@@moonlapsepiano it's worth looking into both phases (The Man Who Burned It All is phase 1) as they're both very similar in terms of structure (or whatever the correct term would be) with the main difference aside for tone being a reversal of how the parts play out.
*Theory Breakdown* When I first approached this song, I wasn't expecting to find many new ideas harmony-wise. I decided to cover it more for the emotional impact it had on me, rather than my usual reason of wanting to dig in to a track to learn how it was constructed theory-wise and take home some lessons for myself. However, I found myself pleasantly surprised. While there is certainly an abundance of commonly-used harmony at play that I've seen over and over again (which absolutely suits the vibe/mood of what the track was going for), there were also a few new and interesting chord movements that I want to touch on. This piece is in D minor and generally sticks to diatonic chords from the key of D minor. Aside from the one #7 in the V chord in the intro at 0:25, the piece retains an Aeolean quality and uses the natural b7 from the minor scale. This is in sharp contrast to most other From Software music I've analyzed, where the #7 from harmonic minor is MUCH more frequently used to give a more sinister, darker, and medieval sound. Keeping it 'Aeolean' by sticking to the b7 is a great way to keep an epic and emotional sci-fi feel like this song has. I feel that this song is 'skirting around' the classic rock chord progression of bVI - bVII - i. That exact progression can be seen at 1:32 as Bbmaj7 C Dm. What I found intriguing was how the track keeps the general atmosphere/energy of this powerful progression at heart, while making subtle adjustments to it (and dancing around it), creating depth and nuance and obscuring the chord movement from being too easily recognized. The primary non-diatonic chord this song utilizes is Bm7b5, which briefly injects a dorian flavor (since B is the major 6th in relation to D minor). This is first heard at 0:52 and is a fantastic way to disrupt the expected diatonic harmony. This chord smoothly and naturally resolves down a half step to the bVI, Bbmaj7. In fact, if you take a look at these two chords, the only difference is the root note. Bm7b5 can be viewed as Dm/B, and Bbmaj7 can be viewed as Dm/Bb. Both of them have a D minor triad (D F A) present, just placed over a different root note. Keeping those observations in mind, here is a breakdown of some of the other chord progressions used in the song and some commentary on them: 0:35: Bbmaj7 C Dm/A Am This is a cool way to obscure our classic bVI, bVII, i progression by using the second inversion of Dm to create ambiguity. Lovely. Minor chords placed over their fifth like this sound so stark and meaningful, while also being deep and perplexing. the v chord (Am) is used at the end, which is another commonly seen chord in minor key tracks. Once again we must note it is not the V chord (an A major or A7) as we might see in more medieval/dark/classical sounding tracks. Knowing when to pick between the minor v and major V and why is a great compositional tool. 0:46: Bbmaj7 C Bm7b5 Bbmaj7 The Bm7b5 is a really fresh addition here. My favorite observation here is that moving from C to Bm7b5 feels eerily similar to the expected in-key movement from C to Dm. The notes in Bm7b5 are literally just a Dm triad over B, hence the similar sound. It's an awesome way to destabilize the chord progression and make it less obvious/expected. When we are thinking of ways to 'break out' of the diatonic minor key chords without sounding too outlandish or shocking, this Bm7b5 is easy on our ears and feels natural because it literally contains the tonic minor triad (D F A), and just 1 different note (Bb vs B). We briefly step out of the key and then right back in by sliding the root down to Bb, keeping the upper voicings in place. Super smooth as far as chords outside the key go, especially with that chromatic bass movement from C to B to Bb. In regard to functional harmony chord symbols, I would view this chord as the viø, with ø being the symbol for half diminished. (Remember, half diminished = m7b5 = ø) I actually used this chord in my 'Exiled Champion' track from earlier this year in a different way - jumping straight from the i to viø by keeping everything the same except the root note. In my case it was Am to F#m7b5. I encourage you to mess around with this chord in your music! 0:58: Dm Bbmaj7 Dm C A tale as old as time, this sequence and variations of these 3 chords are used extensively throughout all different genres of music but espeically in rock and metal chord for good reason. It just hits. Aeolean mode is just too powerful sometimes. 