A Jedi in New York: Day 2

A short post tonight as it’s pretty late and we’re both exhausted! It’s been an interesting and fun day today, though, as we had another long walk and took in a Broadway show – specifically, Avenue Q, which proved to be both hilarious and touching.

Acquiring tickets for Avenue Q was less easy. Our New York Passes supposedly got us money off Broadway tickets if purchased through a ticket seller called Applause. We could have phoned them up to order, we later realised, but after waking up later than we’d intended and wolfing down some breakfast at, again, the Ritz (omelette today… tasty but not quite so enormous as the pancakes portion) we decided to pay Applause a visit and pick up some tickets.

Why Avenue Q? Two reasons. Firstly, we’d played a song from it in the last local pantomime that I’d taken part in. The song was “Purpose” and I found it pretty catchy, but knew nothing about the show it was from. Secondly, I remembered that Rampant Bicycle had mentioned the show a while back, along with a number of entertaining-sounding songs such as “The Internet is for Porn” – and also something about puppets. Puppets? I was intrigued.

But I digress. The offices for Applause were actually in an anonymous-looking office building of the type that bigger companies rent out tiny rooms in when they need a tiny bit more space. The depressing loss adjustment company I temped with for a short while (which, incidentally, made me come perilously close to hurling myself off a tall building from sheer boredom… despite tall buildings not being easy to come by in Eastleigh) hired out a tiny office to put their typing slaves (including myself) in. They rather naïvely supplied everyone with wireless Internet access, however, so I spent the majority of my time when I should have been listening to boring, slobbery old men dictating their boring, slobbery old reports about small hairline cracks extending from skirting boards to the ceiling surfing the Internet.

The point of that? Wandering down the corridor to the Applause office put me depressingly in mind of that horrible place. Fortunately, once we were inside we were greeted by a typical-looking ticket window, which is kind of the last thing you expect to see behind a door in a place like that. We were greeted by a friendly woman who sold us some tickets and gave us our discount, promising that we’d be able to pick up the tickets at the theatre half an hour before the performance that evening.

There’s no amusingly tragic end to this story, if you’re waiting for one. We picked up our tickets, we saw the show which was, as previously stated, great fun.

Also today we had planned on visiting Central Park Zoo (another attraction we could get into with our Passes) but the walk to Applause had been a long one so we decided to simply stroll around the park and enjoy the scenery. There are plenty more photos to come from there.

Tomorrow we are going to head for the Zoo and possibly one (or more) of the museums on our list.

A Jedi in New York: Day 1

Those of you who know me, follow me on Twitter or have been secretly watching me from the bushes will know that I got married to my beautiful and gorgeous now-wife Jane on Sunday 26th October. The wedding was a huge success thanks to the not inconsiderable labours of the new Mrs Jedi along with assistance and financial support from our respective parents. Some photos can be found here with more to follow – if you were in attendance at the wedding and have some photos to upload, please feel free to use the Upload button to contribute your own photographs.

Now we’re over in New York for our honeymoon – yes, it’s the land of Papapishu and Lord Regulus, and we arrived last night, so today was our first full day here. I’ve decided to blog the experience (most of it, at least…) as a nice record of what we got up to. Like the wedding, there will be photos to follow upon our return – watch this space for details of where to find them.

So what did we get up to today? Quite a few things, actually, considering the fact that we decided today would be a day of “wandering” and discovering things rather than setting out to specifically do something. The only task we had to complete today was to pick up our New York Pass, a cool little card that Jane found out about before we left. Essentially, it’s a card that allows you free or discounted entry to a lot of the popular New York attractions such as the Empire State Building, the Guggenheimer, Madame Tussauds and numerous others, as well as money off Broadway tickets and food at various restaurants.

