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Game Review: Breath of Fire III (PSX

 

10-26-15 10:27 PM
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https://www.youtube.com/watch?v=NbpKavuk3Ts

(Note that the hyperlink every single track of the game, including a few remixes. The original soundtrack had about 1/3 of what you see. If you see me skip a track, it is because it was either not part of the game or because it was just uninteresting or repetitive).

Breath of Fire III was the first of the series from PSX. The storyline for the game was quite impressive and has me surprised more than once. However the game suffered from the early limitations of the PSX, notably for graphics and music. While there are excellent tracks, it is overall not the best composition ever. Here is my evaluation of it.

01. Opening

When you see the mural before pressing start. It starts with nice, slow piano notes but like most intro themes I do not care since I want to start the game right away.

02. Escape

When you gain control of yourself in the mine. The music is quite upbeat, very fitting for the situation – trying to escape the mine from all the people that want to kill you. The main flute is a good fit.

04: Fight!

To this day this is still one of my favorite battle themes of all time. The electric guitar arrangements give the track a feeling unseen in any battle themes I have heard before. The organ and piano in the core of the loop give the track a very happy feel, even better than Final Fantasy IV I would say.

05: Prologue

The music after you are captured and put into a cage. It has an interesting, mysterious beat that I like. It does not sound triumphant at all like the Final Fantasy Theme; rather it even sounds a little sad, as if the little dragon was going to be slaughtered.

06: Cedar Woods

Self-explanatory. It reminds me a little of the forest theme in Chrono Trigger, but with worth and less interesting instruments. Other than the mysterious feeling the theme evokes from the forest, this is one of the many tracks I skip because the arrangements are just uninteresting.

07: These Little Things

The theme from Rei’s hideout. Not the best track, but its light-heartedness is very appropriate for this remote place where Rei and Teepo live together trying to make their way through life. However the main flute (?) get annoying.

08: Haunting

When Rei put Ryu to bed, before the latter starts dreaming. Although I do not care about the track, it feels highly appropriate. The tone is sad and solemn, to show yet another orphan that needs help to survive.

09: Casually (Overworld Theme 1)

Self-explanatory. It does not have the usual FF epicness of overworld themes. Rather it sounds joyful and easy-going, which characterizes this part of Ryu’s journey quite well. After all, he does not really have a clear mission, so he just wanders around. Very fitting.

10: Country Living

The music inside McNeil village. It is a very nice village theme, reflective of the people’s few worries about life (except Rei and Teepo). The “flute” arrangements reflect that quiet country living, while the violins in the second part of the loop create a good relaxing atmosphere.

11: The Farm

The southern part of the village with all the farms and livestock. I believe you also hear it at Momo’s plant. The beat is even slower than country living; I guess farmers there have an even mellower life. The track is OK, but nothing more; the main instrument you hear in the first part of the loop is quite annoying.

12: Revolution

You usually hear this track when crossing the desert, when you are about to get into a fight. The title is silly, but the “jazzy” beat is perfect for a battle ambiance. It sounds both mysterious and dramatic.

13: Victory Fanfare

Self-explanatory. It sounds joyful as it should, with a joyous trumpet intro. The core of the loop has trumpets in the background and a battery that give it the proper tempo.

14: Panic Theme

You first hear that theme when Bunyan walks by and Ryu is thrown on him so he can mug him. I never cared about that track. I find it overdone and mis-titled. There is another track better suited for REAL panic. Just skip it.

15: Take It And Run

The infiltration theme. One of the best track of the album, thanks to its very jazzy beat and mysterious ambiance. You can hear muted trumpets all through the track (and even saxophone), while the battery in the background sets the jazz mood. The “bass” in the background gives this track the right Final touch.

16: 30 (The Game)

When you are “playing” a timed game (lasting usually 30 seconds, like the wood chopping by Bunyan’s hut). This track too had an interesting jazzy beat to it, but it is also very playful since you are “playing”, after all. The muted trumpet, unlike the preceding theme, is much more upbeat.

17: Walking The Road

When you reach the base of the mountain where Rei is. It sounds very dark, but fairly appropriate for a place where the hideous monster starving the area resides. The intro has very low piano keys, while the battery sets a medium tempo that is just perfect. The flute is nice too.

18: Encounter

Another track you hear before an imminent encounter. It sounds much more dramatic than the other one with the low notes from the piano in the background.

19: Battle In The Coming Days

The regular boss battle theme. It is an excellent composition that has the right amount of drama – and most importantly NO special effects unlike the original soundtrack. The violins in the background are perfect, while the main track (with several instruments) sounds very good.

20: Game Over

Self-explanatory. Strangely enough I never died when I should not have in this game so I never heard the theme. Nevertheless, it does sound very sad with the guitar and piano arrangements played slowly.

21: Heavy Echo

The cavern of the Nue. This is one of the darkest cave theme ever and I like it! The low piano keys in the background set the tone right, while the other instruments you hear here and there add a touch of mystery to this cave where there is blood everywhere.

22: Ambushed

Yet another pre-battle track. They keep getting more and more dramatic! This one loops pretty much the same arrangements over and over, but at least their quick tempo helps you forget about the repetition.

23: Cadaver

When you see what the Nue was protecting (if you so choose to explore). It sounds like a sad lullaby, of the Nue protecting its dead cubs. I usually skip it, but it sounds both sad and dramatic.

