A Psychotic Little Christmas, Day 11: Frappe Snowland

Much like Diddy Kong Racing, Mario Kart 64 is a classic and addictive time sink, spending hours at a time just having a blast with friends and family. Unlike DKR, however, I actually owned this game, and played it quite a lot when my brothers and I got into the mood for it. The variety of tracks was fun and exciting, with a cast of characters gamers have known and loved for years. The music is masterfully done and memorable, and has been remixed time and time again.

Frappe Snowland is one such track, a setting that beckons memories of both good times and frustration. The entire song is carried on a simple three-note chord, but the bells and peaceful melody support it very well. I find it impressive that it maintains repetition without being annoying, but then again, I've built up very high expectations of Koji Kondo. He never fails to deliver, and neither do the games his work encompasses.

A Psychotic Little Christmas, Day 10: Frosty Village

Diddy Kong Racing. Not gonna lie, I've only played this game a few times in my life; I never caught on to the party game scene back then, I was more of a single-player adventure kinda guy. As such, my experience with this game is restricted to the times my friends came over and brought it with them. Still, it's a great game in hindsight, with rich visuals and even better music. Exhibit A is Frosty Village, which draws heavy inspiration from the popular song Winter Wonderland.

Frosty Village is very bouncy and cheerful, fitting in both that it's that magical time of year and songs like this are generally very upbeat, and that the game itself is conducive to gathering a bunch of friends and having fun. It works on both fronts, the hours of the day just flying by in the warm embrace of your living room. Before you know it, it's time for bed, and Christmas is another day closer.

A Psychotic Little Christmas, Day 9: Snow Mountain

Nearing the home stretch in our winter VGM collection, we have the iconic Snow Mountain, from Super Mario 64. I don't think I need to sing Koji Kondo's praises when it comes to music as it speaks for itself really, but this is a Christmas list and it belongs here in any event. Sure enough, in a game with as many hits as it does, Snow Mountain manages to stand out among the pack, which speaks volumes in its own right, but when combined with a game of this caliber it makes for an unforgettable experience.

The song itself is a holiday take on the game's main theme. Lots of atmospheric touches like jingle bells keep it in character, and the melody is a catchy and memorable one. Great stuff, but it's not like it had to try very hard to do its job; the game itself had that covered. Unlike many entries on the list, this one is celebratory, cheerful, and doesn't need to tell a story. It's just about having a good time, and isn't that what Mario games are all about?

A Psychotic Little Christmas, Day 8: Ice Caverns

Next up we have Final Fantasy IX's Ice Caverns, more of a silly song than anything but nonetheless fitting of the season. Nobuo Uematsu is renowned the world over for many of his works and compositions, but Final Fantasy IX is not exactly chief among them. Still, when Zidane and company escape the Petrified Woods and--out of the frying pan and into the freezer--venture into the Ice Caverns, it's a suitable piece of music.

Mostly relying on its minimalistic approach, the song is slow-paced and full of character. Through its use of bells, triangles and even dead silence, it's almost as if you can feel the chill of the caverns Zidane and the gang are exploring. There are several complete pauses throughout the song as well, taking the time to fully convey each idea before moving on to the next.

Not my favorite Final Fantasy, not my favorite soundtrack, but hey! It's got Vivi in it!

A Psychotic Little Christmas, Day 7: Another Winter

Moving into our latter half of the list, we have Anamanaguchi's Another Winter, from Scott Pilgrim Vs. the World: The Game. The snowy streets of Toronto, Canada come alive with the band's signature mix of rock and chiptunes, and for a source like Scott Pilgrim I don't think there could have been a better group for the job.

Characteristic of most side-scrolling beat 'em ups, Another Winter cuts to the chase with its consistent bassline and retro melody. The guitar, drums and chiptunes really capture that blend of old and new that the game itself is embodying, and it matches the Scott Pilgrim vibe just as well. It's something you can easily pound the shit out of your enemies to, which is really all you're going for in a stage 1 theme to a beat 'em up.

A Psychotic Little Christmas, Day 6: Chrysanthemum in Winter

A DAY LATE BUT LETS PRETEND IT ISNT

Reaching the halfway point in the holiday VGM list, we have Chrysanthemum in Winter from Star Ocean: Till the End of Time; a game not as popular as your Marios and Zeldas, but deserving on this list nonetheless.