We began our day with breakfast at the Ritz Diner on East 62nd Street at 1st Avenue (or whichever way around you’re supposed to say them), a pleasant little dive that we found on our first night here. It’s a 24-hour traditional American diner with a huge menu (the kind that Gordon Ramsay would immediately want to set fire to and jump up and down on) and cheap prices. I had a stack of pancakes with eggs (sunny side – partly because I can never remember the American expressions for the different types of eggs except that one) and Jane had some waffles with bananas and blueberries. The breakfast was so enormous we theorised that it would be enough to sustain us for the whole day’s activities… and we weren’t wrong.

After that, we glanced at our guidebooks to attempt to work out which way we had to go to pick up our New York Pass. We knew it was somewhere in the region of Times Square but didn’t really know how to get there. It turned out we had to head vaguely West. So we did, crossing 1st, 2nd and 3rd Avenue and being momentarily confused by the lack of a 4th Avenue and instead having a Lexington, Madison and Park Avenue before we reached the famous 5th Avenue.

Upon reaching 5th, we had a stroll down it to look at the man shops, including, of course, the striking exterior of the Apple Store. I resisted the temptation to go in but took some photos of the outside of the building because, after all, it’s interesting to look at. But enough of that. We continued along 5th until we came to the corner of 45th Street, down which we turned because we’d noticed earlier on our guide map that we could pick up our Passes from Planet Hollywood which just happened to be on 45th Street and Broadway.

Down 45th Street I came across a sight which made us both chuckle a little – the Big Apple Hostel. Now, the location of this place is amazing – about 2 minutes’ walk away from Broadway – but from the outside it looks like the least inviting place in the history of ever. The fact that it stands right next to a distinctly pleasant-looking coffee house makes it seem all the more out-of-place, particularly given its proximity to the glitz of Broadway and Times Square.

Finally we reached Planet Hollywood and picked up our Passes. We stopped at the bar to have a milkshake – by this time, it was lunchtime, but given the enormous size of our breakfasts we weren’t feeling hungry in the slightest, so we settled for a simple drink and an ogle at the cheesiness that is the interior of that place.

Upon leaving PH, we strolled down Broadway. The sun had come out now after a dull start to the day with a few minutes of rain, so I took the opportunity to take a lot of photos. I’m finally starting to work out what the different settings on my still-quite-new Nikon D40 DSLR do, as will hopefully be evidenced by the photos I’ve taken. The photos certainly look nice on the camera’s built-in LCD – I guess it remains to be seen if they still look good on a monitor!

Jane led me down Broadway to an unknown destination – to me, at least. Said destination became immediately apparent once we reached East 34th Street and we saw the Empire State Building rising majestically into the skies. We decided that now would be a good time to ascend the gigantic building and also to take the New York Skyride simulator tour. Yes, we are doing gratuitously touristy things, and I’m sure those of you who live in or know NYC will be groaning at what we’ve done so far, but what the hell. The last time I came to New York I was four years old and can remember precisely jack shit about it, while Jane had been more recently but had ascended the tower on a very cold day when visibility wasn’t great.

The view from the top of the ESB was predictably fantastic (and yes, there were yet more photos taken) but the other thing which struck me about the building was the sheer number of queues you had to join in order to get to the top. There’s a queue to get through security. There’s a queue to get your tickets. There’s a queue to get in the elevator to the 80th floor. There’s a queue on the 80th floor to get in the elevator to the 86th floor, where the observation deck is. Once you’ve finished viewing the, err, view, there’s a queue to get down to the 80th floor, then a queue to get to the elevator to the 2nd floor… you get the idea. The whole experience, which was, let’s face it, getting in an elevator and going to the top of a really tall building, took over 3 hours altogether.

This sounds somewhat cynical. I don’t want to give the impression that ascending the ESB is a worthless experience – far from it, as the view at the top is spectacular. However, one shouldn’t go into it with the foolish assumption that I had, which was that it would be relatively straightforward to get in and get to the top!

Following our visit to the ESB, we decided we were hungry and decided to return to Planet Hollywood for dinner, as our two New York Passes gave us $20 off our meal there. While Planet Hollywood may not be the classiest cuisine in town, it was certainly very tasty and gave us the energy we needed to get back to the hotel.