24: Eden

I wonder why this is so early in the soundtrack. Anyway, the title is self-explanatory and the arrangements, very appropriate. You hear the birds chirping, and the beat is slow and magical, before this very green and luscious place of peace.

25: Half-Asleep

This theme usually involves “Loki”, one whose mission will completely change your life… It is short but very appropriate for this person who wants you to rob McNeil. It has a dark jazzy flavor with its muted instruments and battery in the background.

26: Even The Sun Is Happy

The fishing theme. Since I never liked fishing, I never liked this theme. The one in Breath of Fire II was quieter and much more enjoyable. The main instrument tracks will quickly get on your nerves so just skip it.

27: Backlash

When you are fighting against a fish, I guess? Another track I do not care about since you have to fish only once, and THAT part is relatively easy so I never fought for long. Just skip it.

28: Fish Caught

Self-explanatory. I have heard better triumphant tracks even at that length. You merely hear a flute that does not seem to create a huge victory; just skip it.

29: Thief

When Loki gives you your mission and when you explore the outside of McNeil’s mansion. The theme is quiet and intriguing, perfect for the situation. The arrangements involve xylophones and other quiet percussions that are excellent.

30: Crowing In The Night

After you release the chickens from the coop. It is an excellent “goofy” theme, perfect to show the chaos ensuing the chickens running wildly around. It is very upbeat and joyful with the trumpet tracks (but ordinary and muted).

31: Tiger Power

I believe this is the theme when the McNeil portraits are talking to each other. I skip this one, as the arrangements are just downright annoying since they sound too synthetic.

32: That Old House

The theme inside the McNeil mansion. It has both a touch of mystery and “hauntedness” perfect for this place where you fight very talkative ghosts. The main track has the perfect echo while the other arrangements in the background (while a little annoying) complete the spooky atmosphere very well.

33: Odoro

When you fight a ghost inside the mansion. The intro is perfect, sounding intriguing and haunted. The core of the loop has excerpts from the boss battle theme played very well for the ambiance. The trumpets add the right touch of drama for the track.

34: Conglomerate

When all the ghosts join together before you can touch McNeil. It sounds highly dramatic, perfect to show the joining of forces of all those spirits you fought before. The piano keys are very low and very spooky!

35: Plenty Of Money

When you give back people their money. However, it rightfully sounds more like Loki’s theme since there will be grave consequences from your… looting.

36: Missing

After you wake up from your Balio and Sunder encounter. It sounds sad, rightfully so since you lost trace of Teepo and Rei. However, the synth is a little too heavy to make it a good sad theme, and the “flute” sounds too artificial.

37: Walking Straight

A mountain path theme. While it does not have memorable arrangements (the synth in the background in the second part of the look is annoying), it sound calm as if walking on a path without any dangers. The flute in the first part is good, and the piano notes add a little touch of drama since you might at times fight when hearing this track.

39: Trading Dragons

Balio and Sunder’s theme. Despite heavy synth the music is perfect for these two scoundrels. The violins in the background adds the perfect touch of drama. The various instruments in the main track also help creating a good dramatic atmosphere.

40: Nina's Theme

Self-explanatory. It is very light and childish, perfect for this little princess. However I never cared about it since you hear it once or twice through the game. I just skip it.

41: Chase

When you are chasing Balio and Sunder, who are after Nina. It is short but very good. The brass sound very dramatic while the violins in the background heighten that drama. The drums help maintaining the proper tempo.

42: Join Party

Self-explanatory. It is very brief but very joyful with the loud trumpet. A good track for the theme.

43: The City Liked By The Wind

Windia’s theme. It so much inferior to that of BOF II, which sounded very grand, and even to Breath of Fire I that, at least, had a feeling of “flying.” This… noise here is not worthy of being on any video game soundtrack so just skip it.

44: Sanctuary

The little hut where you first activate the teleportation device near Windia. The sound in the background has the right modern feel to this high technology while the “bass” sound in the background adds a touch of mystery that is good.

45: Island

The village where the coliseum stands. It is based on Trading Dragons, and appropriately so since Balio and Sunder basically rule the city with their death matches. The arrangements are not as dark, but they certainly feel like there is crime and deceit in the air.

46: Maekyss Gorge

When you are in the area around the bridge over the Maekyss Gorge. This jazzy theme is very interesting with its real-sounding piano notes and strange string instrument in the background.

47: A Tribute To The Dragon

After you fall down from a cliff and transformed into a dragon to protect Nina (again). It sounds a little sad, as if you had died. Another track I just skip, despite the good flute arrangements (the piano in the background is just too loud).

48: My Favorite Trick

You hear that theme inside Momo’s Tower. This is the perfect track for a puzzle game – you will face many such challenges in the tower. The main track (with its various theme) reminds me a little of the “end theme” for the Final round Jeopardy.

49: Peach Engine

Momo’s Theme, based directly on the previous track. It sounds more annoying so I usually skip it. Nevertheless it sound perfect -–goofier than My Favorite Trick – since Momo is a rather clumsy inventor.

52: Dangerous Feeling

The dump you must investigate after Palet’s request. I love the bass in the background; it give the right mysterious atmosphere for this place where you will find a mutant. Often in the background you will hear an object being “hit” with some echo, which adds a touch of creepy.

