![]() These deviations certainly enhance the drama of the soundtrack experience without sticking out too prominently amidst the more soothing tracks. Furthermore, many have a greater rhythmic focus, such as “Disciples of the Mist” with its dissonant piano backing and “Attack” with its drum machine beats. Climactic tracks such as “Unrivaled Chaos” make use of a Western-styled orchestra with rasping brass interludes and epic string passages, all implemented using top quality samplers. The action themes for the game are among the few to use a completely contrasting palette. Some will argue that these themes disrupt the artistic focus of the soundtrack, but it’s impressive how Oshima is able to integrate conserved elements throughout while fulfilling the diverse demands of the RPG. Others such as the renaissance-inspired “Lively Imperial Palace” or harp-based “Town Lanterns” also have a fairly stereotyped quality, but are still quite authentic imitations. “Cave of Warmth” and “The Glow of Rim Elm’s Sunset” continue the scenic focus, but are clearly more inspired by RPG convention - the former having a superficial bouncy and catchy quality, the latter reflecting the sentimental emotions of the character. There is a greater volume and diversity of material here than Oshima’s ICO soundtrack, meaning that the soundtrack offers more than just ambient underscore. These elements don’t produce the most striking pieces of music on a stand-alone level, but are unquestionably beautiful and are also somewhat enigmatic too, making them potentially fascinating to revisit. ![]() These elements - spectacularly implemented on the PlayStation - combine to create such multifaceted and dynamic soundscapes that they perfectly complement the visuals. In defining background themes such as “Barren Fields of Mist” and “Forest of Mystery”, especially, she refrains from using the typical orchestral or guitar-based textures that dominated in favour of elements such as spiritual vocals, wistful flutes, and earthy percussion. Oshima’s soundtrack to Legend of Legaia generally has an organic quality, which entirely befits the game’s story and landscapes. This is a main theme that is more than just functional and emotional it has considerable artistic integrity too, something that was rather lacking in other RPGs at the time of its release. Immediately with the “Theme of Legaia”, Oshima demonstrates she is a very competent composer, able to evoke the colours and sounds of the world with her orchestrations, while taking listeners on a considerable journey through the expansive melody. Nevertheless, those looking for richness of a different kind may be satisfied with the offerings. The music is understated throughout and even its biggest moments, such as its main theme, still have a subtle quality to them. Those looking for mind-blowing entertainment will not find it in the Legend of Legaia soundtrack. The resultant soundtrack was highly effective in context, but can it possibly satisfy as a stand-alone release? Body In contrast to most RPGs of the day, Michiru Oshima composed Legend of Legaia in an understated manner so that it would blend unobtrusively with the game. Like many games published by Sony Computer Entertainment at the time, Legend of Legaia was composed by a big name composer: Michiru Oshima, a veteran of the Godzilla films and Fullmetal Alchemist animations. Legend of Legaia, known in Japan as The Legaia, was a moderately successful RPG released for the PlayStation in 1998.
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