The first time I heard of Boktai: The Sun is in Your Hand, I thought "...that sounds painful." Then I read about the game's solar sensor and what not and I confess, it actually sounds pretty cool. I wonder how long it'll be before games start using far more elaborate sensors & services to alter gameplay based on real-world variables; time of day, weather, etc. all seem obvious, but what about a game that somehow integrated stock quotes, market indices, news headlines? And then there's all the planned activity around not only facial recognition, but sensing the player's emotional state, or potentially other biometrics. Initially this stuff might be gimmicky but eventually I could see it becoming a pervasive part of gaming & game environments. But enough about that, let's talk about newcomer Peter M. Crockett, better known on the forums as Moseph, who's brought us our first mix of Konami's peculiar GBA title:
"I originally put this together as part of the 2010 Freshly Baked ReMixer Challenge - thanks, Rama and Starla - and I decided to sub it to OCR after making some minor changes (mostly relating to production). The source was chosen by Mirby and randomly assigned to me. I'd never heard of the Boktai games before starting the project, but I liked the source a lot, and it lent itself well to the style that I'd been hoping to use even before I knew what FBRC track had been assigned to me.
The source use is mostly straightforward with the exception of the introduction (0:00-0:1 and some original development of themes from the source (0:54-1:12, 2:52-3:32). In retrospect, I'm a little bit sad to have jettisoned all of the very lovely secondary contrapuntal melodies from the source, but I felt that the main melodies gave me plenty to work with, and trying to shoehorn the original counterpoint into the arrangement wouldn't have complemented the direction I wanted to go."
The style in question is some very dramatic, LARGE orchestral - from the rising & falling clusters in the intro, followed by a ginormous timpani roll and militant brass entrance, this sounds like a 60's film score to a period piece set in Ancient Rome, and I mean that in a good way. OA writes:
"Completely sick work here, I wish you'd make more music and submit it. :o The sequencing is very solid, and the arrangement is packed with exciting moments, more subdued passages, and the dynamics are very nicely done. The source is very personalized, and though there is quite a bit of original material, the core of the mix is there, and I am comfortable with the source use."
I'll second that; judges were unanimous and uniformly positive, save for some relatively minor comments regarding balance & mixing. I love the arrangement - the source is readily identifiable, but the tone has been completely transformed, and it works oh so well. There's a serious sense of power, size, and strength, recalling for me 'The Pines of the Appian Way' by Respighi. A compelling, unique debut from Peter; if he was able to harmonize his vision this well with a source that was arbitrarily assigned to him, I'm definitely excited to hear more.
on 2011-12-25 00:14:58
The dynamics in this ReMix are what captivate me the most.
It's incredibly moving and quite frightening in places. If there was a Boktai film, this would be in it.
at 4:30-ish, it just goes full throttle and cuts you down to size! Absolutely fantastic.
I'm glad enough that anyone actually covered Boktai. Let alone make it an excellent mix.
on 2011-12-08 11:56:35
Grand orchestral booming bass. It does have a kind of Rome/military march feel to it and you can really feel the power coming off of it. It's got a lot of dynamics in it that gives it more scope, and I like it. The very beginning kinda sounded a little sinister to me, but whether or not it was supposed to, it sounded great, and so did the ending. Well done.
on 2011-12-07 20:50:37
Wow. I don't know how I missed this when it first got posted, but as a big fan of orchestral arrangements, all I have to say is... hot damn. A truly epic track, that does an excellent job of conveying emotion and moving from section to section. I can definitely second the statement in the write-up that it makes you think of the soundtrack to a major, ancient period piece. The brass, in particular, felt written extremely well. Big thumbs up Moseph - .
on 2011-12-07 19:43:15
This mix is my introduction to Moseph - it surprised me quite greatly when I first heard this. It's grand and sounds like a harbinger to a battle. The progression of the mix is wonderful, I love how it moves towards a middle section that brings a sad mood into the equation and then back to the original atmosphere. This is a great example of a mix that takes you through emotions and it captivates me greatly.
on 2011-12-01 17:16:26
Hey, I remember this from the FBRC that year I also managed to keep a hold onto this newer version too since its release during a trip to Torquay earlier this year.
Taking into consideration the lack of familiarity of the game, you've managed to actually do well in taking the theme apart and giving it a more sinister approach to what's been handled. The brass to me feels rather lush and expressive, especially when going towards several of the dynamic shifts between themes, and really showed off their mellow side at the 2:40 mark too; that's some nice humanisation work done for them.
It's a shame the same couldn't really be done with the strings; to me they seemed to feel more 'constant' and less worked with. Real instrument humanisation is extremely difficult and that's something that a lot of arrangers struggle with in spite of style, but with what had come through you've managed to show a lot of potential even going across the other instruments in the field.
So basically, you made Mirby a very happy girl by making this track a worthwhile debut for OCR and fulfiling a part of her mixing wishlist, and I also felt greatful that something like this ended up coming through as a debut. I'm all in anticipation for where you're going next, so nice work Peter
on 2011-11-01 15:46:49
DJP summed it up perfectly in his write-up: "The style in question is some very dramatic, LARGE orchestral". And dramatic it is.
For some reason, it makes me think of the kind of music you would hear during the appearance of a boss and his fleet of flying ships or something in a late 90s JRPG.
on 2011-09-14 20:46:34
I would like to personally thank you for making a Boktai remix, its an unappreciated masterpiece of a game. You are are officially a hero in my book.
on 2011-09-14 00:48:58
Whooaaaa, this is an awesome piece right here, great stuff Moseph. I don't know why I don't remember this piece since I submitted a piece for the FBRC as well, hmm. Either way, great debut remix man!
on 2011-09-13 22:18:36
Yay! Namedrop in the mixpost!
You already know I love this, and ya'll should look into both the games and the soundtrack.
What djp forgot to mention about these games is that they're the brainchild of Hideo Kojima, whose other darling series just recently got a mix added to its roster.
And they link up to the latter Battle Network games too, with crossover events in 4, 5, and the Japanese version of 6 (removed during localization since Boktai 3 wasn't released in America.)
Ahem. yeah, great track...
on 2011-09-13 21:13:15
Wow, I really love this! You put a ton of attention and care into this, and it shows. It's a great change of pace from much of OCR, and I'm quite glad to have something else great to listen to. There were some really nice, delicate moments that really sell this, and the loud parts take it home. Great work, please do some more!
on 2011-09-13 20:08:14
What did you think? Post your opinion of this ReMix.
Sources Arranged (1 Song)
- Primary Game:
Boktai: The Sun is in Your Hand (Konami, 2003, GBA)
Music by Kazuki Muraoka, Masashi Watanabe, Nobuko Toda, Norihiko Hibino, Shuichi Kobori
- "Dark Boy"
- Brass, Orchestral, Strings
- 8,068,772 bytes
- Size: 8,068,772 bytes
- MD5 Checksum: 923120f6f5b5994b6ce6ab5958548598
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