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“It sounds like
LORDS OF SHADOW, but there is most definitely something different
brewing under the surface, and the final product is nothing short of
exceptional.”
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Something Different Under the Surface
Review by Richard Buxton
The release of a video game sequel is frequently met with a unique level
of expectation, an expectation that forms a set of parameters within which
the game must fall. There’s the inevitable need for the advancement of a
game’s plot and the improvement of its visuals, but the decisive factor in
the success of a game comes down to the treatment of its gameplay. The
particular demands of gaming audiences set out a need for familiarity in
the constructs of the gameplay, but also add a need for devices that
innovate in ways that provide fresh experiences, all the while never
straying from what made the original release a success. The problem with
these parameters is that they are largely unwritten until the benefit of
the audience’s hindsight comes to the fore. When these expectations are
met though, the results can mean significant boosts to a franchise’s reach
- as in the case of the Electronic Arts published MASS EFFECT 2 and DEAD
SPACE 2 for example - whereas a failure to live up to such demands can see
a franchise brought to its knees - a fate not foreign to Capcom with the
critically maligned DEVIL MAY CRY 2, and RESIDENT EVIL 5 and 6. This type
of expectation is one rarely found in the film industry, where more of the
same, as long as it advances the overarching plot, is generally accepted.
Can this level of expectation affect a video game’s score? In many cases
yes, and CASTLEVANIA: LORDS OF SHADOW 2 is one of these. Crucially,
MercurySteam have found themselves a loyal composer whose ability seems
boundless, his talent unwavering.
After the twisting climactic events of the first LORDS OF SHADOW and the
3DS release MIRROR OF FATE, players once again find themselves shrouded in
the cloak of Gabriel Belmont who now goes by the name of Dracula.
Forewarned of Satan’s return, Dracula ventures in search of powers once
wielded, but not without facing the wrath of his own son, Alucard.
Developed for release on Playstation 3, Xbox 360, and Windows, LORDS OF
SHADOW 2 is one the last standout major releases exclusive to the seventh
generation of consoles, a generation that has seen video game music grow
at an astounding rate so as to presently sit alongside film music as no
less than an equal in the realm of orchestral music. Developers
MercurySteam have branched out from the linearity of their first
CASTLEVANIA entry and placed the transformed Gabriel in an open world; one
that travels beyond the series’ famed medieval setting and into the
modern-day. This is clearly MercurySteam’s answer to the aforementioned
omnipresent expectations, and with this new outlook come significant
shifts in the musical score. As with LORDS OF SHADOW and MIRROR OF FATE,
LORDS OF SHADOW 2 is scored by Spanish composer OSCAR ARAUJO. Surprising
almost nobody, ARAUJO has vanquished any obstacles presented by the
changes in this sequel, and has produced another score of
generation-defining quality.
The interchange between the grandiose orchestral action and sweeping
gothic hymns of the first score are present as one would expect and hope,
but the methods in which these are communicated have undergone some
noticeable changes, and this is evident from the very opening of the
score. “The Throne Room” (1), much like “Intro” from the LORDS OF SHADOW:
ULTIMATE EDITION (LoS1) score release, can be interpreted as a teasing
introduction to the two sides of the score - the opening understated
string theme provides a basis for many of the calmer and more
cinematic-driven themes, whereas the churning second half is a subdued
introduction into the score’s more action-intensive cues. Both halves of
this opening track are developed upon significantly further into the
score, but this score’s differences to the first are laid bare from the
outset. The tragedy of Gabriel’s past is laid on thick in the
predecessor’s score, and while LORDS OF SHADOW 2 is no less melancholic,
it is a different breed of despair that is described in ARAUJO’S opening
cue. The washing of the first half’s strings has an ever-so-slight tinge
of optimism, hinting at Gabriel’s resignation to his fate as the immortal
legend rather than a conflict against it, and this is a mood that
perpetuates through the entirety of the score. Gone is the glorious
tragedy of a love lost, replaced by a stately wistfulness. This is a
change that proves intensely engaging, and the development of Gabriel as a
character is immediately obvious through the music, but admittedly it
lacks some of the raw emotional depth heard in the first score.
The next, and most notable progression of ARAUJO’S music comes in the
second cue, “Brotherhood Assault” (2). Moments in, the orchestral elements
are accompanied by propulsive electronics that drive much of this first
action-oriented cue. The immediate impression given by the electronics is
one of greater simplicity than what one might expect from ARAUJO, and
while it would be easy to dismiss this shift as derivative of the average
Hollywood action score, the electronics serve a clear purpose. Not only do
they drive this particular cue forward with great impetus, they also
reflect the changing circumstances for our hero, a man stuck, seemingly
eternally, in a time not his own. This second cue is one of the weaker of
the action variety however, and the electronics are used more effectively
further into the score.