53: Termination

When you get rid of the mutant. It sound very heroic for such a tragic event; probably because the mutant told you not to repeat the same mistake again of trying to manipulate life.

54: Fried Onions

Peco’s theme. It sounds completely goofy, which is perfect to represent that little onion that came out of nowhere. It would even have been good as Gogo’s theme in FF VI.

55: Light

Yggradsil’s theme. This is one of the best relaxing tracks of all time, perfect to represent this majestic tree. The “voices” in the background give the track an almost holy ambiance, while the xylophone notes give it a good touch of magic.

56: Island (Variation)

I believe this is the drunkard’s theme, the one who is supposed to look after you after Balio and Sunder bring you. The theme sounds “clumsier” now, and the sounds you hear in the coliseum theme in the first part of the loop are perfect for that.

57: The Champions

The theme of the coliseum. It does not sound as heroic as the BOF II theme, but its arrangements are nevertheless very good. The battery in the background sets the tempo right, with the “winds” in the first part give it a good heroic touch. The second part has, er, metal xylophone that is very upbeat and I like it.

58: The Champions (Variation)

The same as the previous one, except for a woman saying “Check it” a few times. This is not the track from the game, but I like it nonetheless. “Check it” yourselves .

59: Fighting Man

Garr’s Theme. The intro is very solemn and dramatic, reflective of his sheer size and strength. It starts slow and quieter, but then explodes into louder sounds. I do not like the track, but I see its merits.

61: Lying In Wait

The intro to your Final confrontation with Balio and Sunder (you will have an ordinary fight before the confrontation). The tone is set right; it DOES sound like THE Final confrontation with those scoundrels that killed your friends. The theme consists of very dramatic “brass” and bass and other sounds in the background.

62: Castle Wyndia

Self-explanatory. This is actually one of the best castle musics ever, better than any of the BOF. The intro of the loop sounds very solemn with the violins and winds. You can hear cymbals from time to time, which adds to the grand feelings castle themes evoke.

64: Life's A Beach

The town of the Marine Guild. It does sound like a beach city, with its light-hearted theme that sounds very joyful. Its mix of flute and trumpet was decent for the soundtrack (there is some piano in the background too).

65: Clumsy March

When you train Beyd so he can win over the Guildmaster’s daughter’s hand. The drums make it perfect for a military training, while the trumpet and other wind instruments show that it is nearly a lost cause since Beyd is so weak.

67: Technology

A theme you hear in a few high-tech dungeons. For once, having a synth is proper since you want to create a futuristic track for a futuristic place. The cymbals and drums give it the right tempo; and the core of the loop uses muted wind instruments to maintain an atmosphere of mystery. The end of the loop features strange arrangements of wood, as if taken from Island.

68: Sigh Of The Fairy (Part 1)

When you first see the fairies. The arrangements a much, much too loud to be enjoyable – it was done much better in Breath of Fire IV. If you wish to preserve your hearing, skip this track.

69: Tail Of A Shark

 A recreation of Jaw’s theme, when the monsters the fairies are afraid about comes by the beach. I thought it was a nice cameo, and the violin in the background add even more drama to the theme.

70: Donden

The “major boss battle” theme, and an excellent one at that. You hear it when fighting dragons that may or may not be friendly to you. The theme is introduced by a nice piano track, while drums in the background set the tempo right. In the middle of the track, the wooden sticks hitting each other gives it a very nice touch of drama. The end of the loop has violins concluding this excellent track on a good note.

71: Guild

Where the junkyard needed to fix the boat is. The track still sounds like a beach city with its typical BOF III trumpet and flute arrangements. However it should have sounded more high-tech since you have quite a few relics form the “Age of the machines.”

72: Anti-Historical

The Angel Tower, where you will confront Garr once more. The theme has a very mysterious feel to it, perfect for this sanctuary of the Guardians. There is echo with the various arrangements, adding to the mystery.

73: The Dragon And The Angel

Your fight against Garr in the Angel Tower. The introduction is when Garr tells you the truth about himself and why he followed you. It sounds creepy as it should, since he tells you about the many dragons he killed. The music then gets louder and more epic as the fight proper starts. This is a good track as it marks the end of the first half of the game; you KNOW something major will happen (you transform into the Kaiser Dragon at the end).

74-76

These tracks are related to your “resurrection”, where you are found as a dragon in the same mine you were found out. The beat is slow and highly synthetic, so I just skip it generally.

77: To A Distant Place (Overworld Theme 2)

Self-explanatory. It sounds much more epic than in the first part of the game, reflective of Ryu’s change in destiny – he will now journey to seek the Goddess with Garr. The flute arrangements also sound a little sad, which reflects all the drama and death you will see in the second part.

78: Sigh Of The Fairy (Part 2)

The jazzy version of the fairies’ theme. Much better than the preceding one (it is not as loud), but still not up to what was achieved in BOF IV. Nevertheless, the theme is light and happy, perfect to show these magic creatures who will build their village and help you in the process.

79: Ogre Road

Self-explanatory (you also hear that theme when seeking the engine parts later on). The theme is very dark and slow, perfect in both situations. On Orgre Road, you are told a monster lurks around while, when seeking the engine parts, you come across the junkyard that looks like a very desolate place.

