You’ll remember that only the “cut scene” music, composed by Yuki Kajiura, was released. I would liken it to the Xenosaga II soundtrack. There’s a huge difference in style and, in my opinion, enjoyability between the two composers’ efforts. Note that some areas actually have four songs: A and B in day and night (see, for example, “Silver Canyon” on disc three).Īnyway, let’s get past the surface discussion and talk about the split of work between Kouhei Tanaka and Motoi Sakuraba. For the A/B tracks (usually Sakuraba), the “B” side will be the same melody as A but with a harder edge, more distorted guitars, louder percussion, etc. For the day/night tracks (usually Tanaka’s work), the day music will be bouncy and the night music will be softer and more enigmatic. ![]() Much of what helps elongate the album is that nearly every environment in the game has two versions of the same melodic theme. It also marks the single largest soundtrack packaged for a game in the history of the “game music” genre (the previous leader was Okami with a five disc OST). But even so, the point is that this is a substantive soundtrack, where each track is given a certain level of love and respect by the composer and producer alike. Yes, some of them (particularly Sakuraba’s tracks) are getting looped once around, which doubles the length of the song. ![]() What does that tell you? It tells you that these songs have substance. I’ve seen more tracks across two discs in an OST. The soundtrack to said game, by sheer quantity alone, is just as epic as the game.ġ18 tracks across six discs. End of Eternity, known as Resonance of Fate in North America, is tri-Ace’s mammoth sci-fi RPG published bt Sega (as opposed to their usual publisher, Square Enix).
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