Hats list of top video/arcade games: part 5

30. Gunstar heroes: If there is any game that could prove the processing power of the genesis was faster then the Super Nintendo (it’s only advantage), then this would be one of the few that really show it. Soldier and stuff is constantly through at your hero as he navigates through colorful stages with awesome gun upgrades, taking advantage of Sega “blast processing”. Unlike games like Contra in this game you actually had life, this makes it thankfully easier to survive in and, less frustrating. Another great feature in this game is the epic boss battles you most face off against buffer Guile with a bear and Bison look a like boss, for example on top of moving air plane. With two-player action included this game just had to be included.

29. King of Fighters 98: The biggest rival to the Street Fighter series, the King of Fighters series has recently fallen on some hard times (as has SNK). Despite a new version pf the King of Fighters coming out every year, this series really reached it’s peak with King of Fighter 98 and has had a hard time continuing to improve. The sheer amount of characters with personality and, fighting styles in this game is outstanding and, make it a worthy foil for Street Fighter. Though the music and, many of the stages can’t match up the classic Street Fighter arenas, this game has a certain charm about it that makes it still able to stand out. I love the variety play styles that went into the game, and, yet how balanced it’s system is at the same time. The mechanics of the game are more difficult to master then most Street Fighter game (except 3^rd strike), but they are just as rewarding as Street Fighter’s engine and offer more depth then most Street Fighter with the use of three-person teams and more complex engine. If SNK could only create a new game with the depth and elements of this game, they might once again have a shot at winning back a large fan base in the U.S.

28. Soul Caliber 2: Soul Caliber 2 is the only 3D fighter that really has any appeal to me, besides games in the Virtual Fighter series. The second in the series was clearly the best one I have been able to play in comparison to the others which come off as knock offs of the second (I haven’t played the first in the series, but have heard it was similar to two). The elements in this fighter make it the one of the few (perhaps only one) with a 3D feel that actual feel like feels exciting to play. Unlike games other 3D games like Tekan this game doesn’t boringly looking for who can start a juggling combo and, instead focuses on solid game play with a variety weapons and styles. The new Soul Calibers have clearly focused much harder on making the game appeal as a fun game, rather then a game with any sort of depth, which is disappointing. The newer games feature a greater unbalance, more mostly pointless fighters and more superfluous customizations, instead of trying to improve game play or for that matter keeping up with the same quality even of game play. Plus who doesn’t want to play a game where you can fight as Link and actually have him kick ass?

27. Mike Tyson’s Punch out: For all the bad things that Tyson has done in his life, this is the one greatest thing I think he has ever done. This game is the greatest sports game of all time! In this game you play as the small New York boxer Little Mac as you try to fight your way up to the top to defeat the monstrous Mike Tyson. The game tests your ability to memorize patterns and react quickly. What truly makes this game entertaining though is the creativity and variety of comical the boxers Little Mac most defeat as well as his silly looking trainer. It helps that the music has the that catchy 8 bit greatness I love.

26. Mega man 2: The Mega man series alone is proof that Capcom knows how to create amazing games, and create sequels using the same simple concepts done the right way. This series was designed so well that Capcom even went back to create a new Mega man based off the original Nintendo Entertainment versions recently, and it that sold relatively well. The greatest of all the Mega Man games, however has got to be the sequel to the original for a number of reasons. In this game you play as the famous Blue bomber who is sent to hunts new set of robot men, taking their powers as upgrades as he hunts down the evil doctor Willy in his castle. First reason this game one of the best in the series is the creativity of this game is outstanding and, definitely one the greatest and most genuine of it’s type in all of the Mega Man series. Secondly, it’s difficult is just high enough to be a challenge, at the same time it isn’t so hard as to be as to be as frustrating as the first game and, later games would be. Lastly, the music in the Mega man series like that in many Capcom games is top notch, and this game’s music is especially good even for a Mega man game making it stand out.

Hats list of top video/arcade games:part 4

35. Donkey Kong Country: Though I have played very little of the Donkey Kong Country series, every minute of playing it was exciting and it had a profound influence on me. The first Donkey Kong Country showed off for the first time the full capabilities of the Super Nintendo’s processing power. At the same time in it’s own right to this day is it an enjoyable game. This platformer stared Donkey Kong making his comes back along with his new pal Diddy Kong. To this day the graphics are still great to this day (which says a lot), however it is the exciting, and challenging croc stomping action and, music that stands out in this game. If I had played it more (I didn’t own a Super Nintendo when I was a kid) I’d most likely have placed it much higher.

34. Tatsunoko vs. Capcom: Is a relatively new addition to the Capcom vs. series, Tasunoko vs. Capcom is a worthy addition to the list. TvC barrows the support elements and has the same fast game play found in many of the other games within the versus series. TvC is also unique because its game play core is based on air combos and suppers. The graphics are simply stunning with elaberate 3d textures and, the character-based themes are exciting (though not really revolutionary). My one biggest complaint with this game is why did Capcom choose to do a game with Tasunoko? I have only a vague idea who the characters are on the Tasunoko side and, the Capcom side is pretty small and, lack many of my favorites. I look forward the U.S. release of the game so

33. Super castleveina 4: This is another great classic by Konami (a godly company) I have recently had the pleasure of picking up on the virtual console. Once again this game stars Simon Belmont as he hunts for the legendary vampire Dracula through spooky environments. The Castleviena is full of hits and is known for quality for good reason; however, this game stands out as one of the best. The game clearly builds off of the others in its series: the graphic are slick, the monsters and environments are creepy, the boss’s epic (as they are in all Konami games) and, the music captures the tone of the wonderful game. I’ve heard that Symphony of the Night is the best in series; having not played it though, this is definitely my favorite.

32.  Super Metroid: This game takes on every element game in great Komani game like Super Castleveina 4 and doubles it. This sequel to Metriod is one of the top games for the Super Nintendo of all time. In it you play the brave intergalactic bounty hunter Samus Aran as you hunt for the last metriod (a powerful jelly fish like creature), which has been captured by a Pterodactyl like creature know as Ridley. This is the type of game that encourages exploration through a vast maze of detailed areas in search of new upgrades and save spots. Sometimes it this vastness can be frustrating, however normally it adds to the excitement of the adventure. My only big complaint beyond sometimes being frustrated is that; although, the music does fit with the sci-fi feel of the game I would have liked for more memorable music from the game.