80: For Old Friends

When you reunite with Rei. The heavy synthetization is actually good; you feel the nostalgia and the joy of the two old friends finally reunited after years of separation.

81: Don't Say It

The ruins of Syn City? I believe it is and it is perfect. The ambiance is very heavy; you can almost smell the blood trails left by a berserk Rei. I do not enjoy the theme per say, but it sets the atmosphere right.

82: Angry Goddess

When a naked Deis gets her revenge at Garr. It almost sounds like a WWE theme and I love it! It starts with an intro of heavy electric guitar, followed by muted brass that add a good tempo.

83: Never-Ending Game

The long version of track #16.

84: Steam Locomotion

When riding the steam boat. It had a nice ragtime beat I love; the piano really sounds like it was played in the 1920s. The battery in the background give it a nice upbeat tempo.

85: Enjoying The Flavor

When you make shisu for the mayor. In the context, it sounds like you are on a Japanese TV Show and that your quest to get the ingredients was part of the show. A nice little track.

86: Turning Point

The theme inside the Black Boat. I do not know why, but I really enjoy that theme. The synth in the background gives it the right high-tech mood, while the piano and flute are a nice addition. The battery in the background gives it a nice quick tempo.

87: Cruise

The “interlude” when the boat is on auto-pilot. It happens only once, and the track is forgettable so I just skip it. It has this weird exotic beat that just does not fit well.

88: Atomic Power

The theme inside the first city you come across on the Lost Shore. It has a very modern beat, reflective of all the robots and high tech you see around. It also does not sound very joyful; as Rei says, the inhabitants of the city are missing “a spark” in their eyes.

89: The Desert Of Death

Self-explanatory. You can hear the wind howling in the background, which was a nice addition. The theme is highly appropriate; you really feel you will be walking for a very, very long time. The main track is not too loud, and the “strings” that you hear add to that grand question feeling.

90: Questionable Century

The theme inside Caer Xhan and pretty much all through the last dungeon. The heavy synth is perfect for the ruins of this high-tech city. In fact you barely hear any “real” instruments all through the long loop (almost 90 seconds). It also sounds very dramatic as a Final dungeon should.

91: Decision

When Teepo sees you in your dream after you saw each of your friends. I never cared about it since you hear it for maybe 30 seconds in the game. It would have been a better track for Teepo’s death as it sound a little sad rather than confrontational – I just skip it.

92: Conflict Of Dragons

The battle against Teepo. Too bad it was synthesized so much; the intro would have been so good with real instruments. Nevertheless, it sounds very highly dramatic (more than Donden) as it should for such an important – and emotional – fight.

93: Castle In The Sky

The last part of the Final dungeon. It honestly sounds nothing like a Final dungeon at all… which is good since you barely fight. You merely learn about why the Goddess cared so much about the world that she divided the world in 2 so humans would not repeat the mistakes of the pass and buried machines. And the arrangements are quite good; the first part uses “bells” that make the theme very interesting. The second part uses high-pitch violins that give it the little touch of drama needed.

94: Maternal Zone (Myria's Theme)

Self-explanatory. It sounds rather intriguing for the big villain in the game. However it is fair; she does not explicitly wants to destroy the world nor your group. The little bells you constantly hear in the background are what make for the perfect mysterious ambiance.

95: Bad Ending

When you choose not to fight and remain imprisoned in the Garden of Eden. The music, while I do not care about it, does sound like what spending eternity inside a big room forever sounds like. You feel that time is going to pass by very, very slowly.

96: Self-Determination (Last Battle)

Self-explanatory. It sounds as dramatic as a Final fight should. However even when playing the game I did not care for it. It is too heavily synthesized and the arrangements just do not seem coherent and agree with each other. Skip it, unfortunately.

97-99: The end

The few tracks you hear when you escape the exploding orbital station, and also the end credits. Pure again, the “official” song, is just plain uninteresting. Maybe I am not well-versed into the Japanese culture, but I never cared about it. J-Pop is simply out of place is such a video game.

101: Neverending Game (Kotomonashi Real Jazz Style)

A more realistic version of the game track, included on the original album. THIS was an excellent addition; playing with real (or “realer”) instruments make for a much more joyful and upbeat track. I highly recommend it!

102: Tribute To Dragons (Main Theme)

I believe this is the theme inside the Dragon Village. It sounds highly dramatic, reflective of the villagers trying to hide from the Goddess so they would remain alive. The piano notes give the right touch, while the violins add the right touch of drama. However the loop lingers on with organ and tambourine and becomes boring, so I skip it.

105: Catching Up With The Black Ship (Unused)

Self-explanatory. Good thing it was never released; it loops too quickly, is highly repetitive and does not carry nearly as much drama as it should for your catching up to the mastodon of the seas.

106: Peco's Theme (Unused)

Fried Onions was definitely a better choice for Peco’s theme. THIS theme just sound like a failed experiment in sound sampling, with very annoying hitting of a wooden box in the background.

108: Teepo In Eden (Unused)

Self-explanatory. Other than the “tuba” arrangements, it would have been a nice addition, seeing your friend wander around the luscious green room. It sounds better than the Eden theme, more peaceful even with the low piano notes and effects to show the grandeur of the room.