2:28: Bbmaj7 C Bm7b5 Gm Dm/F Asus4/E Dm C Bbmaj7 I thought this was a really nice bass-walk-down style progression that really elevated the end of the song to new heights (no pun intended). The movement from the Bm7b5 to Gm puzzled me a bit at first, but I think I have a solid idea to describe it. Right now I am viewing the Bm7b5 to have a tonic function, since it contains the entire tonic chord (Dm) in it. It's only one note off from the i chord. In this vein, we are very close to a i-iv movement, an extremely common movement that our ears are quite familiar with. In traditional functional harmony, the bVI chord is also viewed as having tonic function. The reasons are similar - Bbmaj7 is also contains the entire tonic triad (D F A). If you accept this labeling, then the above chord progression alternates between the tonic and either one of the subdominant (iv) or dominant (V and VII) chords. With this viewing lens, the Bm7b5 to Gm movement feels very reasonable and understandable. The Dm/F is a great touch using an inversion of the i chord to keep the bass moving downward. Another inversion follows as the bass walks down further, this time of the second inversion of the v chord, but with a suspended 4th (Asus4/E). Using the vsus4 is already a gorgeous chord, and putting it in second inversion like this gives it a mystical and challenging-to-understand quality that I love. It dilutes and obscures what would otherwise be an easily-hearable harmony, helping to create the ambiguity that characterizes the song. It also serves to keep the downward-moving bass notes of each chord root in this sequence. Using inversions like this is an amazing way to harness the power of tried-and-true chord progressions without directly and obviously signaling to the listener what's happening. I'm not saying there is anything wrong with directly using popular/proven chord progressions, and that certainly has its place. But sometimes when we are composing we want our tracks to sound more unique, ambiguous, or inscrutable, while still sounding beautiful and not completely out-there. Your Bb C Dm progression feeling too cookie cutter for you? Try first/second inversions for any of the chords, like how Kota Hoshina used Dm/A in this song. It can add additional depth dimension to the harmony of the track (as well as vagueness), which I personally find more fascinating and fun to listen to and use myself. As always, thank you for reading my long theory essays! I hope they are useful and/or interesting. I know they can be a little bit long but... music theory is so fascinating to me and I have so much to say about it. Talking about one concept reminds me of 2-3 other related concepts every time and they all tie together in unexpected ways and so I find it hard to be brief. Even with what I've posted here, I cut out a considerable amount so it wouldn't be even longer! If you'd like to discuss further, ask questions, make requests, chill out (or post memes), definitely join my Discord server linked in the description to connect about topics like this with me and other music/gaming/composing/FromSoft fans.
I love theory breakdowns SO MUCH I agree with you about the viø: try it out! It's by far my favorite chord and I use it eeeeeverywhere (or another dorian substitute like vi7 or just IV). Anyway thanks a lot for the transcription + breakdown!
Was very curious how this would work given how chaotic AC6's ost kinda is... But man, you really pulled it off! Great job, the results are quite beautiful.
I really love what you did with this! It sounds a lot more emotional and melancholic somehow, which fits it amazingly well! Rusted Pride always seemed to have a sort of longing, wistful edge to it, and you really brought it out in this piece. Great work, really well done!
Absolutely beautiful! You can really feel the heartbreak or heroic journey( depending on what ending we’re talking about). Fantastic work turning a heavy metal song it to a glorious piano piece.
TH-cam randomly recommend this to me and I must say their AI take too long to figure this out, that this is such a banger and everyone should've listen to it. Before I start the video, I remember how the original is and think that it shouldn't sound too good in piano, but man how wrong was I. Your version make it sound less radiance and heroic, but fully bring out the feels of hopelessness, just like the famous phrase “Buddy… You flew just out of reach.”
Absolutely beautiful composition, I have been looking for this Just wondering, will there be a sheet music released, I really want to attempt practicing this piece
You're definitely missing out on the rest of the game if you only did one ending. I highly recommend you at least go for the second one and stick with Carla, you'll indeed get to hear this soundtrack again.
I am definitely going to do it, after I finish Lies of P (very hard I’m getting destroyed) I’ll be going for a second AC6 playthrough. Excited to see what’s in store I heard there’s all sorts of new dialogue and stuff
@@moonlapsepiano Think the other use of this melody hits harder too, partly cause it's not used as constantly, but yes, definitely worth a second playthrough, along with a 3rd one if you want access to the final ending.
Gotta say. I really don't see why people like this song. Gen 4 and 5 music was so much better and fitting. That said. Your cover of the song really helped me appreciate it more. Piano covers have never failed me.
Thanks I appreciate the kind words 💜 I am not familiar with the music of 4 and 5 since this was my first Armored Core game, but I’ll definitely be sure to check it out. I think it resonates because it has a strong, simple, repetitive main melody (leitmotif) and everyone loves Rusty as a character. And, it turns out there was a lot more harmonic depth than I expected once I transcribed it!
