“Endurance” is longest on the album, and not surprisingly, it’s the most developed. “Rewired” “The Truth” and “Charging” are all ambient tracks which aren’t bad, but nothing too special. “Dwaf Gekko” is another interesting track with its electronic synth and chirping noises. The former is an interesting combination of rock and techno, while the latter is an ethnic piece highly reminiscent of the Middle East. I enjoyed both “Chasing the Wind” and “Black Sea” though. “Domestic Scars” and “The Other Face of the City” are both similar in style to one another, but with stronger metal percussion in the former and the occasional electric guitar riff and ethnic inspiration in the latter. “Two Sides of the Coin,” “Hideout,” and “City Silhouette” all really go nowhere with their synth/subdued rock composition. I’m sure that it’s effective in the game, but when taken out it simply falls flat. Speaking of ambience, “The Haves” is purely that, with almost no development in the entire piece.
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The low track is an ethnic piece that uses Japanese woodwinds and strings in addition to ambient electronic synth. With a running time of only 33 seconds, it’s definitely the most underdeveloped track on the whole album. The percussion track is just like the name suggests. “Mystical Ninja” is given three sections, a “high,” “percussion,” and “low.” The high track is a combination of what sounds like rock and Oriental music, likely reflecting on Raiden’s Japanese-influenced cyborg ninja character. There’s not that much development here so to say, and the overall composition feels experimental. With “Underground” we have the high section as an industrial-beat percussion theme, while the low track relies mostly on ambience. The low track is still rock-themed, but the synth here takes center stage making it more subdued. It’s an energetic theme that still manages to bring a lot to the table, despite being only 2:44. The high track of “Ambush” begins with heavy percussion, but then shifts into hard rock. The high section is an electronica track with rock and other orchestrations fused in, while the low section is more subtle, akin to the series’ past ambient gameplay themes. “Virtual Reality” is used during the games VR training modes. A handful of the tracks here have two parts, a “high” and a “low” section. Towards the end, the melody by the orchestra comes through, but the track’s short runtime means that there’s unfortunately little development.
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The album opens with the game’s main theme “Revenge with a Vengeance.” This brief track has a build-up of the background orchestra along with heavy synth. Most barely make it past the two minute mark. To meet the game’s fast-paced gameplay, all tracks on the soundtrack have very short running times. Do Christopherson’s scores both stand on their own and when compared to the rest of the series? This album came only with the Limited Edition of the game as a bonus. Since this was a huge departure from the series’ usual norm, little-known composer Jamie Christopherson was hired by Konami to craft the score. Rising chose none of these styles and instead opted for a blood pumping, high tempo rock soundtrack with original vocal songs composed for boss battles and enemy fights. Many associate Metal Gear series’ music with Harry Gregson-Williams’ orchestral cinematic scores for the series’ lengthy cutscenes and Norihiko Hibino’s more ambient pieces for gameplay. With a radical alteration in gameplay, the music went through heavy changes as well. Despite these huge changes, the game was a success with most critics and fans alike.
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There were still some primordial stealth elements thrown into the mix, but it was obvious that the game focused on cutting through everything. Instead of being a stealth game, Revengeance was now a fast-paced hack and slash title. They teamed up with legendary Japanese developer Platinum Games, who were well-known for acclaimed action games like Vanquish and Bayonetta. Kojima Productions was not alone this time around. Sneaking was no longer the name of the game, and now the installment had a new over-the top-name titled Metal Gear Rising Revengeance. Two years went by without almost any new news until we saw a new trailer at the 2011 Spike Video Game awards.
Composer of the metal gear rising ost series#
First off, the game would be a multiplatform title and secondly, the protagonist would be series love-him-or-hate-him character Raiden. The announcement shocked people two-fold. About a year later, series creator Hideo Kojima announced Metal Gear Solid Rising at E3 2009. The last console entry in the series was 2008’s Metal Gear Solid 4: Guns of the Patriots (which I sadly can’t play due to not owning a PS3). We wait for years on end for the newest game, and we’re lucky if we get one trailer per year. Metal Gear fans sort of have it tough when it comes to the series.