Final diagnosis: this is not the soundtrack of the century. It does have some interesting tracks, but most of them are rather easy to forget. This is sad, considering how good the story and how deep it goes.

https://www.youtube.com/watch?v=NbpKavuk3Ts

(Note that the hyperlink every single track of the game, including a few remixes. The original soundtrack had about 1/3 of what you see. If you see me skip a track, it is because it was either not part of the game or because it was just uninteresting or repetitive).

Breath of Fire III was the first of the series from PSX. The storyline for the game was quite impressive and has me surprised more than once. However the game suffered from the early limitations of the PSX, notably for graphics and music. While there are excellent tracks, it is overall not the best composition ever. Here is my evaluation of it.

01. Opening

When you see the mural before pressing start. It starts with nice, slow piano notes but like most intro themes I do not care since I want to start the game right away.

02. Escape

When you gain control of yourself in the mine. The music is quite upbeat, very fitting for the situation – trying to escape the mine from all the people that want to kill you. The main flute is a good fit.

04: Fight!

To this day this is still one of my favorite battle themes of all time. The electric guitar arrangements give the track a feeling unseen in any battle themes I have heard before. The organ and piano in the core of the loop give the track a very happy feel, even better than Final Fantasy IV I would say.

05: Prologue

The music after you are captured and put into a cage. It has an interesting, mysterious beat that I like. It does not sound triumphant at all like the Final Fantasy Theme; rather it even sounds a little sad, as if the little dragon was going to be slaughtered.

06: Cedar Woods

Self-explanatory. It reminds me a little of the forest theme in Chrono Trigger, but with worth and less interesting instruments. Other than the mysterious feeling the theme evokes from the forest, this is one of the many tracks I skip because the arrangements are just uninteresting.

07: These Little Things

The theme from Rei’s hideout. Not the best track, but its light-heartedness is very appropriate for this remote place where Rei and Teepo live together trying to make their way through life. However the main flute (?) get annoying.

08: Haunting

When Rei put Ryu to bed, before the latter starts dreaming. Although I do not care about the track, it feels highly appropriate. The tone is sad and solemn, to show yet another orphan that needs help to survive.

09: Casually (Overworld Theme 1)

Self-explanatory. It does not have the usual FF epicness of overworld themes. Rather it sounds joyful and easy-going, which characterizes this part of Ryu’s journey quite well. After all, he does not really have a clear mission, so he just wanders around. Very fitting.

10: Country Living

The music inside McNeil village. It is a very nice village theme, reflective of the people’s few worries about life (except Rei and Teepo). The “flute” arrangements reflect that quiet country living, while the violins in the second part of the loop create a good relaxing atmosphere.

11: The Farm

The southern part of the village with all the farms and livestock. I believe you also hear it at Momo’s plant. The beat is even slower than country living; I guess farmers there have an even mellower life. The track is OK, but nothing more; the main instrument you hear in the first part of the loop is quite annoying.

12: Revolution

You usually hear this track when crossing the desert, when you are about to get into a fight. The title is silly, but the “jazzy” beat is perfect for a battle ambiance. It sounds both mysterious and dramatic.

13: Victory Fanfare

Self-explanatory. It sounds joyful as it should, with a joyous trumpet intro. The core of the loop has trumpets in the background and a battery that give it the proper tempo.

14: Panic Theme

You first hear that theme when Bunyan walks by and Ryu is thrown on him so he can mug him. I never cared about that track. I find it overdone and mis-titled. There is another track better suited for REAL panic. Just skip it.

15: Take It And Run

The infiltration theme. One of the best track of the album, thanks to its very jazzy beat and mysterious ambiance. You can hear muted trumpets all through the track (and even saxophone), while the battery in the background sets the jazz mood. The “bass” in the background gives this track the right Final touch.

16: 30 (The Game)

When you are “playing” a timed game (lasting usually 30 seconds, like the wood chopping by Bunyan’s hut). This track too had an interesting jazzy beat to it, but it is also very playful since you are “playing”, after all. The muted trumpet, unlike the preceding theme, is much more upbeat.

17: Walking The Road

When you reach the base of the mountain where Rei is. It sounds very dark, but fairly appropriate for a place where the hideous monster starving the area resides. The intro has very low piano keys, while the battery sets a medium tempo that is just perfect. The flute is nice too.

18: Encounter

Another track you hear before an imminent encounter. It sounds much more dramatic than the other one with the low notes from the piano in the background.

19: Battle In The Coming Days

The regular boss battle theme. It is an excellent composition that has the right amount of drama – and most importantly NO special effects unlike the original soundtrack. The violins in the background are perfect, while the main track (with several instruments) sounds very good.

20: Game Over

Self-explanatory. Strangely enough I never died when I should not have in this game so I never heard the theme. Nevertheless, it does sound very sad with the guitar and piano arrangements played slowly.

21: Heavy Echo

The cavern of the Nue. This is one of the darkest cave theme ever and I like it! The low piano keys in the background set the tone right, while the other instruments you hear here and there add a touch of mystery to this cave where there is blood everywhere.

22: Ambushed

Yet another pre-battle track. They keep getting more and more dramatic! This one loops pretty much the same arrangements over and over, but at least their quick tempo helps you forget about the repetition.

23: Cadaver

When you see what the Nue was protecting (if you so choose to explore). It sounds like a sad lullaby, of the Nue protecting its dead cubs. I usually skip it, but it sounds both sad and dramatic.