In terms of themes, LORDS OF SHADOW 2 is comprised of numerous, a number
of which have foundations in “The Throne Room” (2). The common thread
between many of the cues is often subtle and demands repeated performances
in order to be fully appreciated. The initial evidence for the first
track’s influence on the score can be heard in “Dying for a Drop of Blood”
(3). Like the first cue, this possesses a duality of optimism and
understated gloom, which is achieved through the similarities in the
string progression . The sweeping notes of string and choral combinations,
each drawn out to full measures, rise triumphantly, gaining momentum until
the hushed ending reprisal draws the cue to a close. “Return to the
Castle” (22) echoes this sentiment with a greater emphasis on the choir as
the female and male voices intertwine beautifully with long statements.
This track in particular exemplifies the effective use of more pronounced
electronics in LORDS OF SHADOW 2. Never do they snatch attention from the
orchestral elements, instead softly driving them and the choral elements
with an almost ethereal glide.
A more prominent motif comes in the form of “Dracula’s Theme” (8), a new
central melody for the protagonist. It is in this cue that his mourning,
not only for his long-passed wife but also for himself, is finally
expressed. In stark contrast to his musical depiction in the first game,
“Belmont’s Theme” (LoS1), “Dracula’s Theme” (8) is a dark, minor poetic
piano motif that paints Gabriel as the pitiful being depicted at the end
of LORDS OF SHADOW, before an orchestral eruption reveals the vengeance
stirring inside him. The theme is briefly restated in both “Carmilla”
(11), and the beautifully resolving “Carmilla’s Spell” (19), but largely
takes a back seat, never receiving the full statement that it often
threatens to grow into. It takes the arrival of “Satan” (18) himself for
the theme to be unleashed in a menacing, doom-laden cacophony of choir
brass that intimidates as much as it entertains.
The theme for Void, Dracula’s health-replenishing sword first encountered
in MIRROR OF FATE, debuts in “The Power of Void” (12) as a development of
the the theme heard in “The Throne Room”. The opening three note
statement, mirroring that of “Dracula’s Theme”, develops into a beautiful
but agonisingly brief sweeping of emotion. The theme later reappears in
the electronic-infused “Void Power” (23) in a longer, more ominous
statement. An earlier forerunner of the Void theme, can be heard in hushed
violin tones at the start of and in the middle of “Descent to the Castle
Dungeons” (6), and the combination of these two motifs can eventually be
heard in “Underground Forge” (26). The theme for Void is very understated
and delicate, particularly when considering that it is in fact a harbinger
of destruction placed in the hands of the vengeful Dracula, and is
ultimately an insight into the legend’s reluctance towards his own
continual existence.
Despite a focus on newer themes, LORDS OF SHADOW 2 does not neglect its
forebears as the main theme from the first game makes numerous
appearances, although in somewhat reduced forms. The standout return comes
in “Satan” (18), as the theme for Dracula segues effortlessly into the
heroic LORDS OF SHADOW theme in all its glory. With sporadic and often
subtle hints at the theme scattered across the thirty-one cues - the
opening of “The Paladin of God” (5), the ending of “Descent to the Castle
Dungeons” (6), and also “Toy Maker’s Heart” (20) to name a few - this full
rendition brings with it a great sense of fulfillment and outright
excitement given the theme’s unparalleled thrills within the game’s
musical universe.
Alongside the return of the main theme come notable new arrangements of
four MIRROR OF FATE (MoF) cues. “The Siege Titan” (7) injects fresh life
into “Daemon Lord” (MoF) with swirling strings and aggressive brass
rallies, while “Toy Maker’s Heart” revives both “Theatre” (MoF) and
“Carousel” (MoF) from the 3DS release. Perhaps the highlight of these
rearrangements can be heard in the reflective and beautifully moving “City
in Flames” (13), appearing in MIRROR OF FATE as “Gabriel’s Farewell” (MoF).
It should be noted that each of these rearrangements is by and large
identical to the original MIRROR OF FATE version, but with the more than
welcome orchestral upgrade.