@moonlapsepiano After reading your analysis, I have to say..... At the very least, you sound like you know what you're talking about. Can't verify since I'm not an expert myself, but I'm taking your word for it, especially after bringing out the beauty this song has through your own means. This song, in-game, as well as many others, really fades away in the background being completely overshadowed by gameplay and context, at least from my perspective. I remember hearing people praise the OST and thinking AC 6 should at least get an award for music and thinking, "Why?" (It didn't, but it did win best action game.) This song felt like it should have been for a different type of situation than a boss fight. When you're dodging shots, slamming you laser blade, igniting thrusters, hearing the sounds of your armor crackling, listening for threat indicators while you wait for your FCS to give you a firing solution (Maybe not the last one but I felt like referencing Mass effect 2 xD) nothing from the song really reaches out to grab your attention and remind you that its there. I could turn off the music and I'd get the same experience. It could also just mean that I'm too simple, considering I'm also a fan of Metal Gear Rising OST and how it's utilized in Boss fights. I don't know. If you ever do get around to doing the other games, I highly recommend going through AC4 and ACFA. The biggest two songs would be "Fall" and "Remember" respectively. I'd personally be interested to hear how you would approach these songs on piano. "Fall" plays in a very similar situation to Rusty's context. Having fought back against the corporations and defended your nation, a war buddy from a different nation is blackmailed into having to fight you, irradiating your settlement in the process due to Kojima Particle pollution. It's bittersweet, and I can't help but feel sadness in both the song and the characters' dialogue. "Remember" plays in quite a controversial mission, perhaps the Darkest mission in the series. Where you are hired by an extremist to essentially destroy a fleet of civilian air ships to send a better message and impact. Your handler leaves you mid mission disgusted by your actions all the while your client playfully counts the lives you've sent to certain death. 20 million..... 40 million..... 60 million..... 100 million. "Remember" wraps the horrifying experience in a beautifully irradiated bow as you've shown the world your answer. Anyway. Once again. Excellent work, Raven. Return to base.
@@RustedBuddy5192 Awesome, I will add those specific games to my list. Those missions I agree sound wild and I’m curious. I put music to 10 and sfx to 7 for all games so, perhaps that led the score being more prominent in my gameplay experience lol. Nonetheless, I do agree the action was much better than the OST in this game but there were still a couple gems in there I really enjoyed like this one, Cries of Coral, Balteus. Thanks for your thoughts!
![[AC6] V.IV Rusty - 'Steel Haze (Rusted Pride)' MV [CC Lyrics]](http://i.ytimg.com/vi/3nLrkkl6mtU/mqdefault.jpg)
2:27 "I won't stop, I'll chase the clouds from over Rubicon. Only I can fly high enough"
“Buddy… You flew just out of reach.”
PLEASE, do "The Man Who Passed The Torch" from Handler Walter's Ending
Thanks for watching! 💜 I will look into that one
@@moonlapsepiano it's worth looking into both phases (The Man Who Burned It All is phase 1) as they're both very similar in terms of structure (or whatever the correct term would be) with the main difference aside for tone being a reversal of how the parts play out.
Love how the keys are Rusty's colors. Neat-O
*Theory Breakdown*
When I first approached this song, I wasn't expecting to find many new ideas harmony-wise. I decided to cover it more for the emotional impact it had on me, rather than my usual reason of wanting to dig in to a track to learn how it was constructed theory-wise and take home some lessons for myself. However, I found myself pleasantly surprised. While there is certainly an abundance of commonly-used harmony at play that I've seen over and over again (which absolutely suits the vibe/mood of what the track was going for), there were also a few new and interesting chord movements that I want to touch on.
This piece is in D minor and generally sticks to diatonic chords from the key of D minor. Aside from the one #7 in the V chord in the intro at 0:25, the piece retains an Aeolean quality and uses the natural b7 from the minor scale. This is in sharp contrast to most other From Software music I've analyzed, where the #7 from harmonic minor is MUCH more frequently used to give a more sinister, darker, and medieval sound. Keeping it 'Aeolean' by sticking to the b7 is a great way to keep an epic and emotional sci-fi feel like this song has.