31. Tetris: This is another classic example an arcade style game (which is easy to pick up and play) done right. In Tetris the objective of the game is to simply fit various shapes of blocks (by flipping them) to create complete lines (which cause the lines to disappear) and, avoiding filling the screen. This is a simple concept and, it seems easy to avoid making mistakes at first; however, as the game speeds up this seems to get harder and harder to pull off. Add in a catchy tune and, you have an arcade classic that is addicting, simple and, easy to spend hours playing without getting bored.

Hats list of top video/arcade games: part 3

40. Golden Eye: I’m normally not a big fan of first person shooters; despite this Goldeneye is a huge exception. One of the first and greatest first person shooters ever Goldeneye is all around fun. The story mode has a variety of cool mission’s, the settings are creative and, best of all it only loosely follows the plot of the film, making it exciting action packed and, challenging. The real reason why Goldeneye ends up on this list; however is the multiplayer aspect of the game is so great. One would wonder why anyone would buy any other shooter after playing the multiplayer within Goldeneye. What allows it to shine is sheer number of well-balanced modes that allow for taking on your friends in a variety of stages. The stages allow for wandering, but at the same time are not so expansive that you’ll have trouble finding a friend for long. It helps that Goldeneye has a great Bond movie style soundtrack and, overtop sound effects that would be at home in James Bond film.

39. Ikaruga: When I think of tough games this is usually the first to come to mind. I wonder how anyone manages to get through this game at all, let alone beat it easily. This shoot em’ up is part of a popular Japanese genera of games that translates roughly to “Bullet Hell.” After playing this game the meaning of this title will quickly become apparent. Bullets come at you from every direction, however what makes this game truly interesting it that there are two forms of colored bullets, one of which a red black and blue white form of bullets. Your ship has the ability to switch between two forms of shield that stop a single color of bullets and absorb them, and is vulnerable to the other color of bullet. This defense might seem to make the game easier, however the sheer amount of bullets on the screen makes and the need to switch is what makes this incredibly hard. I’ve never made it past the second stage, because of the sheer difficulty of this game. Even beating part of the first stage feels like a major accomplishment in Ikaruga. It is this difficulty as well as the slick graphics that makes me come back to play this game again and again.

38. Melty Blood: Melty Blood is a great fighter and, true example of the excellence of independent game developer’s. Melty Blood is really a far reach from the Street Fighter like muscle bound fighting, instead Melty Blood focuses on a more cute anime style of character. The game throws out the special attack and timed based emphasis combat of Street Fighter, replacing it with a for a more aggressive and, chain based system of fighting. Though I have only started to play this game recently it has had profound influence on me as fighting game fan. Melty Blood is a fast paced game with a variety of uses the magic meter, including a variety of special attacks and, healing. If you are new to the fighting game genera this is a good one to start off playing. It is so easy to pick up and, action packed. Though it is only second fighter on this list (I’m a big fighting game fan), it certainly is deserving of being on this list.

37. Mario kart double dash: Having not played Wii version of Mario Kart; this is newest version of Mario Kart I have had the pleasure of playing. Mario Kart is a great game due to number of factors. First off, it is easy to pick up and play, this is important in a racing game so as to avoid excess frustration (like that found in GX). Next, is the crazy game pace with a variety of weapons such as turtle shells, bananas and, fake item blocks just to name a few. It features better stages then the first Mario kart did and the two-player system is an interesting idea. Lastly it retains the great multiplayer of the first game, while adding the team element. I’ve always I enjoyed this game and, can’t wait to get a chance to play the Wii version of Mario Kart. This is the best Mario sports based game title I’ve played beating out some other great games.

 

36. High seas Havoc: One of the reasons why the Sega Genesis is one of my favorite systems is the sheer number of platformers it has. Though most are poor, some like High Seas Havoc are truly a lot of fun. The creativity of this game is truly outstanding, as is the difficulty within later stages. The game stars a bandana wearing otter as he attempts to rescue his family from a group of pirates. To do this however he most pass through Pirate Ship’s, under water ruins, a burning city, an icy mountain, a factory, and mysterious spider filled cave and, lastly a flying ship. The enemies are cartoony, colorful and, well designed. The boss battles are likewise exciting and, the music is excellent. This game would be much higher on the list if not for the last couple of stages in the game though. These stages are nearly IMPOSSIBLE TO BEAT, High Sear Havock is challenging before these last stages, but the difficulty suddenly ramps up to ridiculous level. If you even some how managed to get through the cave level; then you most face off again a magician wolf who is almost impossible to hit. To make things worse he has a pattern that is almost impossible to survive against. It is truly this level of challenge that it is a turn off for me and, forced me to place it this low instead of near the top.

Hats list of top video/arcade games: part 2

45. Ghouls and Ghost: Man is this game tough and epic at the same time. In this game you play the devoted knight Author, as he goes on a quest through various dark settings in search of your girl friend. Author most face various monsters including, Demon’s, Hellhounds and, even the lord of hell himself. However there is a catch, Author can only take two hits before dieing with checkpoints only appearing when you move to the next area. It is insanely hard to survive long due to the huge mass of constantly re-spawning enemies and traps. To make things worse there is a twist, once you defeat the lord of hell for the first time you most go back and do it all over again! I remember being so frustrated after realizing this the first time I made it this far, and then picked up my controller to once again traverse the world. Besides the difficulty though, it is a great game that reminds me a lot of another game that will come later on the list.