24: Eden

I wonder why this is so early in the soundtrack. Anyway, the title is self-explanatory and the arrangements, very appropriate. You hear the birds chirping, and the beat is slow and magical, before this very green and luscious place of peace.

25: Half-Asleep

This theme usually involves “Loki”, one whose mission will completely change your life… It is short but very appropriate for this person who wants you to rob McNeil. It has a dark jazzy flavor with its muted instruments and battery in the background.

26: Even The Sun Is Happy

The fishing theme. Since I never liked fishing, I never liked this theme. The one in Breath of Fire II was quieter and much more enjoyable. The main instrument tracks will quickly get on your nerves so just skip it.

27: Backlash

When you are fighting against a fish, I guess? Another track I do not care about since you have to fish only once, and THAT part is relatively easy so I never fought for long. Just skip it.

28: Fish Caught

Self-explanatory. I have heard better triumphant tracks even at that length. You merely hear a flute that does not seem to create a huge victory; just skip it.

29: Thief

When Loki gives you your mission and when you explore the outside of McNeil’s mansion. The theme is quiet and intriguing, perfect for the situation. The arrangements involve xylophones and other quiet percussions that are excellent.

30: Crowing In The Night

After you release the chickens from the coop. It is an excellent “goofy” theme, perfect to show the chaos ensuing the chickens running wildly around. It is very upbeat and joyful with the trumpet tracks (but ordinary and muted).

31: Tiger Power

I believe this is the theme when the McNeil portraits are talking to each other. I skip this one, as the arrangements are just downright annoying since they sound too synthetic.

32: That Old House

The theme inside the McNeil mansion. It has both a touch of mystery and “hauntedness” perfect for this place where you fight very talkative ghosts. The main track has the perfect echo while the other arrangements in the background (while a little annoying) complete the spooky atmosphere very well.

33: Odoro

When you fight a ghost inside the mansion. The intro is perfect, sounding intriguing and haunted. The core of the loop has excerpts from the boss battle theme played very well for the ambiance. The trumpets add the right touch of drama for the track.

34: Conglomerate

When all the ghosts join together before you can touch McNeil. It sounds highly dramatic, perfect to show the joining of forces of all those spirits you fought before. The piano keys are very low and very spooky!

35: Plenty Of Money

When you give back people their money. However, it rightfully sounds more like Loki’s theme since there will be grave consequences from your… looting.

36: Missing

After you wake up from your Balio and Sunder encounter. It sounds sad, rightfully so since you lost trace of Teepo and Rei. However, the synth is a little too heavy to make it a good sad theme, and the “flute” sounds too artificial.

37: Walking Straight

A mountain path theme. While it does not have memorable arrangements (the synth in the background in the second part of the look is annoying), it sound calm as if walking on a path without any dangers. The flute in the first part is good, and the piano notes add a little touch of drama since you might at times fight when hearing this track.

39: Trading Dragons

Balio and Sunder’s theme. Despite heavy synth the music is perfect for these two scoundrels. The violins in the background adds the perfect touch of drama. The various instruments in the main track also help creating a good dramatic atmosphere.

40: Nina's Theme

Self-explanatory. It is very light and childish, perfect for this little princess. However I never cared about it since you hear it once or twice through the game. I just skip it.

41: Chase

When you are chasing Balio and Sunder, who are after Nina. It is short but very good. The brass sound very dramatic while the violins in the background heighten that drama. The drums help maintaining the proper tempo.

42: Join Party

Self-explanatory. It is very brief but very joyful with the loud trumpet. A good track for the theme.

43: The City Liked By The Wind

Windia’s theme. It so much inferior to that of BOF II, which sounded very grand, and even to Breath of Fire I that, at least, had a feeling of “flying.” This… noise here is not worthy of being on any video game soundtrack so just skip it.

44: Sanctuary

The little hut where you first activate the teleportation device near Windia. The sound in the background has the right modern feel to this high technology while the “bass” sound in the background adds a touch of mystery that is good.

45: Island

The village where the coliseum stands. It is based on Trading Dragons, and appropriately so since Balio and Sunder basically rule the city with their death matches. The arrangements are not as dark, but they certainly feel like there is crime and deceit in the air.

46: Maekyss Gorge

When you are in the area around the bridge over the Maekyss Gorge. This jazzy theme is very interesting with its real-sounding piano notes and strange string instrument in the background.

47: A Tribute To The Dragon

After you fall down from a cliff and transformed into a dragon to protect Nina (again). It sounds a little sad, as if you had died. Another track I just skip, despite the good flute arrangements (the piano in the background is just too loud).

48: My Favorite Trick

You hear that theme inside Momo’s Tower. This is the perfect track for a puzzle game – you will face many such challenges in the tower. The main track (with its various theme) reminds me a little of the “end theme” for the Final round Jeopardy.

49: Peach Engine

Momo’s Theme, based directly on the previous track. It sounds more annoying so I usually skip it. Nevertheless it sound perfect -–goofier than My Favorite Trick – since Momo is a rather clumsy inventor.

52: Dangerous Feeling

The dump you must investigate after Palet’s request. I love the bass in the background; it give the right mysterious atmosphere for this place where you will find a mutant. Often in the background you will hear an object being “hit” with some echo, which adds a touch of creepy.

