Wolf Kanno
is a Level 99 Chocobo
Memento Mori
Site Contributor

Welp, my philosophy with remakes now is I’ve already played the original now so I’m fully ready to play something different And yeah I saw a vid of a guy complaining about those specific things. I imagine it’s one of those things that really bothers you if you’re like super familiar with the game but might not have a problem with otherwise. I know Aonuma decided to make the changes because Majora’s Mask is one of the projects he’s most ashamed of because he felt he didn’t have time to add in as much polish as he would have wanted

Oh yeah, on an unrelated note I’ve started playing Master Quest. Going to Zora’s Domain now. Overall I really like how this game looks on the 3DS, and I can’t wait to get to Majora’s Mask after this since the graphics on the N64 originals have aged pretty poorly. The Deku Tree was absolutely brutal, especially for a first dungeon, while Dodongo’s Cavern was easier but still pretty intense. But that may also be because I’m coming in straight after the 2D oracle games and still have to get used to stuff.

Pretty sure he’s already stated to be controlling the dementors. But I could be wrong

I’m really more happy with this on principle rather than actually enjoying the twists as they are, since I do agree they’re silly

Idk I don’t think FFVII has ever been subtle honestly. It had its nice subtly spooky moments, but the story itself was pretty bombastic, sometimes very dumb. FFs in general have always been pretty campy, so time altering dementors dong stuck out that much for me. But yeah, that’s my subjective take

I love him because I think out of all those composers that worked with SE at one point or another he’s got the most distinct voice. As someone classically trained myself, I definitely appreciate how he breaks out of the typical romanticism-inspired movement that most JRPG soundtracks seem to follow (when they’re not full-on anime music) and instead goes for a more impressionistic, sometimes even contemporary approach. His arrangements for the lovely Final Symphony album really didn’t stand out in terms of quality from the other arrangers, who are professional art musicians, not video game composers, and that just really means something to me.

And you know I love Mitsuda as much as you do, but what is he busy with exactly? He’s not exactly the most prolific video game composer out there, making about one piece every six months on average

I know, but I also feel it’s fine and that there’s a place for this. Really I’m just glad they let Nomura run wild instead of desperately pandering to nostalgic audiences. It just goes to show for me that there’s still spirit in SE and it’s not all cynical capitalist moves.

I know you’re not alone in that opinion but I feel vindicated by the fact that Uematsu chose Hamauzu specifically as his successor for the remake I’m certain the fanfare is Suzuki’s with. It’s too straight an arrangement for Hamauzu.

I really like it, tbh, but I’m a Hamauzu fan, so that’s to be expected Some of the new tracks are very clearly his work, but he’s also done some arrangements of older tracks. I think you can usually tell where it’s him because I think Mitsuto Suzuki’s are probably the ones that are more straightforward. I will say, however, that I’m extremely annoyed at the use of strings. They’re just such a neutral color that hearing some of the stronger synths from the original replaced by them feels genuinely painful to me. The reactor theme is an example of this, but by far the worst offender is the victory fanfare. They’ve managed to turn the absolute best version of the track into smurfing garbage. And it’s all because of the focus on strings (they’re the last thing that should be playing the melody here) and pretty much removing all percussion, leaving just a timpani which is just... intensely frustrating. And it’s not like this particular fanfare can’t sound good played by a live ensemble, just as long as you keep it jazzy. Case in point: