The Evil and the Tragic: Fire Emblem Villains

You’re on a battlefield. Maybe you’re besties with the guy leading this army. Maybe you just needed the cash, or maybe you’re not quite sure how you ended up here with sword in hand. But the fact is, you’re among this ragtag team of fighters, and the leader of the enemy army is swiftly approaching.

There’s a lot of evil in this world, but with that is some of the best themes. They’re fast-paced, they’re exciting, and sometimes… they’re a little tragic.

But before we go into battle, we have to stop by the armory (Preparations, FE11). (Just because I like this suiting-up theme the best. Sometimes I’d spent a little longer than necessary shifting around my inventory just to listen.) Pack up your best weapons, friends, because we’re in this ’til the end.

Most of Fire Emblem’s games begin with a charming pirate duo (Wonderful Pirates, FE9), who are maybe a little dumb but a good experience booster. But you’re not here to merely fight off pirates. You have a grander mission, whether it’s to save your family, get revenge, or—save us all—face a corrupted goddess.

And now, battle! Epic music change.

Maybe your enemy is a band of assassins (Black Fang, FE7), where some of its members have an eerie, not-quite-human physical beauty. Maybe it’s the king’s elite knights (Stratagem in Black Armor, FE9), the strongest of the strong across the land. Whatever the case may be, you gird up and venture into battle (Trouble!, FE11).

But not all enemies are clad in black armor. They can have the highest seats in politics (Beauty is a Mad Mistress, FE10), reflected in this harpsichord-like tune to reflect wealth and prosperity. Or you could be facing one of those eerily beautiful quasi-humans directly (Softly with Grace, FE7), in a more trilling, graceful version than its Black Fang counterpart.

But what if your foe is not of this world? The demon-possessed (Return of the Demon King, FE8), or the goddess of creation (A Grasping Truth, FE10)? There’s an urgency in these pieces, with the fate of humanity itself in your hands. The music drives you forward in its runs and speed; it slows to a dirge-like quality; it slowly builds back up to build your confidence that you can, in fact, save the world.

But when it’s over? Maybe you have a country to rebuild. Maybe you’re mourning some allies. But with the defeat of the final enemy, there is hope. You have fought bravely, and you have saved the world.

What’s in an Arrangement

The whole concept of a gaming orchestra is still a fairly new one. It still requires explanation to confused family members (“You mean games, like Pac-Man?”), so it’s not that weird to consider there isn’t exactly a vast pool of orchestral repertoire (yet). Occasionally the various orchestras will borrow from one another, but more often than not, we’re arranging this stuff ourselves.

What does that mean, anyway?

Much of the time, we don’t have actual sheet music to work with. So we plunk out the notes ourselves. We listen to the song, and if we’re lucky there’s piano music or some other kind of existing notation. Then we boot up that notation software and decide who gets to play what.

MGSO is lucky to have Alyssa (our founder/director/conductor), who’s pro trained and does this music stuff for a living. She worked up this handy PowerPoint for the rest of us, most of whom have never considered writing music before. There’s lots of handy tips and tricks in there, and a special shout-out to converting game music into something that that works for real instruments. (Welcome to the endless loop that is video game music!)

Wait, wait. You mentioned notation software.

Indeed! There are a few options for writing out music, from barebones freebies to “I’m not spending that much if I’m not pro” software. There are certainly more out there than these, but I’m personally in the “not pro” category, and you probably are, too. Nor can I tell you which is “best,” because it depends on your needs. Each program has a demo, so try them all. You get what you pay for, more or less, but rest assured that our MGSO arrangers have used some combination of all of them.

Musecore
FREE

Noteworthy Composer
$49
(free demo, but unable to save)

Sibelius
$119, or various monthly subscriptions
(offers a 30-day free trial)

Finale
Up to $600, depending on version & student/teacher discounts
(offers a 30-day free trial)

More and more of our members are delving into the world of arranging, even those who don’t do music professionally. If you’ve ever considered it, remember you’re not doing it alone, either—ask anyone in the group and they’ll give you tips and tricks, dos and don’ts, on their particular instrument. Because as cool as an arrangement may sound, you also want to make sure it’s physically possible for its players, too.

“You guys need to play music from This Best Game Ever!” our fans shout, and we wholeheartedly agree. But even better is having the music for it. This non-pro musician has dabbled in the art of arrangement. Why not try it out yourself? Arranging music is fun, and doubly so when your piece is out there in the group for a performance. (If not a little nerve-racking. But mostly fun.)