It was a long walk around, but we covered a lot today, and I developed my “feel” for the area enormously. Before today, my knowledge of New York geography was extremely sketchy, despite playthroughs of Project Gotham and Grand Theft Auto. Incidentally, Grand Theft Auto has the “feel” of New York pretty much perfect (in my outsider’s opinion) and I recognised Times Square from both Project Gotham and Forza Motorsport 2. Kudos. No pun intended.

No idea what we’re covering tomorrow, but I’ll post if I get a moment! In the meantime, for those who are really, really interested, here’s a Google Map of today’s trip.

Ode to Game Music 2: The Art of the Final Boss

This is going to be a somewhat self-indulgent (and lengthy) gush on one of my favourite topics to do with video games in general, and with their music in particular. But I promise that I won’t mention One Winged Angel at all in this post after this paragraph as I’m sure most people who are familiar with that of which I speak below will be overly familiar with this track already.

Oh, and if you’re reading this on Facebook come and read this on my proper page. It has streaming audio and everything.

Everyone ready? Let’s begin.

So, the final boss confrontation. To me, this can make or break a game. I remember learning very early on at school both when writing essays and preparing for performances that “people remember the beginnings and the ends of things more than anything else”. And it’s true. For me, by far the most memorable parts of many games are the very beginning and the very end. Sure, if the middle is interesting, compelling and/or fun I’ll be more inclined to make it from the beginning to the end, but I’ll be even more inclined to remember a game fondly if its finale is aurally spectacular. Conversely, if a final battle is somewhat underwhelming in terms of presentation, I’ll be less inclined to think of it favourably.

Take Diablo II, for example – I think most people agree that Diablo is a fantastic game, but for me that final battle with Diablo was utterly underwhelming, and it was the music that killed it completely. Or rather, it was the lack of the music that killed it completely. Diablo has an eerie, ethereal sort of soundtrack that doesn’t have much in the way of memorable tunes. Sure, it’s atmospheric and sure, its production values are higher than for many games (it is a Blizzard title after all) but dammit if I didn’t want something a bit more dramatic for battling the most evil thing in the history of ever!

So it is with this in mind that I want to share with you some of my favourite final boss confrontation soundtracks. The overdramatic climactic music may be something of a cliché to many people but I can’t get enough of it. If it involves “scary choirs”, a phrase a similarly-inclined friend and I coined a while back to describe the chorus in One Wi… I mean that song at the end of Final Fantasy VII… so much the better.

These are presented in no particular order, I should probably say. And if you have any similar examples, please feel free to share them in the comments.

Final Fantasy I (Origins Version): Last Battle (Nobuo Uematsu)

Start as you mean to go on, with a bit of Uematsu. While he is probably one of the first composers that people get interested in when they start looking into video game music, his “mainstream” (for want of a better word) doesn’t mean that his music isn’t worth looking at. On the contrary, in fact – the Final Fantasy series has typically had spectacular finales and a huge amount of this can be attributed to the music.

This piece is from the remake of Final Fantasy I for the PS1. If you’re unfamiliar with the first FF, the battle system consists of your party members standing on one side of the screen wafting their weapons around at a monster or monsters on the other side of the screen. There’s very little apparent physical interaction between them, and said monsters don’t animate at all.

That didn’t stop this piece of music making the final battle with Chaos (incidentally, just how many unimaginative RPG designers have used something as generic as “Chaos” for their final bosses since FFI?) super-dramatic and exciting.

This piece takes in all the JRPG finale clichés. Pipe organ? Check. Tinkly piano breaks? Check. Loosely based on the game’s main battle theme? Check. But I still love it.

Final Fantasy II (Origins Version): Battle Scene 2 (Nobuo Uematsu)

I’ll say now that I’m getting all the FF music out of the way first so those who think it’s been done to death (which, to be fair, it probably has) can happily skip to the later tracks.