I feel that this song is 'skirting around' the classic rock chord progression of bVI - bVII - i. That exact progression can be seen at 1:32 as Bbmaj7 C Dm. What I found intriguing was how the track keeps the general atmosphere/energy of this powerful progression at heart, while making subtle adjustments to it (and dancing around it), creating depth and nuance and obscuring the chord movement from being too easily recognized.
The primary non-diatonic chord this song utilizes is Bm7b5, which briefly injects a dorian flavor (since B is the major 6th in relation to D minor). This is first heard at 0:52 and is a fantastic way to disrupt the expected diatonic harmony. This chord smoothly and naturally resolves down a half step to the bVI, Bbmaj7. In fact, if you take a look at these two chords, the only difference is the root note. Bm7b5 can be viewed as Dm/B, and Bbmaj7 can be viewed as Dm/Bb. Both of them have a D minor triad (D F A) present, just placed over a different root note.
Keeping those observations in mind, here is a breakdown of some of the other chord progressions used in the song and some commentary on them:
0:35: Bbmaj7 C Dm/A Am
This is a cool way to obscure our classic bVI, bVII, i progression by using the second inversion of Dm to create ambiguity. Lovely. Minor chords placed over their fifth like this sound so stark and meaningful, while also being deep and perplexing. the v chord (Am) is used at the end, which is another commonly seen chord in minor key tracks. Once again we must note it is not the V chord (an A major or A7) as we might see in more medieval/dark/classical sounding tracks. Knowing when to pick between the minor v and major V and why is a great compositional tool.
0:46: Bbmaj7 C Bm7b5 Bbmaj7
The Bm7b5 is a really fresh addition here. My favorite observation here is that moving from C to Bm7b5 feels eerily similar to the expected in-key movement from C to Dm. The notes in Bm7b5 are literally just a Dm triad over B, hence the similar sound. It's an awesome way to destabilize the chord progression and make it less obvious/expected. When we are thinking of ways to 'break out' of the diatonic minor key chords without sounding too outlandish or shocking, this Bm7b5 is easy on our ears and feels natural because it literally contains the tonic minor triad (D F A), and just 1 different note (Bb vs B). We briefly step out of the key and then right back in by sliding the root down to Bb, keeping the upper voicings in place. Super smooth as far as chords outside the key go, especially with that chromatic bass movement from C to B to Bb.
In regard to functional harmony chord symbols, I would view this chord as the viø, with ø being the symbol for half diminished. (Remember, half diminished = m7b5 = ø) I actually used this chord in my 'Exiled Champion' track from earlier this year in a different way - jumping straight from the i to viø by keeping everything the same except the root note. In my case it was Am to F#m7b5. I encourage you to mess around with this chord in your music!
0:58: Dm Bbmaj7 Dm C
A tale as old as time, this sequence and variations of these 3 chords are used extensively throughout all different genres of music but espeically in rock and metal chord for good reason. It just hits. Aeolean mode is just too powerful sometimes.
2:28: Bbmaj7 C Bm7b5 Gm Dm/F Asus4/E Dm C Bbmaj7
I thought this was a really nice bass-walk-down style progression that really elevated the end of the song to new heights (no pun intended). The movement from the Bm7b5 to Gm puzzled me a bit at first, but I think I have a solid idea to describe it. Right now I am viewing the Bm7b5 to have a tonic function, since it contains the entire tonic chord (Dm) in it. It's only one note off from the i chord. In this vein, we are very close to a i-iv movement, an extremely common movement that our ears are quite familiar with. In traditional functional harmony, the bVI chord is also viewed as having tonic function. The reasons are similar - Bbmaj7 is also contains the entire tonic triad (D F A). If you accept this labeling, then the above chord progression alternates between the tonic and either one of the subdominant (iv) or dominant (V and VII) chords. With this viewing lens, the Bm7b5 to Gm movement feels very reasonable and understandable.
The Dm/F is a great touch using an inversion of the i chord to keep the bass moving downward. Another inversion follows as the bass walks down further, this time of the second inversion of the v chord, but with a suspended 4th (Asus4/E). Using the vsus4 is already a gorgeous chord, and putting it in second inversion like this gives it a mystical and challenging-to-understand quality that I love. It dilutes and obscures what would otherwise be an easily-hearable harmony, helping to create the ambiguity that characterizes the song. It also serves to keep the downward-moving bass notes of each chord root in this sequence.