Fayt Leingod, just a normal guy on vacation with his friend and parents on the resort planet Hyda, faces a scary situation as the planet comes under attack. The citizens are evacuated onto a military ship in relatively quick fashion and everything seemed well, but the tragedy wasn't over, as even the ship comes under attack! His parents now missing, Fayt and his friend file into seperate escape pods and eject into the unknown.

Landing on the first planet he can, Fayt is perceived by the locals as a kind of higher being, possessing technology of a time far more advanced than theirs. After getting caught up in a string of circumstances with the residents of the town, he is located by a mysterious man named Cliff Fittir, who apparently had business with Fayt and had been following him since the Hyda incident. The two hop into Cliff's ship and leave the underdeveloped planet.

All is not well in space, as Cliff's ship comes under attack by the same people who attacked Hyda and the military ship! They crash-land on the planet Elicoor, and give themselves up to the local authorities, who presume they are enemy spies. After being busted out of prison by a mysterious woman from the opposing country, they leave the city through the sewers.

That is when this song starts playing; on some backwater planet a million miles from home, unsure of whether he'll ever see his parents again, and in the freezing cold of enemy territory, the song is both grim and atmospheric. It's a sad piece, but at the same time it manages to capture the essence of its setting and paint an audible picture, something I can commend in music.

A Psychotic Little Christmas, Day 5: Ice Cap Zone (Act 1)

Aaaaand coming up next in the holiday VGM list, there's Ice Cap Zone from good ol' Sonic 3, Sega Genesis. One of my favorite songs from one of my favorite stages in one of my favorite games. While many can question the quality of the blue blur's escapades in and out of 3D, you simply cannot hold a candle to Sonic music, then and now; a feat that is doubly impressive considering the Genesis' sound library was kind of muddy and unattractive.

In any event, Ice Cap Zone. As Sonic iconically snowboards down the frosty mountain, it's as if the entire song starts at once; no beating around the bush here, Sonic games ain't about that shit. It's a fast-paced piece of music clearly meant to compliment the speed onscreen. And it clearly worked, too, because Sega's used the same musical formula for years without fail. Can't say the same about the actual GAMES, however.

With the mostly positive reception of Sonic Colors and more recently Sonic Generations, it's good to see that the little guy's back on track, though, and the music is better than ever. Does it capture the majesty of the classics like Ice Cap Zone music-wise, or the actual gameplay of the older games? No. But they're a hell of a lot better than '06.

A Psychotic Little Christmas, Day 4: People of the North Pole

Coming up next in the holiday tracklist is perhaps my favorite of the bunch, albeit from a game I didn't care for all that much. It's People of the North Pole, the theme of Mt. Gagazet in Final Fantasy X, and much like the other tracks in the game, it tells its own story and accompanies the gameplay perfectly. It's one of those things that Nobuo Uematsu got better at with time, and this game's soundtrack is very telling of that fact.

(0:01 - 0:30) Tidus, Yuna and the gang are nearing the end of their pilgrimage. The only thing lying between them and the (alleged) final destination is Mt. Gagazet, a behemoth of a mountain teeming with fiends and blistering cold. The violin sounds sad almost, as if to signal the finality of their situation; this is it, just one final stretch and it can all be over...

(0:31 - 1:01) ...but the journey to the summit is a rough one. Fiends tougher than the likes of which they'd previously encountered are around every turn, and the freezing temperatures are nearly unbearable. The backup violin kicks in here, a really slight touch that intensifies the song.

(1:02 - 1:32) The gang can't give up now, they're in too deep at this point! After so many people have given their lives, and all the hardships they've faced, it's far too late to turn back! The backup drums and violin stop, and the violin changes its melody to one almost urging the party not to give up, to keep going.

(1:33 - 2:02) They get back up, their second wind afoot, and continue their race to the proverbial finish line. Yeah...yeah, they can do this! The drums come back, once again serving to drive the point home that the song is aiming to make.

and then the songs loops but whatever

A Psychotic Little Christmas, Day 3: In A Snow-Bound Land

Keeping the ball rolling here, number 3 on the winter VGM list is In a Snow-Bound Land from Donkey Kong Country 2, a game that would have dodged this list entirely were it not for me playing it for the first time a few weeks back. David Wise is quickly climbing up the ranks of my list of favorite composers because of games like this one, and he doesn't disappoint on this track. In Diddy and Dixie Kong's quest to rescue Donkey Kong from the evil klutches (hah) of King K. Rool, they find themselves in various locales around the world; be it underground in a mine, lush green forests, or In a Snow-Bound Land (HAH), the music accompanies the gameplay well, and that's one of the most important things you want in a soundtrack.