Who’s still here? Oh good. This theme is from battling the Emperor at the close of Final Fantasy II, one of the less well-known FF games because many people hate, loathe and despise it with a passion. Me? I enjoyed it, and this music, while simple, was pleasant to experience at finale time.

The interesting thing (well, to me anyway) about this one is that the main motif of the theme also made a reappearance in the final confrontation of Final Fantasy IV when battling Zeromus. This also happened a couple of other times, with the chord sequence for Exdeath’s (still a dumb name) theme in Final Fantasy V bearing more than a passing resemblance to Sephiroth’s theme in Final Fantasy VII.

Talking of which…

Final Fantasy VII (Nobuo Uematsu)

I have two tracks to share for this one for the reason that it does one of the things I love best in a good final confrontation soundtrack – it takes one of the earlier themes in the game and expands on it. The next few tracks in this post revolve around this kind of idea.

So this track (Those Chosen by the Planet)…

…becomes this track (The Birth of a God).

Eventually, anyway. Give it time. At about 1:25 in, we get that Sephiroth theme coming back to kick some ass. I remember the first time I heard this it was one of those moments where you get an involuntary shiver down your spine. I know for a fact this doesn’t happen to anyone, but this one particular musical technique at work here – using a simple motif from an earlier piece of music in a completely different one, particularly if they are of markedly different styles – always has that effect on me, particularly if it’s used at a dramatic moment.

Then, of course, after this track, you get that other one that I’m not mentioning.

Neverwinter Nights: Hordes of the Underdark (Jeremy Soule)

Mr Soule is very fond of the technique I mention above, as is clearly demonstrated by both his work on Neverwinter Nights and Dungeon Siege (up next). The moody, creepy opening track from Hordes of the Underdark (which, so far as I’m aware at least, has no title other than “x2_title”) sets the scene for a descent into darkness with faint undertones of potential heroism ahead:

Slog your way through to the end of the game through its many traps, challenges and monsters and, musically, you end up almost right back where you started, but in a slightly different key at a slightly faster tempo with more screechy strings and clangy percussion:

There’s even some pipe organ in there. Well done that man.

Dungeon Siege (Jeremy Soule)

Dungeon Siege as a game was, to many people, a relatively forgettable action-RPG. It wasn’t by any stretch of the imagination bad, but most people seemed to think it was a fairly unremarkable game still riding the remnants of the Diablo II wave. Still, I remember it fondly for its music – in this case, both the very first and last tracks of the game providing strong “bookends” to the action.

Here’s the track you get for setting out on your journey:

This being Jeremy Soule, there’s more than a passing resemblance to the “sound” of Neverwinter Nights – if it ain’t broke don’t fix it, eh? – but to me, the main theme of Dungeon Siege is much more memorable. I know of people who have restarted the game many times simply to hear this music again. I was also delighted to discover that Dungeon Siege II also started with an alternative version of this theme.

Get to the end of the game (assuming it holds your attention, of course – and I maintain that it’s actually an entertaining experience worth playing through) and your battle with the final boss is accompanied by this stirring soundtrack:

Scary choirs, clangy percussion, a hurdy-gurdy break and… there it is, lurking around the 1:08 mark, that opening theme. Once I heard that, any trace of gaming fatigue I had was immediately gone and I had to finish this game to do justice to the excellent soundtrack. It’s strange. The adrenaline rush of the simple re-use of a musical motif – I often wonder if I’m the only one that this particular technique has an effect on. But then I think about how many composers out there do it and I know it can’t just be me.

Space Channel 5 (Hataya, Tokoi, Nanba, Ohtani featuring Ken Woodman and His Orchestra)

My love for Space Channel 5 has, of course, been well documented in the past but I feel it’s worth mentioning here simply because it’s a completely different soundtrack to what we’ve heard above – and yet it still uses that same technique, and it has that same effect on me.

