Skip to main content

On Sale: GamesAssetsToolsTabletopComics
Indie game storeFree gamesFun gamesHorror games
Game developmentAssetsComics
SalesBundles
Jobs
TagsGame Engines
(1 edit)

Oh yes!! I was severely hoping you would use an odd time signature after your 'Cola Verde' left a lasting impression on me (I mean, single measures of 5/4, 6/4, 5/4 and 4/4 is just genius!).
You also make the 7/4 very easy to follow, following similar principles as I tried to do. You start each measure with a common instrument and repetitive theme and end it with another instrument and theme. This repetitiveness and clear start and end makes it very easy to follow and nice on the ear.

Let's see if I noticed all your time shifts:
I see you're shifting to 4/4 at 0:39. Classic move, to be able to include a more easy-to-follow melodic progression.  And then you go back to 7/4 at 1:06. And at 1:18 a single measure of 8/4 before going back to 7/4 - haha, why not! I see both Blue Lava, you, and me incorporating odd time signatures in our works, which I find so enjoyable given that you two are my biggest inspirations from these jams!

Cool instruments. You use similar instruments as me: a lot of xylophone and strings, some flutes, some cool guiro (which I regrettingly chose not to use!). And this droplet-like instrument, what's it called? Love it! It all fits the forest theme very well!

From 0:39 onwards, the song doesn't feel too fast-paced, which is an interesting choice compared to all other songs I've heard so far. And the chords become... uplifting, hopeful, explorative. This section feels like it fits in some overworld theme. I find it less fitting than the start of the song, as I have slight trouble to imagine a boss phase where this fits well. But I also read that you "struggled to put the three phases and instruments together in a coherent way". Given this struggle, I find that you did a very good job, as the transitions are definitely smooth.

I just noticed your video. Did you draw all of those yourself?? If so, I didn't know you were multi-talented! They all look great!

As usual, very great job :D. I was very excited to hear your song given the awesomeness of your past bosses (heck, I even used Giant Slimy Dragon as inspiration for my giant phase!). And you didn't disappoint, as you never do. Can't wait to hear what you make for the third round!

(+1)

I love reading your comments, firstly because they are complimentary and that's good for the ego, but mainly because you don't hesitate to be honest. 

The second part is indeed more joyful, and that's a bias I have. Thanks to your comment, I thought about it and asked myself why I imagine a joyful part in boss music. The answer is “Nobuo Uematsu” and his boss music from Final Fantasy. I've listened to his OSTs so much that I've become completely immersed in them. In all of his boss compositions, there's a more uplifting passage, which is a way of representing the heroes' hope in the face of the boss. The boss theme is mixed with the hope that the player will defeat him.

On the contrary, in Koji Kondo's music (which I've listened to a lot), there are no cheerful or hopeful parts.

So there are two types of boss music:

  • Classic boss music (just the boss theme)
  • Music that represents the battle between the hero and the boss

Thank you for making me realize that!

Aah, thanks for your explanation! I totally know what you mean - I also remember songs trying to incorporate an uplifting, hopeful section, like 'Pokemon Diamond/Pearl, Dialga/Palkia theme' or 'Zelda Spirit Tracks, Fighting Cole and Malladus'. Not sure if these sections actually use major chords, but they feel hopeful rather than hopeless. It's mostly final bosses that seem to do this in my experience. I'm down to try this sometime, it seems quite interesting! :D