53: Termination

When you get rid of the mutant. It sound very heroic for such a tragic event; probably because the mutant told you not to repeat the same mistake again of trying to manipulate life.

54: Fried Onions

Peco’s theme. It sounds completely goofy, which is perfect to represent that little onion that came out of nowhere. It would even have been good as Gogo’s theme in FF VI.

55: Light

Yggradsil’s theme. This is one of the best relaxing tracks of all time, perfect to represent this majestic tree. The “voices” in the background give the track an almost holy ambiance, while the xylophone notes give it a good touch of magic.

56: Island (Variation)

I believe this is the drunkard’s theme, the one who is supposed to look after you after Balio and Sunder bring you. The theme sounds “clumsier” now, and the sounds you hear in the coliseum theme in the first part of the loop are perfect for that.

57: The Champions

The theme of the coliseum. It does not sound as heroic as the BOF II theme, but its arrangements are nevertheless very good. The battery in the background sets the tempo right, with the “winds” in the first part give it a good heroic touch. The second part has, er, metal xylophone that is very upbeat and I like it.

58: The Champions (Variation)

The same as the previous one, except for a woman saying “Check it” a few times. This is not the track from the game, but I like it nonetheless. “Check it” yourselves .

59: Fighting Man

Garr’s Theme. The intro is very solemn and dramatic, reflective of his sheer size and strength. It starts slow and quieter, but then explodes into louder sounds. I do not like the track, but I see its merits.

61: Lying In Wait

The intro to your Final confrontation with Balio and Sunder (you will have an ordinary fight before the confrontation). The tone is set right; it DOES sound like THE Final confrontation with those scoundrels that killed your friends. The theme consists of very dramatic “brass” and bass and other sounds in the background.

62: Castle Wyndia

Self-explanatory. This is actually one of the best castle musics ever, better than any of the BOF. The intro of the loop sounds very solemn with the violins and winds. You can hear cymbals from time to time, which adds to the grand feelings castle themes evoke.

64: Life's A Beach

The town of the Marine Guild. It does sound like a beach city, with its light-hearted theme that sounds very joyful. Its mix of flute and trumpet was decent for the soundtrack (there is some piano in the background too).

65: Clumsy March

When you train Beyd so he can win over the Guildmaster’s daughter’s hand. The drums make it perfect for a military training, while the trumpet and other wind instruments show that it is nearly a lost cause since Beyd is so weak.

67: Technology

A theme you hear in a few high-tech dungeons. For once, having a synth is proper since you want to create a futuristic track for a futuristic place. The cymbals and drums give it the right tempo; and the core of the loop uses muted wind instruments to maintain an atmosphere of mystery. The end of the loop features strange arrangements of wood, as if taken from Island.

68: Sigh Of The Fairy (Part 1)

When you first see the fairies. The arrangements a much, much too loud to be enjoyable – it was done much better in Breath of Fire IV. If you wish to preserve your hearing, skip this track.

69: Tail Of A Shark

 A recreation of Jaw’s theme, when the monsters the fairies are afraid about comes by the beach. I thought it was a nice cameo, and the violin in the background add even more drama to the theme.

70: Donden

The “major boss battle” theme, and an excellent one at that. You hear it when fighting dragons that may or may not be friendly to you. The theme is introduced by a nice piano track, while drums in the background set the tempo right. In the middle of the track, the wooden sticks hitting each other gives it a very nice touch of drama. The end of the loop has violins concluding this excellent track on a good note.

71: Guild

Where the junkyard needed to fix the boat is. The track still sounds like a beach city with its typical BOF III trumpet and flute arrangements. However it should have sounded more high-tech since you have quite a few relics form the “Age of the machines.”

72: Anti-Historical

The Angel Tower, where you will confront Garr once more. The theme has a very mysterious feel to it, perfect for this sanctuary of the Guardians. There is echo with the various arrangements, adding to the mystery.

73: The Dragon And The Angel

Your fight against Garr in the Angel Tower. The introduction is when Garr tells you the truth about himself and why he followed you. It sounds creepy as it should, since he tells you about the many dragons he killed. The music then gets louder and more epic as the fight proper starts. This is a good track as it marks the end of the first half of the game; you KNOW something major will happen (you transform into the Kaiser Dragon at the end).

74-76

These tracks are related to your “resurrection”, where you are found as a dragon in the same mine you were found out. The beat is slow and highly synthetic, so I just skip it generally.

77: To A Distant Place (Overworld Theme 2)

Self-explanatory. It sounds much more epic than in the first part of the game, reflective of Ryu’s change in destiny – he will now journey to seek the Goddess with Garr. The flute arrangements also sound a little sad, which reflects all the drama and death you will see in the second part.

78: Sigh Of The Fairy (Part 2)

The jazzy version of the fairies’ theme. Much better than the preceding one (it is not as loud), but still not up to what was achieved in BOF IV. Nevertheless, the theme is light and happy, perfect to show these magic creatures who will build their village and help you in the process.

79: Ogre Road

Self-explanatory (you also hear that theme when seeking the engine parts later on). The theme is very dark and slow, perfect in both situations. On Orgre Road, you are told a monster lurks around while, when seeking the engine parts, you come across the junkyard that looks like a very desolate place.

80: For Old Friends

When you reunite with Rei. The heavy synthetization is actually good; you feel the nostalgia and the joy of the two old friends finally reunited after years of separation.

