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  1. This weeks #TuneTuesday has me return to one of my favourite games and soundtracks. It is ‘Revised Shibuya -another-’ from CHAOS;CHILD composed by Takeshi Abo. I have mentioned this relatively unknown title before but to give a brief summary, Chaos;Child is the fourth main entry in the Science Adventure series (the same series the famous 'Steins;Gate' comes from) and a thematic sequel to Chaos;Head. As such, the plot is incredibly involved and rather confusing at times. In it, you take the role of Takuru Miyashiro, the president of his school's newspaper club, who investigates the "Return of The New Generation Madness" serial murder case that has been taking place in Shibuya. During the course of the game, he experiences delusions where the player gets the option to choose if Takuru should experience a positive or negative delusion or neither. These choices affect the plot's direction, causing it to branch off from the main narrative into different routes. That is, once you've played the game through for the first time, as you only have access to the common route (the canon route if you would). Chaos;Child is a murder mystery thriller, so death is commonplace within the narrative. Various members of the cast are thrown into mortal danger constantly, so one would expect the many cues to be creepy ambiences and/or horrifying assault on your eardrums. And you would be right with this, as there are many cases of both of those. My recent mentioning of this game was one of those such cues, ‘Peak Level’, which I described as ‘a broken Trance/Dubstep with some weird tribal vocals going on’ that usually accompanies the game’s horrific murder scenes or/and when shit hits the fan. As important as it is to have a horror game with scary music, what makes all good horror standout is the mastery over pacing. If you were to have scare after scare after scare, constantly, for however long your story is, then it wouldn’t be that scary. Your player (or reader in this case) would become climatised to it, and you never want someone to become climatised with scary things. It’s not good on the psyche. There are two ways you could address this. You can take the usual Western approach and just up the scares, but then end making the billionth SAW film. Whilst this is necessary, what is often needed are some calmer moments, so the player/reader can digest what has just happened and be lured into a false sense of security, and have time for some character development. ‘CHAOS;CHILD’ has pacing like no other, and has lots of fantastic music to depict all sorts of moods. As the title would imply, this is a variant on Revised Shibuya, which is much calmer and is often played when the characters, most of which are high school students and best of friends are trying to enjoy their lives, running the newspaper club, having meals, or going out shopping with each other in the bustling shopping district of Tokyo’s Shibuya district. You actually hear this version of the cue more than the other one, and more than any other cue in the game for that fact, and it never feels boring or repetitive. This also is to do with it’s pacing, and how the various instruments build and add to the starting piano part. There are also some creative use of chromaticism, which are notes and chords that are not usually found within the home key which in this case is the happy key of C major, the does a wonderful job at pulling you into the social life of the cast, making the world and those who live within feel alive and genuine. It is not an interactive score by any means, but it delivers on the emotion with amazing prowess.
  2. This weeks #TuneTuesday comes from the visual novel I have just finished playing/reading/experiencing. It is 'Visible Essence' from 'Chaos;Child' composed by Takeshi Abo Chaos;Child is the fourth main entry in the Science Adventure series (the same series the famous 'Steins;Gate' comes from) and a thematic sequel to Chaos;Head. As such, the plot is incredibly involved and rather confusing at times. In it, you take the role of Takuru Miyashiro, the president of his school's newspaper club, who investigates the "Return of the New Generation Madness" serial murder case that has been taking place in Shibuya. During the course of the game, he experiences delusions where the player gets the option to choose if Takuru should experience a positive or negative delusion or neither. These choices affect the plot's direction, causing it to branch off from the main narrative into different routes. That is, once you've played the game through for the first time, as you only have access to the common route (the canon route if you would). Chaos;Child is a murder mystery thriller, so many of the cues are varying degrees of creepy and frightening, depending on what is going on at a certain moment in the story. With Japanese high school students as the protagonists, there are some lighter relief moments where some of the cues are more upbeat and pleasant, as well as some appropriately sad ones for certain moments. It is not a terribly interactive soundtrack, but music in media should always enhance the emotions on screen first before you throw all the clever Wwise toys at it. The cues never feel repetitive or monotonous, which is why this soundtrack is just fantastic. Then you have today's cue, which is very different from what the player is used to hearing in the game. I personally get Jean-Michel Jarre vibes from it, probably because it sounds very similar to one of the Oxygene tracks that's in G minor. Visible Essence plays towards the end of the visual novel, in association with a certain group of characters (who are nameless here for spoiler reasons) and certain climatic plot revelations that are true 'mind-blown' moments. The cue represents these people perfectly. They are frightening, extremely intelligent and have this strange brewing power that is never truly explained. That is all I'm going to say on the cue, for I fear I have said too much already. Go play Chaos;Child, for it is one of the best narrative experiences I have encountered in a game. It's sound design and voice acting is top-notch as well. I have very little to fault this game on, which is incredibly rare to find a piece of media this good.
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