legend of Zelda: A Link to the Past expanded on the sweeping rousing idea, especially with the introduction of melodies like the peaceful Kakariko Villiage theme and the heroic ending theme. In 1998, hot on the heels of his John Willliams inspired score for Lylat Wars (Starfox 64), Koji Kondo and co. released The Ocarina of Time with a score heavy soundtrack that at the time rivalled some of the CD based soundtracks of around the same era.
For the purposes of background: In 2001 Super Smash Bros. Melee was released with a fully orchestrated soundtrack and an unbelievable amount of in-game content, so Orchestral Soundtracks turned out not be the space-guzzler they were once thought to be.
In about 2005/06 the real trailer (the one after the teaser) for The Legend of Zelda: Twilight Princess came out using an original fully orchestrated composition and in doing so hinted that Zelda's soundscape might finally be getting what Final Fantasy fans had had since 1997. Sadly Miyamoto's fear of CD quality music interrupting game immersion, with a pinch of Zelda's good old friend time constraints, meant that in late 2006 Twilight Princess was released with a Soundtrack again generated by synthesizers. At the time this was largely criticised. General consensus among reviewers was that the score was Nostalgic, but not in the good way you usually associate with Nostalgia.
Then in 2007, the musicians behind Super Mario Galaxy argued with Miyamoto and created something that was both epic in nature and also uniquely Mario, and all the Zelda fans were like "wtf man, this is bogus" or words to that effect. Super Mario Galaxy's music sometimes feels the smallest, tiniest, slightest bit out of place, but never as out of place as the weird ambient pieces we got in Ocarina of Time's dungeons.
IN OTHER NEWS:
The next 'Iwata Asks' is up at Wii.com and this time the subject is Super Smash Bros: Brawl. Make sure to read the Galaxy and Twilight Princess interviews as well if you haven't already.
The Jeff Gertsmann thing is Videogame's equivalent of Zidane headbutting a dude in the chest. 1up editor Sam Kennedy's blog post on the subject is brilliant.
- Danny
* John Williams is often credited for doing a live arrangement of the theme, this is widely regarded as false. Many people think the track's ID3 tag and subsequent popularity is purely peer-to-peer created: ie one misinformed western user came upon a performance of the theme by a Japanese orchestra, picked up on the heavy references to Williams' music and made a wildly uneducated guess.