This track, like many others in the game, is laid-back, slow and ambient. It makes you want to stop and enjoy the amazing scenery the game is pumping out of the SNES. Sure, the dynamic monkey duo has a job to do, but they should soak in the journey while they're at it, and how beautiful the sights are around them. It's one of those songs that go as far as to make you look back at what you've done in your life, and look ahead at what your goals are in the future.

In ways such as this music has proven to be emotional and thought-provoking, which is something other forms of media can have trouble successfully manifesting. It's a beautiful thing.

A Psychotic Little Christmas, Day 2: Buried in the Snow

The second track in our holiday playlist comes from Final Fantasy VII, certainly a game that needs no introduction. What MAY need introducing are some of Mr. Uematsu's works in the game, many of which are overlooked and just not as recognized as One Winged Angel; in this case, Buried in the Snow.

Much as the title indicates, Cloud Strife and the gang, in an attempt to flee from Shinra troops, hop onto a snowboard and hurl themselves into the cold unknown. Where you actually end up is dependent on how well you did, but one thing is for certain; you're lost. Given only a map and no clue as to your location on it, it's your job to figure out where you are and where you're going.

For the most part, it's a very minimalistic piece of music, but such is where Uematsu shows the mastery of his craft. The slow and constant melody, one note at a time, is like a metaphor for the situation Cloud and the party are in; gotta get out of the cold, gotta get away from Shinra. Beaten and battered by the elements, the melody shows that the gang is hanging on by a thread, but refuses to give up. Winter bells and little bass touches here and there round out the track, but the focus is definitely centered around the melody.

Tracks like this really showcase how music can set and even take the form of the tone expressed through gameplay, even through a simple minimalistic melody. It's open to interpretation and can tell a story all on its own. It's what music is all about, and I find that impressive.

A Psychotic Little Christmas, Day 1: Over Shiver Mountain

'Twas the night before Christmas, and all through the house
nobody could sleep, not even a mouse
for into the hall, and out the window
I blasted this song from Paper Mario.
So to kick off this holiday countdown of sorts
I bring you the first in a dozen of shorts,
twelve musical pieces rejoicing the season
hand-selected by me, for whatever reason.

Anyways, this track takes place in the latter half of the game, more precisely Chapter 7. Amongst the snowy sights and frozen heights this track is a perfect fit, capturing the mystique of winter with its subtle background synth. The main melody is impatient, rising and falling constantly, yet made catchy via the hard bass and winter bells that accompany it. It's a great piece of music to fit an even better time of year, as Mario and the gang traverse the frosty plains ridden with tough enemies and tougher puzzles.

The piece in general is very cheerful and laid back, as most actual holiday songs characteristically are, yet this one has a more playful nature to it; it's a winter wonderland out there, so go out and enjoy it while it lasts, ya know? It's the impermanence of things that make them beautiful, and this is especially true of winter, coming and going in the blink of an eye. I think this track and the game itself do a great job expressing that, particularly in the sharp contrast of the Freeze Palace encountered later in the chapter.

And that's that! The countdown will continue up until Christmas Eve, with me bringing you one new holiday track every day, so check back now and then if you need a wintery fix of VGM!

VGM of the Day #25 (Dean Edition): Level 1 (Silver Surfer)

Before my time as it were, I can make no claims to have even scratched the surface of the NES library. I may have played a Zelda here or a Mario there, but that is the extent of my escapades into the past. I'm sure there were critically acclaimed titles that I've yet to delve into, grand adventures I've yet to go on, timeless classics I've yet to experience.

This is not such a game.

Silver Surfer was, to summarize the notions of the Angry Video Game Nerd, a fermenting pile of compost riddled with awkward gameplay and controls, most notably obvious during the top-down sequences. The Surfer's board is oftentimes detrimental to navigation in these stages; tight turns and no way to shoot in any direction other than straight ahead of you does not a good cake make.

But yo. The MUSIC.