Space Channel 5’s main theme, Mexican Flyer, is the basis for much of the rest of the game’s soundtrack – if not in terms of reusing motifs then at least stylistically, with the blaring horns and Sixties stylings providing a backdrop to many scenes in the two games in the series. It’s certainly a memorable, toe-tapping theme that sums up the “Gays In Space!” aesthetic nicely. So when I got to the end of Space Channel 5 Part 2 after, oh, the mighty 45 minutes of game that preceded it, I was immensely gratified to be dealing with the extremely bizarre and surreal finale accompanied by this piece:

This piece has everything I want from a finale – a bit of drama (0:33), a bit of cheesy false-hope “Yay! You did it!” (1:03) and cap it all with an ending that takes the main theme and builds on it from a simple vocal (1:20) up to everyone in the galaxy singing along with you (2:15). This is the kind of piece that makes you feel rotten if you fuck it up halfway through.

Persona 3 (Shoji Meguro)

There’s just one more example of what you have probably surmised is one of my favourite musical clichés to fall back on, and that is the great and brilliant Persona 3. I’m not sure much more needs to be said about this at this time other than the fact that The Poem for Everyone’s Souls…

…becomes, after 90+ hours, The Battle for Everyone’s Souls.

It, of course, is them followed by the final battle mix of Burn My Dread featuring, in Beige‘s own words, some Japanese guy “rapping the fuck out”.

Beyond Good and Evil (Christophe Heral)

Just two more, you’ll be pleased to know. First up is the spectacular soundtrack of Beyond Good and Evil which I want to draw attention to simply for its high production values and the great “bookending” of the game that these two tracks achieve.

Shortly after starting the game, you are thrust right into combat with a mysterious enemy you don’t know much about. During said battle, you are accompanied by this incredible piece of music that everyone who has played Beyond Good and Evil seems to comment on when describing the game’s amazingly strong opening sequence. Dancing with Domz certainly sets the scene for an epic battle.

The return to this style at the end of the game with the piece Sins of the Father is made all the more effective by the fact that much of the music in the middle of the game has been either of a somewhat “gentler” style, or when things did get hectic, a more “electronic”, “technological” sound. A return to the orchestral/choral stylings of the opening for the final confrontation helped, for me at least, to diminish the “Umm… what the fuck happened at the end of this game?” nonsense.

Trauma Center: New Blood (Atsushi Kitajoh)

I draw particular attention to Trauma Center here because I still find it utterly bizarre. I mean, we’re talking about a surgical action/puzzle/shooter game here. And let’s not forget the fact that the first Trauma Center game ended with you battling an illness that was “a form of Death itself” that had wrapped itself around the human heart.

I don’t know about you, but when I think about doctors, nurses and surgeons, pipe organs and scary choirs (there they are again) don’t spring immediately to mind. Neither do electric guitars. But what the hey. If you’ve played Trauma Center, you’ll know that it’s a sweaty-palmed and utterly terrifying experience, which these two pieces, heard during the final “battle” with the Cardia disease, reflect perfectly.

And on that note, it’s good night from me. Congratulations if you made it through all that, and I hope you’ve enjoyed some of my picks. If you have any other final boss musics that you’d like to share, please post ’em in the comments.

My next post on game music (which will happen when it happens and not before, dammit!) will likely revolve around the art of the end credits music.

Pile of Shame: Oct 08

I’ve had a personal pile of shame lingering for many years now of video games that I bought, played, loved and never got around to finishing. It seems to keep growing, and PC games seem to be ones that I am particularly guilty of leaving ignored for some time. So it was with that in mind that I started to delve into said pile of shame to actually finish some of them. Prior to this post, Divine Divinity was the game that kept me occupied. I remember when I first bought it, my PC wasn’t quite up to the job of running it particularly quickly, so that put me off playing it a bit. When I bought a more powerful PC, it was left on the shelf in favour of more fancy-pants games that showed off my shiny new processor and graphics capabilities.