As should be evident by now, much of the heavily thematic material is to
be found away from the action cues. In contrast to the first game’s score,
much of the action music heard here is more rhythm-dependent in its use of
percussion and subsequently has a more linear progression. This does not
make the action music on offer any less spectacular however. The action
truly gets started with “The Toy Maker” (4) as the choral chants clash
with electronics before venturing into incomplete statements of the main
LORDS OF SHADOW theme that make for a breathtaking conclusion. “Hunter and
Prey” (9) swirls and swells inexorably before a new heroic theme bursts
into life just past its halfway mark. This theme is later restated with a
twist in one of the score’s most thrilling climactic sequences, at the end
of “Castlevania” (14). Perhaps the most consistently enthralling action
cue though comes in the form of “Chaotic Battle” (17). Flurries of string
ostinatos and waves of brass conjure an immense intensity that peaks
multiple times within the track, only to be re-injected moments later,
making for a stunning combat cue. The action cues are brilliant across the
board, and are arguably an improvement over those heard in the first game.
This is largely down to an audible boost in conviction. The action cues
heard in LORDS OF SHADOW would occasionally ever so slightly waver when
straying from the major themes, though their overall excellence is never
questioned. The rhythmic injections heard in LORDS OF SHADOW 2 provide a
stronger platform from which ARAUJO launches these action cues. They are
forceful and relentless, as they rightly should be.
Surprising as it may seem, LORDS OF SHADOW 2 does have its faults. They
are few and far between, but nonetheless real. “Back to the Present” (24)
emanates a thick atmosphere in its similarity to “Void Power” (23), but
shows very little evolution beyond its pulsing synth, while “Enough Talk!”
(28) is an effective, but somewhat musically uneventful tension builder.
A first listen through LORDS OF SHADOW 2 may prove slightly jarring. There
are a number of elements that set it apart from its predecessor, at times
proving almost imperceptible while at others unmissable. It sounds like
LORDS OF SHADOW, but there is most definitely something different brewing
under the surface, and the final product is nothing short of exceptional.
The changes in MercurySteam’s franchise have seen changes in ARAUJO’S
stellar contribution. The Spanish composer has, like the developers, not
so much revolutionized his landscape as augmented it. There is just enough
musical evolution here to provide a thrillingly fresh, but reassuringly
familiar experience. Aside from a few inevitable dips, this score is just
tremendous. OSCAR ARAUJO has retained what made the first score so
irresistible, whilst skillfully incorporating narrative-driven shifts that
could potentially have derailed the score, but ultimately did not. This
infinitely talented composer had already secured his immortality, and has
just raised the benchmark he himself so masterfully set in 2010.
Essential.
Rating:
10/10
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Track |
Track Title |
Track Time |
Rating |
|
1 |
The Throne Room |
4:32 |
**** |
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2 |
Brotherhood
Assault |
2:49 |
***** |
|
3 |
Dying for a
Drop of
Blood |
3:47 |
***** |
|
4 |
The Toy
Maker |
5:15 |
***** |
|
5 |
The
Paladin
of
God |
1:10 |
**** |
| 6 |
Descent to the Castle Dungeons |
3:53 |
**** |
| 7 |
The Siege Titan |
5:15 |
***** |
| 8 |
Dracula's Theme |
1:59 |
**** |
| 9 |
Hunter and Prey |
5:29 |
***** |
| 10 |
Gods Chosen |
2:26 |
**** |
| 11 |
Carmilla |
2:07 |
**** |
| 12 |
The Power of Void |
1:02 |
*** |
| 13 |
City in Flames |
3:02 |
***** |
| 14 |
Castlevania |
3:24 |
***** |
| 15 |
Carmilla's Fight |
5:09 |
**** |
| 16 |
A Man of God |
1:52 |
***** |
| 17 |
Chaotic Battle |
4:30 |
***** |
| 18 |
Satan |
6:02 |
*** |
| 19 |
Carmilla's Spell |
4:49 |
***** |
| 20 |
Toy Maker's Heart * |
3:21 |
**** |
| 21 |
Titanic Struggle * |
4:54 |
***** |
| 22 |
Return to the Castle * |
2:17 |
***** |
| 23 |
Void Power * |
4:43 |
**** |
| 24 |
BAck to the Present * |
3:26 |
** |
| 25 |
The Lair of the Gorgon * |
3:17 |
*** |
| 26 |
Underground Forge * |
2:39 |
***** |
| 27 |
Second Acolyte * |
2:15 |
**** |
| 28 |
Enough Talk! * |
2:00 |
*** |
| 29 |
The Stronghold * |
3:24 |
*** |
| 30 |
Credits 1 * |
2:10 |
**** |
| 31 |
Credits 2 * |
1:18 |
**** |
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Total Running Time (approx) |
104 minutes |
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* Tracks only available on Director's Cut edition. Exclusive to Sumithing.com
Standard edition running time is 69 minutes. |
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