Tim and Geoff Follin made sure with this piece that, even if the game was the butter in the melting pot of ass, you would at least stick around for the tunes. The Anamanaguchi-esque touches here and there make me smile, strengthening a solid and fast-paced introductory theme. The melody, rising and falling like my motivation, is the heart and soul of the song, and it complements the consistency of the bass and percussion, as well as the mindless shooting the game has to offer.

For the most part I don't regret missing out on the NES age. Surely it has the ups and downs characteristic of every era, but if playing Donkey Kong also means playing Silver Surfer, that's a deal I'll have to refuse. I've never cared to pass the first stage, nor do I plan to, but at least there's SOMETHING I can appreciate about this game.

VGM of the Day #25: Paper Mario New Partner Theme

 
Paper Mario is amazing, isn't it? No doubt about it. If you do doubt it, you're stupid. Paper Mario is one the best RPGs of all time, ranking up there with Final Fantasy and the Tales series. It's just an amazing series with outstanding humor. Though it doesn't have as much character development as many other RPGs, it is still a charming little game for the N64 that will last for a long time with it's simple graphics that look great on the N64. No need for a remake for it for a long time, if ever. Then there's the sequels, The Thousand Year Door and Super Paper Mario. The Thousand Year Door is an amazing sequel and it evenly matched or even surpasses the original! With it's humor at an all time high, and the chapters becoming very creative, what could beat this? Nothing, that's what. Because Super Paper Mario is balls. The end.

Continuing on, the series has always had an unique combat system including endless badges and strategies you can choose, and partner abilities. Man, the partners in the series always leave an impact on me. They do all the talking for their duo (of them and Mario) so you get to know their personality a bit through their speech patterns. Take Parakarry, for instance. He's a boring old mailman who is boring and old and does nothing but be boring and old. Not really, Parakarry is probably my favorite partner from the first game. The speech pattern thing doesn't really occur until the second game where everybody has their own nickname for Mario (ie. Yoshi's being Gonzales).

But enough backstory already, we're here to talk about the theme! Oh man, the music in Paper Mario is AMAZING. But we're gonna talk about just a small jingle today. Whenever you get a new partner in the original Paper Mario it always plays a catchy little tune that the longer you listen to it the harder it is to get out of your head.

Though only an 18 second jingle, it has a lot of joyfulness that just makes you want to pick flowers with puppies running behind you. As I said above it's a very catchy tune. With beautiful instruments playing the joyous melody and a beautiful usage of the accordion keeping the beat in the background, it really makes you happy about getting a new partner. You're just like, 'Yo I got a new partner, even if I hate him I'm still gonna be friends with him because this song makes me happy," or something. It's a really good track, even though it loops every 18 seconds.

Wait, wtf I'm not Dean, why am I doing this.

VGM of the Day #24: Disco a GoGo

I haven't hopped on the First Person Shooter bandwagon. I've never seen the mass appeal in the genre, nor do I find entertainment in playing such a game. With the influx of FPS's that have been crowding the video game market as of late, I should think that there's something that I'm missing here, some driving factor that fuels people to buy installment after installment. Maybe it's that I don't like dying without ever seeing my assailant. Maybe it's that I don't like cooperating with a team, or having an outcome determined that's largely out of my control. I don't get it.

As with most anything I say, there are of course exceptions to this rule. One FPS series that I love to death is TimeSplitters. It's not really an online experience of any description, but more just a great gather-around-with-a-bunch-of-friends-and-kill-each-other kinda game. The plot is fresh, funny and entertaining, the gameplay fast-paced and exciting, and it has great music to boot.

(Speaking of which, I noticed that many FPS's nowadays don't have much music at all, at least during online sessions. I understand that this is mostly so you can hear either the gunshots or footsteps or whatever, but can you freaking throw in some ambiance at least?)

TimeSplitters: Future Perfect's Disco stage is one of bright lights, hectic action and close quarters, nicely accentuated by this groovy number by Graeme Norgate. It's like the '70s all over again, and it captures the vibe it's aiming for in spades. Adding to each firefight in a way I can't really describe, I would pick this stage every time when I had friends over. Good times.

Future Perfect was the third installment in the TimeSplitters series, and to my knowledge the last. Maybe if a fourth entry were released I'd have less to complain about in this genre.