44. Contra: The game play style of Contra is frantic and similar to Ghouls and Ghosts in that you must take on a mass of enemies, only the setting of the game is totally different. In this game you play as shirtless Rambo look alike as you shoot your way through the enemy bases filled with turrets, foot soldiers and, robotic monstrosities. As far as I know this game doesn’t have a plot, but what I do know is that I have a hard time even making it through the first stage. It is excellent game though, despite only being able to be hit once. This is makes the game insanely tough as you are always having to dodge a barrage of bullets, and starting with only three lives. It is definitely one of the most action packed games I have ever played and reminds me of the excellent Metal Slug (which sadly didn’t make the list).

43. Batman: Putting together one of the coolest heroes and Nintendo Entertainment System is a no brainer. Even better is the addition of game play that mimics other great platform adventure games for the NES. Though the game only last five levels, it definitely is a challenge to beat and is one of my favorite NES games. Perhaps the new Arkham Asylum game would have made the list (replacing this game), had I played it. However as of now I have only been able to see clips of it so sadly I haven’t had a chance to experience it’s greatness. Strangely enough game is the best Batman game despite being back on the NES because of its solid simple game play and, great soundtrack.

42. River City Ransom: River city has been over run with gangs that have captured your girl friend (I guess this part is kind of common for beat em’ ups). This concept just screams NES beat em’ fun despite being constantly reused. As with Double Dragon and other great beat em’ ups you fight your way through the cities many gangs. To add to the flavor of the game the villains have some of the best defeated phrases such as, “Barf,” while dropping coins on the ground. With this money you can buy various products for power ups, such as books that teach your character martial arts, magazines and, lots of varieties of food. It is this little extra polish that makes this game so different and innovative even to this day you’re your average beat em’ up(which is especially promising providing it was released on the NES). It’s disappointing and surprising that despite a few remakes of the game there has never been a true sequel to this cult classic. To top things off it was one of the first games to allow free roaming where your character chooses their path. Not much in the way of music or graphics (though they are pretty good for a NES game), but the sound effect of the coins dropping is great.

41. Bubble Bobble: What can I say about Bubble Bobble is that it truly an arcade staple. Despite only playing the NES version of this game even it feels like an arcade game and, boy is it addictingly fun to play. Bubble Bobble is one of those games that just hook’s you in with its simple and entertaining concept. In the game you play as the little dinosaur Bub or Bob as you make you way through colorful mazes defeating enemies with the use of bubbles to trap them. When you pop the bubbles trapping them turn into food. All you have to do is avoid being hit by the enemies or their attacks. Enemies can also turn angry if they are the last ones left on the screen or if they escape your bubble adding to the arcade feel of the game. All I can really say is that it definitely deserves to be considered a classic, and I can’t wait to play the new Bubble Bobble Plus on Wiiware. Though this game has only one real tune, even this tune is addicting and doesn’t ever seen to get old despite being the only music in the game.

Hats list of top video/arcade games: part 1

Sorry to take so long to post new content, but I have been working hard on setting up this list of great games. This is a list comprising my all time top 50 video/arcade games I have played. These games have had a huge effect on me, and in some cases changed my life. As in many list I am enforcing the one game per franchise rule to avoid to repeats and, will be releasing a description of five great games a week. So enjoy and hopefully you’ll see some new games that are worth investigating.

50. Double Dragon Arcade: This is a great game because the concept is so simple for it; you’re a buff dude who beats up thugs take away your girlfriend. Your goal is simply to get her back by beating up hordes of villains. Double Dragon is one of the greatest beat em’ ups I have ever played, because it keeps things simple and to the point. It might not be the most creative or memorable game, but it give you what you expect out of it (something that can’t be said for all games), a chance to beat up hordes of thugs. This barely made the list, but is still incredibly deserving game that does the job right.

49. Wario land: Though I have played a number of good Wario this game always seems to stand out in my mind as one of the best. It is the best Game Boy platformer I have ever played beating out other good ones like the Mario games to be number 1 due to it’s clever use of a two goal objective. The first goal is simply to beat the game, this isn’t too difficult on it’s own, the next objective however is to make as much money as possible is not so easy (finally giving a good reason to collect coin/rings/other objects in a game). On top of that there are treasures hidden after the game that bring in a great deal of money. This game has some of the classic Wario humor, but mostly focuses on good game play. Still this game simply can’t compete is size, music (though the music is so bad it’s good many times), graphic or content with system platform adventure, but for an early portable platformer it is definitely is the best game of it’s kind.

48. Battle toads: This game can either be incredibly frustrating or exciting, but what can be said about it is that it is based one of strangest concepts ever. You are an anthropomorphic toad with a gross name who is dropped by a bird from a ship in outer space. Your mission, to rescue your friend from the clutches of the evil Dark Queen by traveling through one of the rockiest planets ever conceived. To make things weirder whenever you attack their body can transform, enlarging their hands and legs, turning them into wrecking balls and many other weird things. Despite the bizarre plot and cartoonish nature of the game it is incredibly difficult. I’ve never even made it close to beating it, because of the difficulty despite playing it many times. The music and other parts of the design aren’t that stunning though is why it’s so low on the list.

47. Sunset riders (arcade): Ever wanted to play good game where you lay down the law in Wild West, with your six-shooter by your side? Well then this is the game you’ve been looking for. Though I only have played this game once at an arcade, it quickly caught my attention as a great arcade platformer. The basic premise of the game is that you’re a sheriff or bounty hunter after a boss characters bounty, to do this you must survive running on top stampeding cattle, speeding trains and surviving the deadly minions of your bounty before finally defeating him. My biggest complaint with this game is that is too easy to die and, that to continue playing you have to pump in the quarters into the machine.

46. Ultimate Mortal Kombat: Mortal Kombat is a fighter better known for shock value then it’s system of fighting. That being said Mortal Kombat might not have the greatest fighting system, but it is an interesting system that is easy to play. Ultimate Mortal Kombat combines the mass amount of characters and stages from MK2 and 3 all into one. This game is definitely a Mortal Kombat players dream having everything included in the two best 2d games. The music is sub-par, but it makes up for this with neat character designs and the gruesome fatalities (where a defeated opponent is killed in violent and flashy way). Overall the novelty of the fatalities and digitized graphical style has some what subsided, but with easy to master controls and, different sort of fighting system it is still entertaining.