Using inversions like this is an amazing way to harness the power of tried-and-true chord progressions without directly and obviously signaling to the listener what's happening. I'm not saying there is anything wrong with directly using popular/proven chord progressions, and that certainly has its place. But sometimes when we are composing we want our tracks to sound more unique, ambiguous, or inscrutable, while still sounding beautiful and not completely out-there. Your Bb C Dm progression feeling too cookie cutter for you? Try first/second inversions for any of the chords, like how Kota Hoshina used Dm/A in this song. It can add additional depth dimension to the harmony of the track (as well as vagueness), which I personally find more fascinating and fun to listen to and use myself.
As always, thank you for reading my long theory essays! I hope they are useful and/or interesting. I know they can be a little bit long but... music theory is so fascinating to me and I have so much to say about it. Talking about one concept reminds me of 2-3 other related concepts every time and they all tie together in unexpected ways and so I find it hard to be brief. Even with what I've posted here, I cut out a considerable amount so it wouldn't be even longer!
If you'd like to discuss further, ask questions, make requests, chill out (or post memes), definitely join my Discord server linked in the description to connect about topics like this with me and other music/gaming/composing/FromSoft fans.
I love you
I love theory breakdowns SO MUCH
I agree with you about the viø: try it out! It's by far my favorite chord and I use it eeeeeverywhere (or another dorian substitute like vi7 or just IV).
Anyway thanks a lot for the transcription + breakdown!
@@YoannBBThank you! I’m glad you enjoyed reading it. These dorian substitutes are sooo filled with emotion, powerful tools.
You did great for harmonizing. I'm just starting piano and pushing myself to limits beyond I can't explain, embers dying, indulgences my soul.
Was very curious how this would work given how chaotic AC6's ost kinda is... But man, you really pulled it off! Great job, the results are quite beautiful.
Thank you so much!! 💜
0:33 Sent shivers down my spine
@@MrSkillIssue_90 Thank you! 💜
I really love what you did with this! It sounds a lot more emotional and melancholic somehow, which fits it amazingly well! Rusted Pride always seemed to have a sort of longing, wistful edge to it, and you really brought it out in this piece. Great work, really well done!
Thank you so much!!! 💜
Absolutely beautiful! You can really feel the heartbreak or heroic journey( depending on what ending we’re talking about). Fantastic work turning a heavy metal song it to a glorious piano piece.
thank you!! 💜
I will learn this, thank you
Awesome! i have pdfs of the sheets as well as Musescore link
Absolutely amazing arrangement, as I've said! Ahh, I'll keep it on loop for a while
thanks Caliko!! I appreciate your help getting it finished 💜
TH-cam randomly recommend this to me and I must say their AI take too long to figure this out, that this is such a banger and everyone should've listen to it.
Before I start the video, I remember how the original is and think that it shouldn't sound too good in piano, but man how wrong was I. Your version make it sound less radiance and heroic, but fully bring out the feels of hopelessness, just like the famous phrase “Buddy… You flew just out of reach.”
Thank you so much!! 💜 Well said regarding the change in tone on piano, I totally agree. I appreciate your comment
戦場がザイレムの上じゃなくて静かな花畑になってそう
それレイヴンの火以降でありそう
@@tokumeiZ
相手はホログラムのラスティとか？
空耳で『戦友』って聞こえそう
@@Tokagenooni-san
AM（これより。
戦闘技能検証プロロロロロ…）
ラスティ（待たせたな、戦友
また君と手合わせ願えるとは、光栄だ）
I had a revelation. Is Rusted Pride the new "Plin Plin Plon"!?
I think it might be!
Somebody clearly didn't understand what made Gwyn's theme so special...
That's Walter's theme
Very beautiful video
underrated af i loved the additions you made to the piece!
thanks I appreciate that! 💜
より高く飛ぶのはこの私だ！
good job man
Well done.
thank you!! 💜
This track is so beautiful and you did an amazing job as always mate. ✌️😉.
Thank you Sai mood! I appreciate it. I've been enjoying your work lately as well
YEAAAAA LETS GOOOOO this is gorgeous work as always
thanks hunter
YYYYYYYYYYYYEEEEEEEEEEEEEEEEEEEEEEEESSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS THANK YOU!!!!!!!!!!!!!!
Totally gripping... this surely had my attention on the spot... a fine treat for the mind... all so mysterious and draws one in 🙏🌹
Thank you Therese, I appreciate the kind words! 💜
Beautiful arrangement! I've yet to complete the game, but it's an amazing experience! Hoping you do even more music from Armored Core 6!
Thank you so much Ludwig! I definitely recommend finishing the game at least once, it's glorious.