VGM of the Day #23: Taskmaster's Theme

Marvel vs Capcom 3. The smash hit series that had lied dormant for a decade emerged back onto the scene earlier this year, and the fans couldn't be happier. Two completely different universes coming together to do battle once again in one of the most hyped up sequels of all time. The game doesn't disappoint, introducing both new fighters to the series and bringing back old crowd favorites. And Phoenix.

The music for the most part left me hanging. Lots of grating techno abound, both uninspired and largely forgettable. There are exceptions to this however, as I was taken aback by the themes of Amaterasu, Arthur, Taskmaster, and Haggar, to name a few.

Taskmaster's a professional criminal / supervillain with the powers of photographic reflexes. Anything you can do, he can do better. He sees something once and can do it himself with the greatest of ease. One could only imagine what would happen were Taskmaster to enter a fray full of the Earth's greatest fighters and heroes.

His moveset's really quite impressive, taking moves from Captain America, Spiderman, Hawkeye and even Viewtiful Joe. BUT ANYWAYS WE'RE TALKING ABOUT THE THEME

Taskmaster's theme is the perfect fit for the character. Surely it's only fitting for a villain who can easily copy the moves of crime fighters to have a really heroic theme? Bass and percussion that mean business fight for attention with the main melody, neither wanting to be overlooked. The piece overall is dramatic and catchy, and I really like what they did with it.

I don't use Taskmaster in Marvel vs Capcom 3 myself, but I've faced many a Tasky player online, enough to tell you that he's a dangerous force in the right hands. His addition to the roster is a memorable one, and hopefully he'll show up in more games with this under his belt.

VGM of the Day #22: Treasure Trove Cove

I remember when I got my N64 for Christmas way back in the day. I only had three games at first, as I recall: Pokemon Stadium, Super Mario 64 and Banjo-Kazooie. It was like a whole new world; pumped up graphics, better audio, three dimensions, and for the most part (at the time) a more enjoyable experience than the preceding generation of consoles. THE CONTROLLER SUCKS TO THIS DAY BUT MOVING ON

Banjo-Kazooie was the one game out of the three that caught my attention the most. Mario was old and stale to me, and Pokemon Stadium required too much thinking for my juvenile brain to handle, whereas Banjo-Kazooie was a simple adventure between a bear and a bird. The graphics were crisp and colorful, the gameplay and controls tight, and the music. Dude, the music.

Grant Kirkhope did an amazing job on the entire soundtrack, but I'll just use Treasure Trove Cove in this case. Usually if a xylophone would be in a song at all, it would have a minor role in the piece somewhere, but here it freaking steals the show. It serves as the main melody in some places, and the background in others. It's all over the place and breathes life into the track, which does a splendid job of delivering that day-at-the-beach feel. The xylophone's a recurring element throughout the rest of the soundtrack, and the entirety of it is catchy and delightful.

You know what? I still haven't beaten Banjo-Tooie. Maybe I oughta get on that, if only for more tunes like this.

ps nutsandboltsdoesntexist

VGM of the Day #21: Planet Wisp (Act 1)

I grew up with Sonic. I've been there with the little blue furball since his debut on the Sega Genesis, so it was pretty painful for me to see his fall from grace. Sonic The Hedgehog '06, Sonic Unleashed...it was like one big shit-storm game after game, and even I haven't dared swim in that unstable current. With Sonic the Hedgehog 4: Episode 1's relatively poor reception, I had feared that that was the final nail in the coffin of one of my favorite gaming mascots. Then Sonic Colors came out.

Sonic Colors was actually...good. It was down to business again; no need for this extensive cast of drab characters and convoluted plot, it was just Sonic and Tails thwarting Eggman's plans like the good ol' days. I was ecstatic. Turns out the rest of the world was, too, as the game was received with largely positive reviews. Sonic was back from the dead, so to speak.

The game's music is amazing as well, like this track from Kenichi Tokoi. Solid piano work throughout the piece keeps my inner chillax mentality satisfied, while the driving beat still manages to hold its weight to the fast pace of the game. It's a great combination of action and leisure, and I love that in a song. It's one of those tracks you can just chill to, maybe do your homework, or just fill the dead air around you.

Sonic Colors was a step in the right direction, but the blue blur's got a lot of ground to make up if he wants to get back in this race. With Sonic Generations coming out soon, maybe, just maybe, he'll be back on the scene for good. I certainly hope so.