Now I’ve got my even-more-powerful-than-that Mac happily Boot Camped up to the gills, I find I’ve been returning to the older games more and more. I think the fact that I can run said older games at 60+fps at 1920×1200 is one of the somewhat attractive aspects of this arrangement – especially when I consider that the intro to The Witcher, which I also picked up recently, ran at approximately 1.5fps at 1920×1200. Ouch.

Anyway, now DD is out of the way I’m going to talk about one game in particular which I’ve always had genuine affection for because it’s just so utterly charming. It’s moderately well-known in certain circles for many reasons, but I think there’s an equal or possibly even greater number of people out there who won’t be familiar with it at all. So what is it?

No One Lives Forever, of course; or, to give it its full title, The Operative: No One Lives Forever, hereafter referred to as NOLF for the sake of my sanity.

NOLF is a first-person perspective shooter from the era of games such as the original Deus Ex. DX is actually quite an apt comparison to this game as both proudly boast of the player’s ability to approach situations in a manner of their choosing (normally boiling down to either bursting into a room making lots of noise and shooting everyone in the face, or sneaking into a room quietly and then shooting everyone in the face) and the then-trendy “stealth action” elements.

Where NOLF shines is in its characterisation – both of the game world and of the people in it. NOLF’s world is a brightly-coloured Sixties-inspired caricature of the world of secret agents and acronym-based criminal organisations. Many have compared it to Austin Powers but NOLF’s humour is in many places far more subtle and less slap-you-around-the-face-with-a-vaguely-phallic-object-whilst-shouting-“Laugh dammit!” than Myers’ ouevre. The protagonist Cate Archer, for example, is far from being a wisecracking caricature. In fact, she’s actually quite a realistically-portrayed character battling against the sexist tendencies and chauvinistic attitudes of many people from the Sixties who just happens to get into some spectacularly over-the-top scenarious, including, amongst other things, falling out of a plane without a parachute and having to steal one from an enemy goon on the way down.

This is one of the brilliant things about NOLF – juxtaposition. Cate’s deadpan and sarcastic delivery of many of her lines (including some brilliantly cutting comebacks to aforementioned chauvinism) contrasts brilliantly with the absurdity of some of the situations she finds herself in. Couple this with the famous “overheard conversations” which few games have handled quite as brilliantly as this game, and you get a great spy tale with a wonderful sense of humour infused throughout.

One thing struck me while playing this game, and it was this: first-person shooters used to be fun. I don’t know what it is about recent FPSes but I just don’t enjoy the new ones. I’ve never been inclined to finish a Halo game since the first one, I have absolutely no interest in Crysis and don’t even get me started on Gears of War. Yes, yes, I know, it’s a third-person shooter but it might as well be in first-person for all the blood, gore, shooting, unimaginative gameplay and brown backdrops. (Yeah, you heard.)

NOLF and other games of its era (and earlier) were something else, though. I haven’t been able to pin down exactly what it is I find so compelling about them, though. Maybe it’s the fact that they’re more colourful. Maybe it’s the fact that the gameplay is more varied – for all the great set-pieces in Halo, you were still running around sci-fi themed areas for the duration, whereas NOLF sees you doing everything from diving out of aforementioned plane to doing a deep sea dive to heading to a brilliantly camp Sixties space station, with different gameplay conceits to take into account in each environment. Or maybe it’s the fact that the protagonist is an interesting, compelling character that you feel inclined to stick around with for the duration of their journey. I know I couldn’t give a crap about Master Chief as he’s dull as ditchwater as a character, at least in the way he’s represented in the Halo games – the books may be another matter but as Halo interests me so little I’ve never felt inclined to check it out. Cate, on the other hand, is intelligent, sexy, sarcastic and has a wonderfully dry sense of humour.

I think many modern developers and publishers could learn a lot from revisiting some games from five to ten years ago rather than churning out identikit shooters with pretty graphics. I’d love to see a modern sequel to NOLF. Who knows if it will ever happen?

Next on the Pile are the X-COM games and NOLF2, along with The Witcher, which I’ll post some thoughts on soon.