The Music of King Kong

Max Steiner

This week I decided to put up a paper I wrote for my Music in Film course. I feel that it’s detailed analyse would be interesting to read and be a interesting change of pace from my usually music reviews so enjoy!:

Plot Summary:

Famous moviemaker Carl Denham is planning a trip by sea to a mysterious location and is in search of a woman willing to journey with him. To make things more mysterious, his ship is filled with guns and powerful gas bombs and he refuses to say anything about where he is going. While in his search he stumbles upon Ann Darrow, an out-of-work girl, and hires her to play his lead actress within his film. On ship (the Venture) Ann meets the first mate Jack Driscoll who at first is not pleased to have Ann aboard. Eventually, Denham reveals that he is traveling to an island off a sea map he bought from a captain in Singapore, an island where it is rumored the natives worship a gorilla god called Kong.

After going through a fog bank the ship spots the island and Driscoll, Denham and Darrow along with the crew go ashore. After searching awhile for natives, the group finds them preparing a ritual involving men dressed in gorilla-like clothing and a woman. Denham attempts to film the ceremony, but is spotted by the chief of the natives, who is angered that they have seen and ruined his ceremony. The Captain of Venture speaks with the natives and finds out they wish to trade for Ann, but the group refuses and promises to meet the natives the next day.

While aboard the ship Driscoll confesses his love for Ann, who is thrilled, but he is forced to leave her for a moment to speak to the Captain and Denham. During this time natives in an outrigger canoe sneak aboard and capture Ann, leaving only her necklace. After the cook realizes that someone has snuck aboard and later the crew realizes Ann has been captured, they rush to find her. Meanwhile on shore the natives prepare Ann to be sacrificed to the their god Kong. They use a gong to call forth Kong who ends up being a giant gorilla who takes Ann away just as the Venture’s crew appears at the gates. Denham and Driscoll form a search party to find Ann and while searching through the jungle stumble upon a giant stegosaurus, which they shoot. They then reach a swamp and build a raft to follow Kong through the swamp, however they are attack by an enormous plesiosaur and forced to flee. Many of the crew are killed by the monster while attempting to escape.

Driscoll and the most of the remaining crew encounter Kong while attempting to cross a chasm by using a tree trunk as a bridge. Driscoll finds cover but others in the crew are not as lucky and are shaken off the tree into a huge pit. Ann meanwhile is left on a tree trunk, still unconscious from shock. Kong then attempts to capture Driscoll, who is trapped under a ledge. However, Ann regain consciousness, only to find a hungry Tyrannosaurus who has spotted her. Ann begins to scream, which draws Kong back to her. Kong then battles the Tyrannosaurus, eventually killing the dinosaur, while Jack escapes and finds Denham. Denham agrees to return to the rest of the crew guarding the gate, while Driscoll follows Kong to his cave lair. Denham tells the rest of crew what has happened and they decide to spend the rest of the day on the island waiting for Jack. After battling a snake-like lizard monster, Kong brings Ann to a cliff side, where Driscoll successfully distracts Kong and attempts to rescue Ann. However Kong is not distracted for long enough and returns to find Driscoll attempting to escape by rope from the cliff. Kong tries to pull up the rope and Driscoll and Darrow, but they jump into the water below the cliff and escape Kong.

Driscoll and Darrow return to the gate where it’s revealed that Denham seeks to capture Kong, but Driscoll wants nothing to do with Denham’s plan. Kong however comes to them as he angrily searches for Ann and the crew closes the gate to keep him at bay. The natives rush to the crew’s aid. Though both the crew and natives press against the gate to keep Kong out, the gate eventually breaks apart and both the crew and natives flee. Some natives who attempt to stop Kong with spears or who fail to escape in time are killed as Kong destroys the village. Soon Kong makes his way to the boats where Denham throws a gas bomb, which eventually subdues Kong. Denham has the crew prepare to bring him to New York.

In New York Kong is exhibited in metal restraints as “the eighth wonder of the world,” along with Driscoll and Darrell, who are to be married. The press cameras’ flashes anger Kong, though, and he breaks free as the audience flees. Jack and Ann flee to hotel building where they hide, but Kong climbs up the building searching for Ann. After dropping another woman to her death while searching for Ann, Kong finds Ann and grabs her, stunning Jack. Then Kong rampages through the city and begins to climb the Empire State Building, while Denham and Driscoll along with the police form a plan to stop Kong. As Kong reaches the top of the building airplanes armed with guns are sent to lure the beast into dropping Ann. The plan is a success as Kong is lured by the planes and begins to die. In his last moments he picks up Ann one last time, and then puts her down as he is shot again. Soon after he falls to his doom, as Driscoll arrives at the top of the tower with Denham to get Ann. A cop in the crowd viewing the deceased Kong remarks, “Well, Denham, the airplanes got him,” to which Denham replies, “It wasn’t the airplanes. It was Beauty killed the beast.”

Music Cue 1
Cue Spotting: 00:05:46-00:06:06
Scene Description: This scene gives the Arabian proverb on which part of the plot’s premise is based. The proverb explains how the beauty of Anna Darrow (Fay Wray) enchants Kong and ultimately brings upon his final stand and demise.
Cue Type: underscore
Musical Theme(s): The first use of the Beauty theme appears within this scene.
How this music cue supports the scene: This short cue is used to increase the credibility and emotional impact of the proverb. The music has a slow, lush and passionate sound accentuated by the use of a middle register with strings (such as viola), harp, and brass (such as horns). This music is used to create an emotional connection to the proverb, which is turn is used to emphasize the emotional aspect of the plot. This cue is also used to bring down the intense energy found in the Kong theme of the opening credits and transition to the quiet beginnings of the film.