This is a wonderful version of the song, I love it!
thanks for listening! 💜
wahh this is so emotional and epic! enjoyed this soooo very much! some of the harmonic progression sounds so gooood
Thank you!!! 💜
Man, this is so good. Thanks ❤
I appreciate it, thanks for watching 💜
Absolutely beautiful composition, I have been looking for this
Just wondering, will there be a sheet music released, I really want to attempt practicing this piece
Thanks!! 💜 I generally will make sheets on request, so I will try and get these done soon!
Good to hear mate, thanks.
@@alteus1999 Sheets are now available, linked in the description!
If you have the time, can you also do eshoes of coral? It's my favorite track from the soundtrack other then contact with you and cries of coral.
It's possible! Those are great songs and could end up getting covered in the future.
Good song but it feels more sad then normal
曲の入りらへんめっちゃFGOみあるわ
Sheet music when? 👉👈
@@MrKey6682 Linked in the description!
You're definitely missing out on the rest of the game if you only did one ending. I highly recommend you at least go for the second one and stick with Carla, you'll indeed get to hear this soundtrack again.
I am definitely going to do it, after I finish Lies of P (very hard I’m getting destroyed) I’ll be going for a second AC6 playthrough. Excited to see what’s in store I heard there’s all sorts of new dialogue and stuff
@@moonlapsepiano
Think the other use of this melody hits harder too, partly cause it's not used as constantly, but yes, definitely worth a second playthrough, along with a 3rd one if you want access to the final ending.
Gotta say. I really don't see why people like this song. Gen 4 and 5 music was so much better and fitting. That said. Your cover of the song really helped me appreciate it more. Piano covers have never failed me.
Thanks I appreciate the kind words 💜
I am not familiar with the music of 4 and 5 since this was my first Armored Core game, but I’ll definitely be sure to check it out.
I think it resonates because it has a strong, simple, repetitive main melody (leitmotif) and everyone loves Rusty as a character. And, it turns out there was a lot more harmonic depth than I expected once I transcribed it!
@moonlapsepiano After reading your analysis, I have to say..... At the very least, you sound like you know what you're talking about. Can't verify since I'm not an expert myself, but I'm taking your word for it, especially after bringing out the beauty this song has through your own means. This song, in-game, as well as many others, really fades away in the background being completely overshadowed by gameplay and context, at least from my perspective.
I remember hearing people praise the OST and thinking AC 6 should at least get an award for music and thinking, "Why?" (It didn't, but it did win best action game.)
This song felt like it should have been for a different type of situation than a boss fight. When you're dodging shots, slamming you laser blade, igniting thrusters, hearing the sounds of your armor crackling, listening for threat indicators while you wait for your FCS to give you a firing solution (Maybe not the last one but I felt like referencing Mass effect 2 xD) nothing from the song really reaches out to grab your attention and remind you that its there. I could turn off the music and I'd get the same experience.
It could also just mean that I'm too simple, considering I'm also a fan of Metal Gear Rising OST and how it's utilized in Boss fights. I don't know. If you ever do get around to doing the other games, I highly recommend going through AC4 and ACFA. The biggest two songs would be "Fall" and "Remember" respectively. I'd personally be interested to hear how you would approach these songs on piano.
"Fall" plays in a very similar situation to Rusty's context. Having fought back against the corporations and defended your nation, a war buddy from a different nation is blackmailed into having to fight you, irradiating your settlement in the process due to Kojima Particle pollution. It's bittersweet, and I can't help but feel sadness in both the song and the characters' dialogue.
"Remember" plays in quite a controversial mission, perhaps the Darkest mission in the series. Where you are hired by an extremist to essentially destroy a fleet of civilian air ships to send a better message and impact. Your handler leaves you mid mission disgusted by your actions all the while your client playfully counts the lives you've sent to certain death.
20 million..... 40 million..... 60 million.....
100 million.
"Remember" wraps the horrifying experience in a beautifully irradiated bow as you've shown the world your answer.
Anyway. Once again.
Excellent work, Raven. Return to base.
@@RustedBuddy5192 Awesome, I will add those specific games to my list. Those missions I agree sound wild and I’m curious.
I put music to 10 and sfx to 7 for all games so, perhaps that led the score being more prominent in my gameplay experience lol.
Nonetheless, I do agree the action was much better than the OST in this game but there were still a couple gems in there I really enjoyed like this one, Cries of Coral, Balteus.
Thanks for your thoughts!