Remember that you can send any VGM requests you have to vgmoftheday@yahoo.com , and it may be selected to face the wrath of my critique!

VGM of the Day #20: Puzzle Plank Galaxy

FREAKING RODEOS IN SPACE WHAT IS GOING ON

Now, I've never played either Super Mario Galaxy game, so it's possible that I'm missing some context here, but this track is pretty silly to me. There's nothing wrong with that by any means; in fact, that's the best thing about it. It's like a freaking square dance in space, a combination so unorthodox that I can't help but just roll with it.

Being the violin aficionado that I am, it's refreshing to see it being used in an upbeat manner every now and then, and the supporting bass is bouncy and cheerful. It's a mix of several unlikely qualities that when combined together totally work out, and knowing Nintendo it's probably implemented to great effect.

Maybe I should go and get the Galaxy games. Of course I've heard great things about them, and have read a review here and there, but music's one of the key things I base my opinions on. Super Mario Galaxy's got some great music, from what I can see.

VGM of the Day #19: Ieyasu Tokugawa's Theme

Ever heard of Sengoku Basara? Great, me neither.

It wasn't until the third entry in the series (subtitled "Samurai Heroes" in the US) that I caught wind of its existence, taking place in feudal Japan. It's a lot like Koei's Samurai Warriors series, only hyped up to the eyeballs on crack; ridiculous moves and combos, off-the-wall characters, a convoluted storyline loosely based off of real events and a distinct style in telling it. Fun game.

The main plot seems to revolve around the famous warlords Ieyasu Tokugawa and Mitsunari Ishida. In Samurai Warriors, the direction they went in with the story made Mitsunari come off as a pretty likeable guy, with Ieyasu being kind of a jerk. That angle has taken a complete 180 in Capcom's Sengoku Basara, starring Ieyasu as the protagonist trying to unify Japan and bring with it an era of peace. Mitsunari is portrayed as an addled general hell-bent on getting revenge for the death of his ruler, Hideyoshi Toyotomi.

Ieyasu's theme embodies that burning drive to achieve his goals with flying colors, the dramatic air of the piece marking an end of an era when this finally plays in the final battle of his storyline. It's an all-or-nothing battle to determine the fate of the country, and this expresses the urgency of the situation very well. The brief guitar riff in the beginning let you know that shit's about to get real. It doesn't disappoint.

I wonder if the first two Sengoku Basara games were ever released Stateside. This game's got my interest piqued, and tracks like these keep me coming back for more.

The Verdict: Did my homework to this shit once. Got an A.

VGM of the Day #18: Gluttony Fang

There comes along every so often, a character in a video game that's just that perfect kind of evil. Be it demented psychopaths like Kefka from FFVI (Suck it Sephiroth), or more direct evildoers like Bowser or Ganondorf, they find a way to weasel into our hearts, for better or worse. BlazBlue's got one of those guys. His name is Hazama.

Hazama, although having a generic plan to destroy all existence as we know it, has won fans over for a different reason - he's a complete dick.

Yep, he's a real silver-tongued bastard; always has the perfect thing to say to press the BlazBlue casts' buttons, and then laughing in their face about it. Quick with one-liners and even direct quotes from other popular media (WHY SO SERIOUS), it's easy to hate the guy, but easier to love. He's the closest thing to a video game troll we've seen in years, and he's captured the hearts of fans and other trolls alike with his outspoken antics.

With the introduction out of the way, we can talk about his theme song. Daisuke Ishiwatari's got his name written all over this track, going crazy with the guitar, complemented with fast-paced bass and the occasional death metal scream. My personal favorite bits are the piano bars, adding flashes of color to the piece no matter how brief they may be. I don't expect much else from Ishiwatari, but he's an expert in the craft, even if predictable. It fits Hazama quite well nonetheless; hardcore and a little crazy, but well planned out and one of the more memorable tracks in the game.

Playing every time Hazama enters the room, this track can grow on a guy pretty quickly. Hazama's much the same way himself, and if you disagree, umad.

The Verdict: Some of Ishiwatari's finer work, and one of the best songs in the game.

Don't forget to drop your VGM requests at vgmoftheday@yahoo.com , and your song might be chosen for my next blog post!