Music Cue 2
Cue Spotting: 00:24:53-00:26:21
Scene Description: The Venture travels through a fog bank and they search for land. This scene builds up the tension caused by both the danger of the trip and the crew’s mistrust of Denham. The scene ends as the crew begins to hear the beat of a faraway drum.
Cue Type: underscore and source (drums at end of the scene)
Musical Theme(s): none
How this music cue supports the scene: This is the first music after a long stint without any sort of real music. Steiner uses harp along with a small number of reeds and horn instruments to create a feeling of mystery and suspense. The music not only helps create the emotional atmosphere of the scene, but also reinforces the crew’s psychological distrust of Denham and his plans. It is hard to say for certain why this particular scene is the first to reintroduce music, however it could be that the music signifies the beginning of where the action is about to occur. The drums signal the end of this cue and transition into the next scene where the Island is discovered.

Music Cue 3
Cue Spotting: 00:30:27-00:31:58
Scene Description: The natives of the island dance and chant wearing ape skins and prepare a girl to be sacrificed (to become the bride) to Kong. Denham and his film crew observe the natives, and Denham seeks to film the event.
Cue Type: underscore and source (natives chanting and drums)
Musical Theme(s): Natives’ ritual
How this music cue supports the scene: After a long buildup of tension in previous scenes, the tension breaks into a loud and powerful conclusion. The scene uses strong, heavy sounds, including underscored brass and frantic strings, added to the onscreen use of percussive instruments and chanting from the natives. Steiner uses these instruments to create a sense of wonder, curiosity and tension by focusing the viewer’s attention upon the natives’ ritual. He uses the percussive instrumentation played by the natives to hit the action of the native footsteps during their dance. This cue’s beginning and ending are both very abrupt: the cue starts as Denham first spots the natives dancing, and ends when the chief of the natives in turn spots Denham, then yells to the rest of his tribe to alert them to the Denham and his crew’s presence, stopping the ritual and silencing the music.

Music Cue 4
Cue Spotting: 00:42:03-00:45:44
Scene Description: The natives prepare Ann and then tie her up so that she can be sacrificed to Kong.
Cue Type: underscore and source (native chant)
Musical Theme(s): The first use in the body of the film (not counting the opening credits) of the Kong theme
How this music cue supports the scene: The Kong theme is used at the beginning to foreshadow the arrival of Kong and at the same time to highlight the actions of the ritual and the distress of Ann. The music slows down dramatically at 00:43:09, with the strings then followed by the brass, in order to slow down the pace of the scene for the dramatic effect of building tension. At this point the music really begins to hit the action as it begins to focus on Ann directly and the journey to the ritual place where she is to be tied up. As the scene continues the music becomes more foreboding with a strong use of lower brass as Ann awaits her fate. As the gate begins to close, the music matches the closing with a descending passage, followed by even stronger and more foreboding music. The music ends with a dramatic crescendo and repeated passage whose tempo increases in intensity to match the scene, until the chief once again speaks, gradually silencing the natives and the music.

Music Cue 5
Cue Spotting: 00:53:37-01:02:08
Scene Description: To follow Kong through the swamp, the men searching for Ann, led by Driscoll and Denham, create a raft and begin to row across the lake. They are unaware however that within the swamps lies a man-eating plesiosaur who makes short work of the raft, attacking the men and forcing them to run for their life. The monster attacks and then chases the men into the jungle, where one ends up being cornered in a tree and eaten. The focus of the scene then shifts to Kong, then back and forth between the perspective of Kong and that of the crew. Then the crew encounters Kong while attempting to cross a fallen tree bridge and Kong shakes the tree, tossing the men into a pit below and killing all them all, save Driscoll, who climbs down a vine and hides in a crevice. After killing the men Kong attempts to grab Driscoll and has his finger cut by Driscoll. Driscoll then attempts to escape while Kong examines his finger, but a giant lizard climbs up Driscoll’s vine and so Driscoll is forced to cut it. Kong then continues to try to grab him until Ann is spotted by a hungry Tyrannosaurus, causing her to scream and for Kong to come to protect her.
Cue Type: underscore
Musical Theme(s): The monster attack theme is used in this scene for the second time and there is also a short reference to the jungle theme.
How this music cue supports the scene: The music begins with the transition from the jungle theme as they enter the swamp following Kong’s noises; the instrumentation begins with the woodwinds followed by strings, then harp and bassoon are added, giving it a mysterious and foreboding sound. The music begins hitting the action of the monster, specifically the raising and lowering its head in the water, and the harp follows the dumping of the crew from their raft. The music also hits the action by using an ascending musical scale for the man climbing up a tree and following the running footsteps of the crew. As the crew spots the monster and it prepares to attack the raft, the music becomes frantic and intense with an increased use of percussion and powerful brass. The feeling of intensity and panic in the music also increases dramatically when the plesiosaur gets closer to the crew and especially when it attacks a crewmember attempting to hide in a tree. As soon as the man on the tree is attacked the music momentarily vanishes and then returns, reflecting upon his demise. Then the focus of attention suddenly is placed on Kong and the music reinforces this change, to help the listener focus on the transition. The music and scene move back and forth between Kong and the crew’s prospective until the two themes end up colliding together as the crew and Kong meet up. The music once again becomes filled with a frantic and menacing sound as Kong shakes the tree, bringing about the demise of various crewmembers. Then the music becomes low and again hits the action as it mimics Kong’s attempt to grab Driscoll, with the use of a woodwind gliss as Driscoll cuts Kong’s finger. The music follows Jacks footsteps as he attempts to escape. The music once again crescendos and increases in intensity as Ann is approached by Tyrannosaurus; then the music for an instant pauses before the beginning of the fight. Then, after one last reprieve, it stops.

Music Cue 6
Cue Spotting: 01:07:49-01:09:19
Scene Description: Denham explains to the remaining crewmembers what has occurred. They likewise tell him that they have scared away the natives. Denham constructs a plan then about what to do next. Meanwhile Kong goes to his lair in the mountains, followed by Driscoll.
Cue Type: underscore
Musical Theme(s): The Kong theme is referenced when the Skipper talks about the natives.
How this music cue supports the scene: The music is dark, slow and plodding, using mostly low brass. This music’s main use is to defuse the actions and slow the pace down (after all the scenes of Kong fighting the T. Rex and killing men), so to allow for more exposition. The music is mostly background music used to set the somber mood of the scene. However, even in this scene there is a moment of hitting the action as the lighter woodwinds make refer to Driscoll as he follows Kong.