81: Don't Say It

The ruins of Syn City? I believe it is and it is perfect. The ambiance is very heavy; you can almost smell the blood trails left by a berserk Rei. I do not enjoy the theme per say, but it sets the atmosphere right.

82: Angry Goddess

When a naked Deis gets her revenge at Garr. It almost sounds like a WWE theme and I love it! It starts with an intro of heavy electric guitar, followed by muted brass that add a good tempo.

83: Never-Ending Game

The long version of track #16.

84: Steam Locomotion

When riding the steam boat. It had a nice ragtime beat I love; the piano really sounds like it was played in the 1920s. The battery in the background give it a nice upbeat tempo.

85: Enjoying The Flavor

When you make shisu for the mayor. In the context, it sounds like you are on a Japanese TV Show and that your quest to get the ingredients was part of the show. A nice little track.

86: Turning Point

The theme inside the Black Boat. I do not know why, but I really enjoy that theme. The synth in the background gives it the right high-tech mood, while the piano and flute are a nice addition. The battery in the background gives it a nice quick tempo.

87: Cruise

The “interlude” when the boat is on auto-pilot. It happens only once, and the track is forgettable so I just skip it. It has this weird exotic beat that just does not fit well.

88: Atomic Power

The theme inside the first city you come across on the Lost Shore. It has a very modern beat, reflective of all the robots and high tech you see around. It also does not sound very joyful; as Rei says, the inhabitants of the city are missing “a spark” in their eyes.

89: The Desert Of Death

Self-explanatory. You can hear the wind howling in the background, which was a nice addition. The theme is highly appropriate; you really feel you will be walking for a very, very long time. The main track is not too loud, and the “strings” that you hear add to that grand question feeling.

90: Questionable Century

The theme inside Caer Xhan and pretty much all through the last dungeon. The heavy synth is perfect for the ruins of this high-tech city. In fact you barely hear any “real” instruments all through the long loop (almost 90 seconds). It also sounds very dramatic as a Final dungeon should.

91: Decision

When Teepo sees you in your dream after you saw each of your friends. I never cared about it since you hear it for maybe 30 seconds in the game. It would have been a better track for Teepo’s death as it sound a little sad rather than confrontational – I just skip it.

92: Conflict Of Dragons

The battle against Teepo. Too bad it was synthesized so much; the intro would have been so good with real instruments. Nevertheless, it sounds very highly dramatic (more than Donden) as it should for such an important – and emotional – fight.

93: Castle In The Sky

The last part of the Final dungeon. It honestly sounds nothing like a Final dungeon at all… which is good since you barely fight. You merely learn about why the Goddess cared so much about the world that she divided the world in 2 so humans would not repeat the mistakes of the pass and buried machines. And the arrangements are quite good; the first part uses “bells” that make the theme very interesting. The second part uses high-pitch violins that give it the little touch of drama needed.

94: Maternal Zone (Myria's Theme)

Self-explanatory. It sounds rather intriguing for the big villain in the game. However it is fair; she does not explicitly wants to destroy the world nor your group. The little bells you constantly hear in the background are what make for the perfect mysterious ambiance.

95: Bad Ending

When you choose not to fight and remain imprisoned in the Garden of Eden. The music, while I do not care about it, does sound like what spending eternity inside a big room forever sounds like. You feel that time is going to pass by very, very slowly.

96: Self-Determination (Last Battle)

Self-explanatory. It sounds as dramatic as a Final fight should. However even when playing the game I did not care for it. It is too heavily synthesized and the arrangements just do not seem coherent and agree with each other. Skip it, unfortunately.

97-99: The end

The few tracks you hear when you escape the exploding orbital station, and also the end credits. Pure again, the “official” song, is just plain uninteresting. Maybe I am not well-versed into the Japanese culture, but I never cared about it. J-Pop is simply out of place is such a video game.

101: Neverending Game (Kotomonashi Real Jazz Style)

A more realistic version of the game track, included on the original album. THIS was an excellent addition; playing with real (or “realer”) instruments make for a much more joyful and upbeat track. I highly recommend it!

102: Tribute To Dragons (Main Theme)

I believe this is the theme inside the Dragon Village. It sounds highly dramatic, reflective of the villagers trying to hide from the Goddess so they would remain alive. The piano notes give the right touch, while the violins add the right touch of drama. However the loop lingers on with organ and tambourine and becomes boring, so I skip it.

105: Catching Up With The Black Ship (Unused)

Self-explanatory. Good thing it was never released; it loops too quickly, is highly repetitive and does not carry nearly as much drama as it should for your catching up to the mastodon of the seas.

106: Peco's Theme (Unused)

Fried Onions was definitely a better choice for Peco’s theme. THIS theme just sound like a failed experiment in sound sampling, with very annoying hitting of a wooden box in the background.

108: Teepo In Eden (Unused)

Self-explanatory. Other than the “tuba” arrangements, it would have been a nice addition, seeing your friend wander around the luscious green room. It sounds better than the Eden theme, more peaceful even with the low piano notes and effects to show the grandeur of the room.

Final diagnosis: this is not the soundtrack of the century. It does have some interesting tracks, but most of them are rather easy to forget. This is sad, considering how good the story and how deep it goes.

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the unknown


Affected by 'Laziness Syndrome'

Registered: 12-14-12
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