An Afternoon at the [Gamer] Orchestra

The air is cold and dry, with the threat of oncoming snow. It’s still early in the season—not winter quite yet, if we’re being technical—so the prospect of snow is still fun, in the ignorance of not knowing what’s to approach in mere months. But on this December afternoon, you brave the potential storm to drive to a church you’d never been to before, for a concert by a group you didn’t know existed until recently. Because who knew there was a gamer orchestra in Jersey? Who even knew gamer orchestras were a thing?

You arrive early (because that’s what concert-goers do), greeted by a smiling face behind a bake sale table. Or maybe you’re too early, because black-clad musicians are scurrying past with all variants of instruments and equipment. But the sanctuary doors are open, and there’s gentle piano music wafting from within, so you accept a program and find a seat inside.


(Some “backstage” shenanigans, which you can very obviously see across the room)

What’s the deal with this “gamer orchestra” thing, anyway? And how will this be any different from a “normal” concert? (Excuse you. I resent this line of questioning.)

Truthfully, its not that different from other orchestra concerts. You flip through the program, and pull up the program notes online. It’s cool, because you know this stuff. You’ve played these games, or they’re on your endless “to play” list. But when the conductor comes forth, and the group sweeps into the first piece, you begin to understand that this isn’t like any other concert. These talented musicians aren’t just there to entertain. You’re all part of an experience, a love of both music and gaming, one that you share together.

(This is a little intimidating. These guys are like celebrities, right? But you’ll still talk to them after the concert, because they’re cool and they’re nerds just like you.)

As the music plays, you remember so clearly that one part in that one game. There’s a wave of mixed emotions, from joy to panic to nostalgia. You remember questioning shady witnesses in anime lawyer court, and clashing weapons with Gilgamesh on the big bridge. You enthusiastically applause between songs, a fact that doesn’t go unnoticed by the group before you—they all look around, grinning, overjoyed to be sharing this experience.


(Look how happy they are)

Maybe that’s part of the difference, too: These are not super-serious musicians. Most of them aren’t even professional. They smile between pieces, whisper to each other, or offer a little high-five they think the audience can’t see. Even the conductor is dancing, cracking jokes when introducing the next song, and there’s a companionship in that room. You wonder if they’re accepting new musicians. You played in high school, too. (The answer is “yes.”)

Spring seems an awfully long time to wait for the next performance, but the months pass quickly. May 12th rapidly approaches, bringing another glorious Saturday afternoon of music. And this time, there will be no snow to battle on the drive home. Although maybe with the nicer weather, you’ll get there even earlier to battle for prime seating instead.

5 Surprising Music Moments in Gaming

For many games, a soundtrack will follow a consistent style or tone, whether it’s from leitmotifs or using similar musical genres. Each track is made with certain moments in mind, in order to make for an immersive experience. Boss battles generally have suspenseful, foreboding melodies, while an emotional scene will almost always bring a piano ballad in the minor key.

Occasionally, there’s one song on a soundtrack that comes out of nowhere, catching players off guard with a drastic shift in style or tone. These are five surprising music moments from popular games.

 

Well, That’s One Way to Pump Up the Crowd

(“Otherworld” – Final Fantasy 10)

Nobuo Uematsu is one of the most widely praised composers in video game history, and his work on Final Fantasy 10 is no different. With a heavy focus on piano, the soundtrack features some of the most beautiful songs in the series, such as the iconic main theme “To Zanarkand.” It’s enough to make even newcomers to the series feel right at home with soothing, emotional melodies from a legendary musician.

And then Uematsu unleashes his overdrive.

“Otherworld” is a heavy metal track that comes completely out of left-field during the opening of the game. With harsh, screamed vocals and drop-tuned guitars, it no doubt feels like it’s straight out of a Devil May Cry game. Yet despite how bizarre it is to hear this kind of track in a Final Fantasy game, it somehow manages to work in the game’s favor.

At the time, this was a new generation of Final Fantasy, with full voice acting, high-definition cutscenes, and a complete overhaul to the series’ narrative structure. This track capitalizes on the idea of creating a new, more modern tone for Final Fantasy. Much in the same way it was surprising to see helicopters and motorcycles in Final Fantasy 7, this new PS2 entry didn’t mind taking risks with unexpected changes.

With a fancy cinematic to accompany the brutal guitar breakdowns, this track ensures that this isn’t the same Final Fantasy you may have grown up with.