Music Cue 7
Cue Spotting: 01:18:51-01:24:12
Scene Description: Denham insists on capturing Kong while Driscoll is strongly against the idea. Kong comes, however, in search of Ann and for revenge upon Driscoll. The natives then rush to help push against the walls to prevent Kong for breaking in. This ultimately fails as he breaches the wall, causing panic. The natives attempt to fight off Kong, but to no avail, as he kills many. Kong then attempts to attack the crew and is subdued by a gas bomb.
Cue Type: Underscore
Musical Theme(s): A frantic string version of the Kong theme
How this music cue supports the scene: The music begins with footstep-like low brass, mimicking Kong’s approach, followed by a form of the Kong theme within the string section. The energy builds once again in the music as natives help push in order to stop Kong from breaching the gate. This mounts until the walls break down and the music reaches another peak. The score then mimics the fleeing people as they attempt to escape from Kong. Then the trumpets take on a fast sound, imitating running, while the low brass plays out a menacing theme symbolizing Kong. The music emphasizes the panic of the natives and the brutality with which Kong destroys their village and people. After Denham throws a gas bomb at Kong, the music slows as the trombones slowly ritardando and decrescendo as Kong loses consciousness.

Music Cue 8
Cue Spotting: 01:24:30-01:27:30
Scene Description: Denham brings Kong to New York to be viewed, where clueless theatergoers line up, not knowing what to expect. Denham, Driscoll and Darrow meet with the press behind the curtain and describe the journey to the island. Denham then goes on stage to make his speech about the adventure.
Cue Type: underscore
Musical Theme(s): Denham’s exhibit theme
How does this music cue support the scene: The music goes along with Denham’s show, first with a fanfare, then following with a busy city theme. These themes are triumphant and brass-heavy, as though the music were emanating from the theater (though no visible band is present).  The scene ends with ritardando and a closing statement that ends the music.

Music Cue 9
Cue Spotting: 01:30:26-01:32:29
Scene Description: Enraged by photographers, Kong breaks free from his chains and escapes the theater. The people in the theater panic and flee to get away from Kong, while Kong rampages through New York. Ann and Jack flee into a nearby hotel or apartment building as Kong begins to climb the hotel in search of Ann. After grabbing and examining a woman in the building and discovering she is not Ann, Kong drops the woman to her doom.
Cue Type: underscore
Musical Theme(s): The Kong theme is played in parts again and again.
How does this music cue support the scene: The music once again becomes menacing, as the Kong theme is played in various forms again and again in the low brass. The music slowly swells in dynamic volume, until Kong drops the woman, releasing tension. The scene ends with one last ominous trombone theme.

Music Cue 10
Cue Spotting: 01:37:25-01:43:03
Scene Description: After taking Ann and rampaging through the city, Kong makes his way to the Empire State Building, where he climbs to the top. Denham and Driscoll form a plan with the police chief to get Kong to let go of Ann and to shoot him down with planes. Jack rushes up to find out what is happening. The planes watch for a chance to shoot at Kong and then begin their attack as he puts down Ann, leaving himself open.
Cue Type: underscore and source (planes)
Musical Theme(s): Kong and Beauty themes
How does this music cue support the scene: The cue starts with Kong’s theme being played on low strings. Then brass crescendos as Kong climbs the building, while the strings signify the height of the building. Kong’s theme is used to give unity to the scene and emphasize Kong’s presence. As Kong reaches the top of the building, the music peaks with a blaring trumpet sound, then slows.

The music once again dies down, in a way similar to that of the scene of to Kong’s gassing on the island, perhaps foreshadowing Kong’s pending demise. Then there is a powerful silence during which the only sounds are those of the planes and the guns they fire; this silence is used to make this part of the scene more powerful. After this long period of silence comes a lamenting version of the Beauty theme, played by the strings, as Kong foresees his death, until machine guns cut in once again and Kong’s theme is played alongside the Beauty theme. The connection of these musical themes suggests a connection to the film’s overall “Beauty and the beast” theme (introduced in the beginning proverb of the film). The cue ends with Jack and Carl coming to find Ann, at which point only the Beauty theme remains. The lone Beauty theme accentuates the death of the beast theme, which in turn symbolizes Kong’s fall to his doom.

Conclusion (Significants of the music and elements of the score)

The score of King Kong uses similar cue functions, stylistic elements, and memorable themes over and over again throughout. These elements make King Kong one of the first films to be recognized as having a historically significant score. The film’s music uses a lot of memorable themes that both make the music catchy and at the same drive home the emotional intent of each scene. The score, like the film, is not subtle; it’s very loud and to the point. The music clearly goes along well with the film, and is kept relatively simple to match the simple plot of the film.

One of the first things that jumped out at me as I listened to this score is the instrumentation used. Steiner for instance likes to use the harp to convey mystery and foreboding; he uses this in many scenes, such as the fog scene and the beginning of the swamp scene, as the crew travel on a raft through the swamp. The most common instrumentation, which seems to show up time and time again, is used within the Kong or monster attack themes: powerful and menacing use of the low instruments (usually brass), often accompanied by frantic sounds of the terrified people fleeing within the higher brass, woodwinds and/or strings. This instrumentation first occurs when the natives sacrifice Ann to Kong, and recurs until the end of the film, even after the death of Kong. The last theme that jumps out is the Beauty theme, which is used both to tie in the theme of the film and to represent Ann. This theme is characterized by a lush and beautiful string sound, at the beginning to invoke the Arabian proverb and near the end of the film to tie in Ann and the film with the proverb. Another interesting thing about the themes in the film is how they sometimes come together. Some great examples of this are as the film switches between the view of the crew fleeing from the plesiosaur and Kong, until eventually the two collide and the themes come together. Another use of this duality in music comes in the scene with Kong and Ann atop the Empire State Building, during which both Kong’s (Beast) theme and Ann’s (Beauty) theme play, until Kong finally falls, after which only the Beauty theme is left, mirroring the proverb.

Steiner also uses certain elements within the cues frequently. Especially notable are the strong use of hitting the action, the combination of source music with underscoring, and the referencing of the mood of the scene and referencing to characters. Steiner hits action all over the place, throughout the film. His music loves to follow footsteps, whether those of natives dancing, Kong walking, crewmen tracking, or bystanders fleeing. He loves to use music to emphasize movement. Steiner also hits the action with the use of scale figures, such as when the natives close the gate after tying up Ann or when the plesiosaur moves its head out of the water. Steiner also likes to speed up and slow down the music to fit scenes, such as when the music slows down when Ann is led to be sacrificed to Kong, or when it speeds up as the villagers race to flee Kong, or later when Kong is slowly stunned by Denham’s gas bomb and the music slows. Steiner also tends to mix underscoring and source music; this occurs in many scenes of the natives’ rituals, where he combines their onscreen percussive instruments and chanting with the orchestra.

Throughout the film the most common use of music is to establish powerful mood. Some scenes that use music this way include the scene where Denham tells the remaining crew what occurred, during which the music is moody, or when Kong attacks, such as when Kong fights the monster to protect Ann or when he attacks the islanders, or later in New York City. There are few but important references to characters throughout the film, based on musical phrases. Such references include the use of the Kong theme when the Skipper mentions how he scares off the natives, the light woodwind flourish used when Driscoll follows Kong into his lair, and the recurring use of the Kong theme when he breaks free and climbs up the hotel (or apartment building). These elements within the music cues make this film unique and memorable and strongly affect the feel of film.

King Kong is one of the first films to have a memorable score that could demonstrate the power of original scoring. Despite perhaps sounding limited by modern standards, in 1933 this score was revolutionary. First, the entire score was done using original music, which was still relatively rare for the period, as most film music then was comprised of adaptations of popular or well-known tunes. The score of Kong captured the action of the film much more strongly than those of most films before it (especially ones that used adaptations). Steiner’s music was especially strong at hitting the action, whereas many previous films, such as The Jazz Singer, had music that mostly played through the action. Steiner also was one of the first composers to use specific themes throughout a score that connected with the both the characters and theme of the film. Steiner’s score was revolutionary because it was the first to use many major cue functions that previous didn’t feature in films, and when it was created it was the first musical score of its kind to have so much influence upon film scoring.

Finals and pre finals work

I’m sorry I haven’t posted in quiet a while, but I will be posting new content starting next week. I will continue from that point to try to be more on top of things so please be patient.

Thanks all who have been keeping up with my posts,

Hats

Metropolis part 2 Movie vs. Manga

The film and manga of Metropolis are a strange case of similarities and differences that weave together as works and at the same time stand as separate and unique from one another. It would be hard to say whether the movie resembles the original manga or the Fritz Lang film more. The basics elements in both the film and manga are very similar, but the overall presenting of the elements and details of each take a far different approach. What is clear about both works is that each has enormous strengths and minor weaknesses and making them both worth owning.

The similarities between these works are easy to spot. The basic premise is the same in both the book and movie. The political party known as the Red party (marduk in the Movie) is run by the evil Duke Red who hires a scientist to create a super robot (Mitchi in the manga, Tima in movie) resembling a human and creates large black sun spots (for different reasons, however). Meanwhile the Japanese detective Mustachio (Shunsaku in film) and his nephew Kenichi (in both) come to the city of Metropolis. In both the super robot befriend Kenichi who helps protect it from the Red party. Both feature elements of dissatisfied robots treated like slaves and in the end of both works the super robot rallies the robots to crush the repressive system that that are forced into by humans. The character roster is for the most part the same both the manga feature the Duke Red, a super robot, Mustachio/Shunsaku, the scientist that creates the super machine and even surprisingly enough Rock (he only makes a short cameo as a news boy but I feel that it should be noted he is both).

Before I talk about the differences in the plot I need to speak about overall difference in characters inclusion in both stories. The first thing you notice in the presence of characters is that the manga is full of ones missing in the anime version, but the one character that appears in the film that gets far more attention and has a major role to play not found in the manga is Rock. Rock in the film is the adopted son of Duke Red, hates robots and yearns for Dukes attention. He looks much like the Rock Tezuka would later use in his other science fiction work Nextworld. He appears in the movie dressed in a simply red shirt and black pants most of the time with a pair of hip sunglasses and a fascist arm band comprising most of the characters appearance. His worst dreams come to life when he follows and watches Duke Red contact scientist (Doctor Laughton) as they discuss the creation of the robot Tima, who resembles the Duke deceased daughter. He then destroys Laughton’s lab and kills Laughton with his ever present and sinister handgun. Then after finding out Tima is alive he attempts to hunt her down in secret and earn his fathers attention by killing her, trying to kill anyone who opposes his plans. Other important characters to absent from the Manga include the president Boon who is threatened by the Dukes power, the detective robot called by Shunsaku Pero and a revolutionary leader Atlas who attempts stop Duke Red. As I stated many characters are discarded within the films most notably Emmy flower girl. In the manga she is a poor girl who sells flower and who lives with her cruel and, greedy sister. She is first seem as she is barely is saved by Mitchi for being struck by a car. She is made to appear simply wearing dress with short white sleeves and a large bow tie in the back to denote her status. Her luck turns around slightly though, when her sister is funded by a mysterious old man in return for bringing Mitchi to him. Later she at first attempts to trick Mitchi into believing she has found his/her parents and then later tell Mitchi the truth out of grief. She then befriends Mitchi and he/she helps her fend off bullies in return for her kindness. Not only her but also the many other character appear exclusively to Manga including the superintendent general Notarlin, Police inspector Ganimarl, Sherlock homes and a variety of Duke Red’s top henchmen.