 

Pokey REALLY Means Business

(“Pokey Means Business” – EarthBound)

*Note: contains spoilers for the end of EarthBound*

Despite its innocent exterior, EarthBound is undeniably a game with much darker undertones. Alien invasions and monstrous inanimate objects make this a pretty surreal and unsettling game. When it comes to the game’s soundtrack, it generally favors a trippy, psychedelic aesthetic. This applies to battle themes as well, which range from catchy to outright bizarre. However, the first phase of the final boss takes a drastic shift in musical style.

During the final battle with Pokey – the game’s main antagonist – the music begins with a simple chiptune melody. The track is reminiscent of 8-bit soundtracks from the NES era, and may not seem very threatening at first. It’s not until a minute into the track that the composers fondly recollect their 80’s thrash metal phase.

Pokey’s theme suddenly turns into a fast-paced, heavy metal onslaught of pure terror. The music perfectly fits the context of the sinister final showdown with a psychotic genius, but it still feels totally unexpected. The Super Nintendo’s sound chip is really put to good use here, and features a similar guitar tone to the final boss of Yoshi’s Island.

 

A Somber Showdown for the Chosen Undead

(“Gwyn, Lord of Cinder” – Dark Souls)

*Note: contains spoilers for the end of Dark Souls* 

From the very beginning of the game, it’s clear that the world of Dark Souls is full with despair, and no one is happy to live in it. The lack of music when exploring each area only enhances the bleak atmosphere. That is, until the player encounters one of the game’s many bosses. From gargoyles, to dragons, and even a giant tree branch, each boss has a dramatic, chilling theme to accompany the fight. It becomes second nature for the player to expect a tense soundtrack to carry them to victory. However, this is not the case for the game’s final battle.

The battle against Gwyn begins as soon as the player enters his arena. No cutscene plays, and there’s barely any time to react before Gwyn rushes at the player with a flurry of sword swings. All the while, a somber piano melody fills the dimly lit cavern, turning the fight from triumphant to tragic.

Players may go in expecting a dramatic final battle, with sweeping strings and brass like the previous boss soundtracks. Instead, the choice to use only piano makes the fight feel more personal. It doesn’t feel like a true boss fight in the traditional sense, but then again it isn’t meant to. This is a duel between two hollows, and it can only end in anguish.

 

The Endless Ladder Climb

(“Snake Eater” – Metal Gear Solid 3: Snake Eater)

 The Metal Gear Solid series may be known for its complicated plots and lengthy cutscenes, but it also has a sense of humor. Hideo Kojima doesn’t always take his writing too seriously, and this certainly shows with Metal Gear Solid 3’s classic ladder-climbing scene. As Snake ascends a seemingly never-ending ladder, players are left holding the analog stick forward and waiting patiently, trying not to doze off.

Is Kojima just trolling his fans again? Is Raiden going to be waiting at the top of the ladder to give Snake a high-five?

“What a thrill…” A faint voice is heard slowly creeping in. It’s difficult to make out at first, but within moments it becomes all-to-clear. The most boring section in the game becomes a powerful, poetic moment in the franchise’s history. The chorus reaches its climax, “Snaaaaaake Eateeerrrr,” and Snake ascends further to the top of the ladder. Though really, he may as well be reaching the top of the world.

 

Smooth Jazz of the Night

(“I am the Wind” – Castlevania: Symphony of the Night)

In video games, the ending credits often borrow from reoccurring leitmotifs from the game’s soundtrack. They often feature a variation or remix of the game’s main theme, bringing players back to the earlier moments of their incredible journey.

Perhaps the credits are joyous and uplifting, such as the ending for The Legend of Zelda: the Wind Waker. Or, maybe the music makes the ending feel somewhat bittersweet, like in Undertale. Some credits use grand orchestral anthems that make players want to salute their TV screen. Some use an epic, symphonic metal track to deliver one last punch of adrenaline after a difficult final battle.

Symphony of the Night uses smooth jazz…

It’s not very effective.

The soundtrack for the Castlevania series is nothing short of brilliant; each entry has a different style or genre that effectively adds to the game’s gothic atmosphere. Symphony of the Night is no exception, with one of the strongest musical selections in the series. It’s a shame that such a fantastic game is given a lackluster conclusion with an out-of-place credits theme. While it doesn’t tarnish the quality of the game itself, “I am the Wind” doesn’t exactly make the ending feel rewarding.

Then again, maybe it does have some sort of context for the game. Perhaps it’s foreshadowing a future event in Alucard’s story. It may even symbolize Alucard’s humanity, and his willingness to leave his vampire history behind.

Or maybe he just really wants to express his appreciation for the wind. In any case, expect to see Alucard perform his very own cheesy, 90’s love-ballad in the next series title.