Not only are important characters within manga absent from the film and vice versa but besides Kenichi characters personalities are also very different. First off Duke Red is seen in very different light in the Anime from how he is in Manga. In the Anime he is a highly respected wealthy business man and is loved by most on the upper levels of society, where as in the Manga he is a hated and feared man people wish normally to avoid. Even in the first scene of the manga before he is introduced it is made clear by peoples fear being accused of being the Duke or that others are the Duke. In the Manga not only does he send out hit teams and pollute the sun like he does in the movie, but he also himself is constantly plotting to get Mitchi back through criminal means. He uses various clever disguises in the manga to search out Mitchi and activity commits crime without more then the motive of power. In the movie however, because of the introduction of Red and his status he uses his secret fascistic police force to enforce cruel robot zone (area) codes and to keep down rebellion from poor humans, building a ziggurat as a sign of power. He in the movie is not out to rule the world totally instead wishing to use his creation for the good of the world and humanity as well as for his own power and glory. He creates Tima with the help of the sinister criminal Doctor Laughton making her a replacement for his deceased daughter. In the Manga, however it is Red not the doctor who is the sinister side, he forces a doctor to use his experiment to create Mitchi and using the sun to sustain Mitchi’s life. The doctor in Manga instead of being shot by Rock destroys his own lab and escapes with Mitchi only to have Mitchi discovered by a museum director who is part of the Red party leading to trouble. After attempting to shoot Red as the Duke finds his home, the doctor is mortally wounded by Red who fires back and dies pointing out the notebook about Mitchi to Mustachio (who forces Red to leave moments earlier) just as the doctor does in the movie. Mustachio and Shunsaku also are slightly different sorts of characters, Mustachio is really one of the main hero’s of the manga and is a brave and cunning sharp shooter sent to find Duke Red and arrest him, Shunsaku on the other hand is the one piece of comedy in the movie being kind hearted and determined, but most of the time the closest to silly and is constantly lost in the city at the start of the film. Overall these differences may be minor but they have a major effect on the story line between book and film.

The super robot in the movie compared to the manga is a vastly different in personality and skills and, is probably the most different element of the film compared to manga. Tima is pretty female who is innocent child like figure, she believes Kenichi to be her father. She exhibits many child like feature like not showing fear of Rock despite him being dangerous, doesn’t complain when taken by Duke Red and having to be taught how to eat and write by Kenichi. She is a beautiful but is helpless in many ways as well and many times relies on Kenichi for support especially as they are chased by Rock. She doesn’t realize she was created to be powerful machine that rules over all other machines until end and believes her self up until that point human.  Mitchi begins as neither, male or female and is a carefree child like figure as well, however Mitchi is far from helpless. Instead of having the power over other robots Mitchi has the power to fly, is clever, has a button inside his/her throat that changes his/her sex and has super strength. In the end it is unclear how much Tima’s revolt against humans comes from not being human as she is connected to the Ziggurat and attempts to destroy humanity as oppose to advance it, but it is clear that Mitchi despises humans after discovering (s)he has parents and creating a robot revolt against humanity. Both end up being destroyed in very different ways as Tima falls from a building after separated from the throne by Kenichi and regaining her mind after half her fake skin is ripped off, Mitchi dies as the sun normality is restored after the robots revolt again Duke Red.

It is impossible to miss that even though the plots is very similar the movies plot is made far more complex and draw out so as to take up more time. The first difference comes from the overall plot, in the manga Duke red simply wants the robot for power and in the movie he hopes to recreate a new world order and to actually help humanity. To do this Red in the movie is willing to sacrifice human life for the great his plans and assassinates the president and draws out and slaughter the poor revolutionary humans. Overall the tune of the Manga is much different from the movie because of this fact. The movie is a suspense thriller with many moral issues raised and focuses on complex plot of Duke Red and his might Ziggurat building and amazing visuals of the city. The Manga is much of a fun action comedy using Tezuka’s unique style of drawing and wit to create a quick, creative and enjoyable read. The movies tune is much more somber creating issues with class and surprise turn of events. Many scenes in the film involve panning over the city at its brightest and darkest hours, making sure no detail is out of place. Many events are more sinister in effect like the radiating of the sun that causes robots to attack humans and later to march upon the huge building that Red hopes will bring upon his own revolution of the world through Tima. The manga is much more light hearted where the radiation instead is the life force for Mitchi and instead creates giant animals including giant rats that look like Mickey mouse. The manga has many double panel scenes full of people and little jokes. It’s darkest elements are fewer and far between involving Reds cruel treatment toward the robots he and his party create to radiate the sun and the revolt at the end of the story where the robots under Mitchi turn against Red and all who live in the city. Even in the end the people come to see Mitchi before he dies and it is a tragic moment where people forgive Mitchi, where as Rock cause the Ziggruate to self destruct in the movie to save him and his father from a death by robots and Tima falls to her doom. This different tune lead to vastly different stories both enjoyable in their own special way.

Both the movie and the Manga are indeed great works of art. Despite their many differences each tells a similar and very interesting story. Both the mood conveyed in the film of total seriousness and the more light hearted tune of the Manga kept me entertained as a watched and read both works. Their not much more I can really say but to get these stories. They are every bit as exciting as I described and then some you’re assured a good time.

Welcome to all

Hello and welcome to my blog. My name is Coleman Hatfield, AKA “Hats,” and I’m here to set up a place so that I can share my views on a variety of manga and music. Being a music major at CSU Northridge in Wind Performance and a member of the Anime Club here at CSUN (and formerly the vice president of my Anime Club when I was in High School), I feel this will be a good place for me to express my feelings on particular albums and manga. I also hope, however that this blog can help others expand their collection of manga and albums.

I will attempt to make my reviews personal, informative, and to certain degree academic and thoughtful in nature. I will cover a number of works of manga and styles of music, both works I enjoy and those I do not care for. It is important to me that my reviews also be informative as to why I enjoy or dislike the material.

As well as increasing others’ collections, I’m always interested in increasing my own collection. If anyone would like to contact me to give me personal comments about any of my reviews or to suggest material for me to see or listen to, please feel free to contact me at colemanhatfield@sbcglobal.net. Thanks for reading this perhaps overly long introduction. I plan by the end of this week to have my first review up and to post at least one review a week (despite finals coming up fast).